One Chrome Only, best exposure method

[Frank Petronio]

So, if you were going out with only one sheet of color transparency film and you had to get the exposure right the first time -- no testing -- and it was a "normal" landscape scene with no extremes -- and you had to choose between the following metering methods:

1. Using a DSLR at the same aperture, speed, and ISO to determine the exposure that produces a centered, well balanced histogram.

OR

2. Using a spot meter to place the highlights on Zone 6.5 to 8, (or place the midtones on Zone 5) depending on your film, subject and past experience.

OR

3. Holding your incident meter in the light and using it as a basis for going with what feels right based on your experience and intuition ....

Which would you do and why?

[Kirk Gittings]

Meter off the small grey card that I always have with me in the same light of the subject. Place on Zone V.

[David A. Goldfarb]

For color slide, landscape, I'd use method 2, usually putting the highlight on zone 6.5, because if the highlights are lost they're lost, and if the midtones are a little under, that's not necessarily a bad thing. If the light is flat, I might push 1 stop.

[Ralph Barker]

I typically cross-check between methods 2 and 3, then lean toward #2 to give the desired precedence to highlights or shadows. Unless you'e in rapidly changing light, it never hurts to double-check readings.

[Will Strain]

#2 - because I don't have to worry about any inconsistency between actual film speed and the ISO that my camera reads (unless I had spent some time to calibrate, and knew how close it was)

Also because of my familiarity with the spot meter in general. I understand what its doing and why I'm metering what I am.

And because I'm a control freaq.

[Donald Qualls]

I'd probably use the incident meter, since I don't own either a DSLR or a spotmeter anyway (but I'd most likely also meter the scene in reflected light by the "Edward Weston method" -- Ansel Adams described it as waving the meter around the scene, muttering to himself, and then setting the exposure).

[Peter Galea]

So, I would meter for the highlight. Somewhere between the sky and midtone. Prolly read back and forth between. Then average and guess.
BUT....I would seriously question going out with ONLY one sheet of transperency film......I mean , like why not shoot both sides of the holder?

[Ed K.]

Hi Frank,

1,2 & 3 all have their place in a way. People do shoot Polaroids, so when belows factor is not an issue, a DSLR provides a nice "reasonableness" check as well as a reference shot to compare how developing went later on. This assumes you have a DSLR with you. I use #1 from time to time - it is a nice way to double check.

I don't know about zone system with color slides, however depending upon the important part of ths subject, most spot meters automatically place a highlight or shadow, or average readings as you like, depending upon what buttons you use. As it is usually not desireable for blown highlights in a slide, in an area that you think should show detail, then meter for the highlight and add a couple of stops ( meters do this for you.. the H button on a Spotmeter F ). If the shadow is more important, go for that, or compromise by averaging the parts of the scene you need detail in. So if #2 means "use a spotmeter", that is often the most deliberate way to get results that match your interpretation of the scene, provided you've practiced with it and know what to meter. You can try metering for your DSLR with your hand-held spot and work out a routine that is quite reliable with out buring up a bunch of film. Then take your technique to the film and tweak from there. A gray card is always handy, even with a spot meter to take what is nearly an incident reading.

Incident meters work great for landscape, as subject color doesn't affect them. The trouble is, if you're up in the mountains, and some more distant part of the scene is important - and - it's a nice clear mountain afternoon - what seems like the same light falling on you may in fact not be the same. Mountain light can be tricky that way - the air is so clear sometimes and snow reflects too. Generally, an incident meter is reliable and easy to use.

The good part is that there are combined spot and incident meters. While I don't use the Zone system with color slides, I get good results with spot when its tricky, incident when in a hurry or when I'm pretty sure what's falling on the meter is what falls on the subject.

While sort of "unpure", it doesn't hurt to take a DSLR shot if you've got one layin' around. The DSLR also does a nice job of recording the exposure data if you shoot it manually and the same as the film ( doesn't work for closeups or filters very well, especially polarizing filters! ). The bad part about DSLR is that it is a brain drainer, it tends to help one forget something in the LF part. Histograms alone can be deceiving too, but of course you can "chimp" with the little LCD a bit if yours is accurate. The digital shot can be a nice reference to check against uneven film development too - a cheap reference for when you get your film back from the lab or pull it from your processor.

Often, even the "perfect" exposure can look good with more or less development, or exposure too. If you shoot the same shot, one on each side of the holder, you can tell the lab to run one so that you can judge it and then run the other. This helps because you might want a tad more contrast with a slight push, or perhaps less contrast and a bit darker with a little pull. Even a 1/3rd makes a difference. Also, I find that the second shot helps in case the lab munches it, or also in case a little wind movement, etc. comes in. Film is cheap compared to getting out to that great scene.

If I had to pack down to a "less is more" setup, I'd take another film holder instead of the DSLR. I don't know if I could choose between only a spot or only an incident meter, however 60/40, I'd take the spot meter if I could only have one, and then keep a small gray card in my pocket ( I do ).

It all depends on your subject, and your willingness to carry a lot of equipment. Whatever lets you bring back the great scene is a great way to do it.

[ronald moravec]

Incident meter is first choice

Number two is a reflection reading off the palm of my hand and give one stop more.

3 is an overall reflecton.

4 is spot meter of known middle grey objects like the bottom of cumulus clouds, spring grass. Or spot a tree trunk and put it one stop less than grey.

Importanly you need to know all the shutter speeds are correct.

[phil sweeney]

Hi Frank,

For me normal is zone 4 through 7 for transparencies. On the rare occasion I shoot a transparency its a one shot deal, after I am done with the B/W film. Place the important highlight on Zone 7. Its never let me down. If there is a lot of detail on zone 3 it ain't normal and we pack it up!