[QUOTE]
Quote Originally Posted by Holly View Post
Hey guys
How would I make sure that the sky in a landscape scene of green trees, overcast sky/even light grey colour sky doesn't blow out, and the greens stay at the right value and don't go murky?
There is a big brightness range between green trees and a high bright overcast sky so there is no film exposure, no film development strategy that will deliver approximate mid-tone gradation in both.

I'm using a Toyo View, 135mm lens, Ektar 100.
So far I've been thinking: a soft grad ND filter, exposing for the greens using incident.
This will work because the grad ND filter effectively becomes part of the subject matter. It just doesn't look like it because it is so close to the lens.

Trouble with that picture is, I can't afford an ND filter at present.
Grad ND filters, filter holders, and lens adapters are buyable off Ebay at low prices. They come from China and offer useful quality.

So are there any genius ways I can expose/use my polarizing filter to balance the white/grey sky with very dense greens, and NOT end up with a white, blown-out sky, or dull murky foliage?
I think no. An overcast sky is essentially unpolarised so a polarising filter can't do much to it.

Am I always going to have to compromise between the sky exposure and the foliage exposure? I want the sky to be the true mid-grey that it is, and not a blah field of white!
The sky is a blah field of white if you look at the foliage. The foliage is murky if you look at the sky. The only place where both have nice tonal values simultaneously is in the mind. The brain collects images from the eyes, stitches them, gives them the HDR treatment and then presents the results to the consciousness. This happens to every one of us and no one can turn this off by effort of will.

Is this kind of exposure always going to call for filters?
To make the picture in the camera look like the picture in the mind an additional piece of subject matter, the grad ND filter, needs to be present in front of the lens in addition to the sky and the trees.

An alternative to ND filtration at the camera-work stage is mask the sky area of the transparency when using it as a source for further picture production.