Quote Originally Posted by markbarendt View Post
Absolutely and as you point out the fix required is often a change of lighting, whether artificial or natural.

I will suggest though that this problem is common to all photographic mediums, the problem with slide film is that the fix has to be applied during the camera exposure because we are going straight-to-final-output. With negatives we can change the scene lighting or we can burn, dodge and manipulate when we print, or both.

This isn't necessarily the case, in fact Dunn and Wakefield essentially puts pegging to the shadows into more of a special-case-use classification in the grand scheme of photography. It's basic advantage being minimizing exposure, which is nothing to sneeze at, but not necessarily a priority for most shooters.

Personally I no longer peg any exposure to shadows, my choices are always centered on the mid-tones I want to print, shadows and highlights are simply allowed to fall around that come what may. I will on occasion use a high tone and an offset to peg my mid-tone. I avoid using shadows as a peg because I find judging them unreliable.

Onward, I'm not understanding what extra limits you see with color negatives, can you elaborate?
Gladly Mark

My observation that color negative film has more limitations is simply that color film cannot be developed to such different extremes as black-and-white negatives; no N+2 or N-4 for color negs without a lot of color crossover. Plus, there are no variable contrast color papers I am aware of to help deal with contrast at the printing stage. There are digital (gasp) possibilities but...

As for pegging shadows: we Zonies grew up on shadow-value placement; I feel fairly confident placing shadow values. However, when shooting roll film, I use a mid-tone as well for the most part. The only real danger when using an average value is in very contrasty situations, when the shadows can end up severely underexposed. Highlights will be hot as well, but that is not an issue with most black-and-white films; color is a different matter again. When shooting black-and-white with average readings in contrasty situations, I'll usually give an extra stop exposure to hold some shadow detail and then deal with the overexposed neg at the printing stage.