Bracketing technique with Quickloads/Readyloads

[John Latta]

I've read about and tried a couple different ways to bracket or make duplicate exposures of transparency film when shooting large format. What works for people here who shoot Quickloads or Readyloads? Thanks for sharing.

Cheero,

[Frank Petronio]

Same as with regular folders. Just be consistent. If I shoot three or more sheets, I do my normal first, then up and down. Sometimes I shoot just two, one sheet slightly high, the other slightly low. For most conditions I am very close, but outdoors in changing light or oddball situations, the more the better.

[Glenn Kroeger]

John:

I usually shoot 3. The first at my best metered fstop/shutter. Then I shoot another at the same EV, but often with a smaller fstop and slower shutter speed. Then I shoot one more underexposed by 1 stop (usually at the smaller fstop and faster shutter speed).

Now, I process the first. If I need to, I can push the second or process the third to get +- a stop, but if the first exposure is spot on, I process the second one normally and see which combination of fstop and shutter speed gave me the best results.

[Ellis Vener]

For commercial work, I generally shoot six sheets of film for each set up: two at normal, two at +1/2, two at -1/2 of what I've determined to be the correct exposure via metering & Polaroids and intuition. Immediately after each is shot I (or my assistant) write the date, the # in that sequence and the exposure on the large white tap on the Quickload packets.
Example: so "11/20/04 -A1- f/16.5 @1/60th". If I've bracketed filtration or lighting balance for a particular exposure than I write that info on the white area too.

When the film is taken to the lab I have one of the "normally exposed" sheets processed normally and examine that one very carefully looking for shadow detail and highlight detail. This determines how the subsequent sheets will be processed. if necessary I can pull or push one ofthe plus or minus exposures slightly to be very close to the normal exposure to give me three matching finals: One for the client, one for me and one for backup.

If I am shooting a portrait or an event then every sheet is shot the same way and If I need to lighten or darken I have the film pushed or pulled in the processing, but it is really rare that I "pull" process.

[Kirk Gittings]

For commercial architectural photography, I bracket 5 sheets, two at what I think the exposure is, one a half stop under, one a half stop over and one a full stop over marking each appropriately. I get one of the normals processed normally and determine the processing for the rest from that first sheet.

If the client wants scans, I just shoot two color negatives and don't bracket at all.

[Thomas Nutter]

I agree with the lab approach to bracketing. I usually shoot a few polaroids until I get it how I want it, then I'll shoot the film that way. At the lab, I'll have one sheet processed normally, look at it, then have the development adjusted accordingly. You'le be surprised at how good you get at reading polaroids. This also increases your number of usable frames in the long run. I don't know how this measures up in cost however; what you save in pushing and pulling fees and extra frames shot may just be eaten up by shooting extra polaroids...I don't know.

[Frank Petronio]

Gauging outdoor shots based on Polaroids, when it is freezing outside, is pretty unreliable by itself. But combined with some experience and a spot meter...

[Bernard Languillier]

Hi there,

Being both new to LF and to having to use my brain to figure out the correct exposure for an image, I am very interested in this discussion... :-)

So far, I have sometimes used Fuji instant films before taking the actual slides, but have kind of stopped doing this quickly because of the cost of those and the additional time it adds to the shooting (I shoot mostly landscape where light never stays the same very long).

Each is about 1/3 the price of film + processing. Besides, I found it difficult to get a very accurate idea about the correctness of the exposure from the Fuji instant because it seems that the exposure lattitude is more narrow still than Velvia...

In other words, the instant film image always seems to be kind of OK to my beginner's eye, and I kind of figured out that I would have to bracket over 3 images anyway to get one spot on.

Any thoughts on this?

- are some of you, landscape shooters, finding some value in using instant films on location?
- is Polaroid better than Fuji in terms of lattitude and accuracy compared to Velvia?
- what is the use of shooting instant if one barckets the slides? The only thing I could think of is the spot meter going crazy?

Thank you in advance,

Best regards,
Bernard

[Thomas Nutter]

I usually do a test with the black and white polaroid--it's cheaper and maybe more accurate for judging exposure. I've used the Fuji in 2 1/4 and it seems okay, but yes, it is expensive. The bottom line here is to come up with a system that works for you and gives you consistent results--that might take some trial and error, so maybe practice a while on less-fleeting subjects.

[Kirk Gittings]

I use the 100 speed b&w polaroid for proofing Velvia 100F for interior architecture, but usually not for exteriors usually only on interiors. I don't need them on exteriors unless my client is with me and wants to see what I am shooting.

My key to shooting transparencies? Always carry a gray card and use a ZONED spot meter. Place Grey card reading on ZoneV then check the important highlights (VII) and shadows (III) against that.

Somebody used to make a plastic GREY CARD. I took one and cut it into 4 4x5 small cards and I take one with me everywhere.

The back side of Polaroid B&W are a pretty durable and accurate middle grey. Take two them and spray mount them face to face and you get a good portable and cheap grey card.