Quote Originally Posted by jaydub View Post
One differentiating factor is how the Kenko measures indicident light for lighting ratios and flat subjects. For the Kenko, you take off the half-dome diffuser disk and put on a flat diffuser disk; for the Sekonic and Gossen, you retract the half-dome diffuser disk into the body of the meter. I currently use a Minolta AutoMeter III, which uses dedicated flat and half-dome diffuser disks, same as the Kenko. A lot of my subjects are flat (macro, artwork, etc.) and so I use the flat diffuser quite a bit.
I own two Sekonics: the L358 and the L-308S. The only time I use the retractable disk is when I am metering a light and I want to isolate that and not have any input from backlights, etc.

Exposure is really more an art than a science. Often times my main light is a full stop or more "underexposed" relative to the meter reading, but that gives me the desired effect for a portrait. The meter gives me a ballpark reading, and then the lights are tweaked for effect using digital or Polaroids.

I've also shot a lot of paintings over the years, and I can't see why anyone would do this kind of work on film. Digital is just way too good with white balancing and the ability to manipulate specific colors for matching the artist's vision. For this, the meter just confirms that the exposure is totally consistent from corner to corner, and for that the dome is always up.