Quote Originally Posted by Poisson Du Jour View Post
... Look after the exposure at the time of exposure, in-camera and don't rely on quick-fixes in the print stage. It must be said this takes experience a lot of it, judgement and understanding of the light and its effect on the scene. You are bound to be very disappointed when initially getting a handle on balancing highlights and shadows, but it will come easily and naturally to you if you expose the film in the conditions it was designed for.
That was my initial concern. The 2 rolls I shot came out almost perfect. The shadows had some black and the highlights had some white, but the balance what almost exactly what I saw, and the images have the feel and impact I was shooting for. I placed the brightest area at Z VII and let the rest fall where they may. A couple portrait ones had some blocked highlights, but that was considered prior to exposure, and the picture is quite nice.

So, I I find myself shooting as I described, I will try to keep the highlights to a resonable level and work from that. Much like you described in your initial reply, I think that basically entails metering for about Zone VII-ish and Zone III-ish and averaging the 2 readings. For instance, if the highlights are at 200 c/ft2, and shadows are at about 15, then shoot about 1/60 at f/8 for Provia 100, which would place about 50 c/ft2 at Zone V-ish, and the highlights at Zone VII, with the shadows at Zone II. Anything that falls outside that range can be taken for lost, and therefore, important areas must be kept within that range. Much like the zone system, but slightly more in line with keeping values within the usable scale of the reversal film.

I hope that's right, as it seems to be the gist of everyone's advice!

Thank you!