Exposure for Colour?

[Frank Petronio]

Back when professional fashion or people photographers had to shoot chromes, it was common practice to use a meter, experience, and Polaroid tests to arrive at a likely "good" exposure. Then you would shoot the actual "shot" at that exposure, or sometimes 1/3 stop less. You would hold the final "good" film back and run a test at the local E-6 lab - called a "clip test" (because they would often clip the end of a 35mm or 120 roll - you would tell them to clip frame one or the end of the roll - but individual sheets work the same way). After seeing the results of "normal" processing, another test could be run with the film pushed or pulled at 1/10 stop intervals - or if you were happy with the results, you could tell them to run the bulk of the film as normal.

E-6 film is often advertised as being "pushable" and many photographers think that pushing E-6 half a stop looks better in general. Pulling doesn't work as well, which is why you err towards underexposure when shooting. Also, especially back in the day when everything was scanned on big drum scanners, you could give printers really dense, underexposed chromes and they would reporoduce better than chromes with delicate, nearly blown highlights. Now that we scan with Imacons and Epsons, you need a better overall exposure IMHO.

Readyloads are very easy to work with - using holders or 120 film, I used to generate dozens of boxes of different clip tests - very confusing in the midst of a big shoot.

For general shooting or if you have to use a remote lab via long distance, this is a PITA. Every RIT student learns to <bracket> and I bet even dummies like Brooks-educated Meunch has figured out how to shoot one high and one low ;-)

[Ralph Barker]

I agree with what I think Eugene is saying - the difference between "good" and "great" being subject matter and lighting - because "good" results infers that one is already coming very close to the "proper" exposure. "Great" shots are probably 80% being in the right place at the right time, and 20% technique. But, I also agree that bracketing is a great way of being able to choose the optimal exposure for individual shots - if one has a system for taking advantage of that. That system can be as simple as working with "normal" E-6 development of all the reversal film, or more complex, doing some variation of the "clip tests" Frank described.

With color negative film, it helps to work out a procedure with your lab. Usually, the lab will try to "fix" variations between negatives, producing what they think is an optimal print for each. Advance discussion, however, can solve that problem. When doing tests to establish your personal EI for a color negative film, for example, ask the lab to print it straight, using their calibration filtration and exposure settings. That way, the external variable of them "fixing" the images is eliminated, and you can establish a base from which to work.

[pdwcolumbus]

My understanding from years ago is for transparencys is expose for highlights and develope for shadows, reverse of black and white zone system. however. shoot all around the exposure and one will be nice. My experience is if you run enough tests, keep your developer and tank in a water bath at the same temp every time. Agitate the same way every time, keep everything as standard as possible, and pray before each picture. Your image should be around the same, each time every time. pdwcolumbus

[pdwcolumbus]

Opps, I was thinking small format processing, but concepsts are the same just different way to develope transparencies. I loved to shoot my old 4x5 slides. Why people refuse to call them that anymore. So tec we get.

[Gem Singer]

Thanks for the translation Ralph. I knew you would understand what I was trying to say (in my bungling way). Like Don, I, too, am mainly a B&W large format photographer. Color work, nowadays, is done by my wife, using her Fuji Fine Pix digital camera. Our 35mm. equipment is sitting in the closet, and has remained there for almost two years. We used to shoot color negative film with the 35mm. cameras. Twenty-five years ago, I was shooting mostly color transparency film in medium format. So, you see, I was reaching back a bit.

[adrian tyler]

i agree with ralph and eugene, good colour work depends a lot on lighting (the subject part is more subjective). in high contrast summer light, colour negs work best for me, in more subtle lighting situations with less contrast, negs aften produce dissapointing results but chromes can work well. in flat dull conditions i switch to b/w.

adriantyler.net

[Richard M. Coda]

I, too, was strictly BW until a year or two ago. I used to be know as the 8x10 BW contact print guy in my circle... now I'm known as the color guy. Anyway...

I was taught by Rod Klukas... get a MacBeth Color Checker. The procedure that follows must be done in both sunlight and full shade (to cover both extremes).

Meter the gray patch and write down (on a xerox copy of the chart) the EV you get. Write down a "0" (zero) next to it. Then meter each color patch and write down the EV. Netx to each EV write down the difference between it and the gray patch. In my case, yellow comes up as "+1" - this means if yellow is the main color in my scene I meter for it and then add one stop. Done! It has worked flawlessly for me since.

[Sideshow Bob]

My understanding from years ago is for transparencys is expose for highlights and develope for shadows, reverse of black and white zone system. however. shoot all around the exposure and one will be nice. My experience is if you run enough tests, keep your developer and tank in a water bath at the same temp every time. Agitate the same way every time, keep everything as standard as possible, and pray before each picture. Your image should be around the same, each time every time. pdwcolumbus

Pdwcolumbus,

You are almost right, for B&W you expose for the shadows and develop for the highlights. For transparency's, you expose for the highlights and pray for the shadows! :-)

Gale

[ki6mf]

Get an reflected light meter. Chromes can be under exposed slightly to enrich colors. I used to shoot Fujichrome rated for ISO 100 at ISO 125. Negatives can't be over or under exposed. Use the recommended ISO. Some shoot with a warming filter 81a etc

[Robert Hughes]

Expose for the plaids - develop for the stipes!