Joel W. Wrote:
>With 35mm it is always most important to get the highlights
>right and let the shadows fall where they will. I think it is
>true even with print film. I was taught to expose BW film for
>the shadows, but this presupposes development to control the
>highlights. One doesn't usually have this kind of control in
>C-41 development (or even with BW most of the time), so I
>basically shoot print and slide film the same way.
I would have to slightly disagree here. With modern print
films, both C-41 and modern B&W emulsions, the highlights have
gobs (technical term) of headroom. I would much rather
overexpose most print films than even risk running under. You
can always pull something out of the highlights, but there is no
way to recover what ain't there.
With B&W film, you still need to be very concerned with shadow
control and can pretty much ignore where the midtones land (as
long as they are within a couple of zones of neutral). I rarely
worry about blowing out the highlights on my Delta films.
With slide film, I'm much more concerned about the mid-tone.
You can "overprotect" the highlights to the detriment of the
whole image. That's where polorizers and gradients come in.
I've been experimenting with selective merging of bracketed
exposures. Still a ways to go in my techniques, but I knew that
eventually I'll be able to use some potentially spectacular
shots that should have gone into the bin.
AG-Schnozz
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