At 18:37 9/6/02, Wayne Harridge wrote:
I think most people are "barking up the wrong tree" with this problem.
I think you should use one of the contrasty & saturated films like
Velvia, E100VS, with FLAT lighting these films will actually emphasise
the subtle colour difference you see but haven't been able to record.
...Wayne
I don't know . . . I got in a hurry about the film and forgot to remark
about the lighting. I disagree about the high saturation films as the
modest to restrained variety have done better with smooth, subtle
gradation. Something like E100VS, of which I used only a few rolls before
abandoning it, seemed to completely saturate at the hint of a primary color
with zero gradation (a red barn comes to mind). The result was very bold;
so much it lacked natural color and looked surreal.
We may be thinking on approximately the same lines about lighting. I
wouldn't describe it as "flat" though, just low contrast. To me, flat
means coming from many directions at approximately the same level so that
it's nearly impossible to determine a key or main light direction.
I recommend low contrast with a enough fill so the separation between
highlight and shadow is perhaps 4-5 stops maximum; probably 4 stops with a
chrome. However, I wouldn't want to lose dimensionality from shape and
texture in the process by bringing the fill up much more than that. This
presumes incident metering, not reflective, and letting the dark and light
colors fall appropriately in between max highlight and max shadow of pure
bright white and deepest black.
-- John
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