Ah, so it simply refers to the curve. I've been a videographer by trade for some time, so I have a pretty healthy understanding of this stuff. It's just the chemical process that's new to me.
So I guess that's to say that tonality responds to light non-logarithmically? When I underexpose by 2 stops, my cloudy skies are just where I want them: a moody grey with spots of highlights with a feathery soft knee. My primary fear with overexposing is clipping those highlights, though with film I understand that highlights retain better across varying exposures than shadows do, correct? Meaning that overexposing will brighten the shadows disproportionate to how much it will brighten the highlights? I'm used to working with Log curves as part of the digital video workflow, where adjustments are impacted equally throughout the tonal range.
Correct, on the toe and shoulder it does not follow a straight logarithmic line.
Negative films are famous for their ability to hold highlight detail, you have little to worry about when compared to video.
Mark Barendt, Beaverton, OR
"We do not see things the way they are. We see things the way we are." Ana´s Nin