Originally Posted by newcan1
I forgot to include the type of lighting, normally I don't record such things in my exposure data logbook(one of about 5 I have scattered around the house ) since its usually apparent from contact sheet what kind of lighting it is for the scene...
Lighting(for the train shots, and the majority of the contact sheet): broad, raw California sunshine! Basically a "point light source", creating hard, direct shadows with high contrast. The inside(blue room) shots were all available light, a mixture of fluorescent and the neon mixed lighting, with a few open doors(it was a restoration shop off Hwy 58 going across to Bakersfield from Barstow) so a myriad of color balances, too much to try and filter for each individual source
Just remember: EXPOSURE DETERMINES SHADOW DENSITY, DEVELOPMENT DETERMINES HOW/WHERE YOUR HIGHLIGHTS FALL. EVEN WITH COLOR! I have employed a spot meter the past few years to determine the "SBR"(subject brightness range) of a particular scene, and how it falls with how I've calculated I like to expose/develop the film.
Most people use "normal" development 99% of the time, and yes, that allows them(generally) a well processed negative/chrome. However, I have found that for MY photographs, I NEED pushes & pulls to REALLY get the most out of a film stock. I'm still in the testing stages of such, mostly since I've been doing such with sheet(4x5) film, and those costs DO add up . I primarily shoot rollfilm(120/220) for "session" type photographs, where things don't change much lighting-wise.
Filtering: I now ALWAYS carry an 81A(at minimum, also an 81B and a CC05/10M) filter with me when shooting color. Even since I drum scan the majority of my "keepers" film-wise, and it allows a wonderful amount of control, filtering the lens pre/in-capture just makes life easier(and more predictable)! I also make use of graduated filters(LEE) in a lot of cases, simply because it allows me to get as much "meat" in a negative as possible w/o having to do much post-work(or none at all other than fine tuning color balance for my tastes and printing it!
Since you've stated that you're GOING(?) on a trip, I'd advise that unless you REALLY KNOW a film stock well, to not use it for "once in a lifetime" shots which might be hard(or seemingly impossible) to reproduce w/o much effort/travel. If you KNOW Portra for example, and know its limitations/capabilities, then I'd use it. Same goes with ANY film. But Ektar CAN deliver(as you see in my prints above, with almost a straight print w/ minimal color correction vs other Kodak film stock filter settings for Fuji glossy CA paper(my normal).
my recommendation: buy 10 rolls of film before your trip, 5 rolls of Portra 160 or 400(this is a great film IMO), and 5 rolls of Ektar. Shoot the same scenes with both, and bracket each film in 1/3ASA increments downward from its box "speed". I have come to realized that for ME, ASA 50 works best for Ektar 100 processed "normally", and provides more shadow density, but the highlights still have a sparkle to them when printed down density-wise. But definitely do some testing pre-trip so you have a gauge to work off of.
Last edited by DanielStone; 03-31-2013 at 05:18 PM. Click to view previous post history.