How to meter this scenery

[Drew Wiley]

Either meter for Ektar CORRECTLY like you would for chrome film or forget it. Or else don't complain later. It has nowhere near the latitude as Portra. DO worry about it. But it's those steeper dye-response curves like in Ektar and chrome films which yield better hue differentiation and cleaner saturation. Polarizerrs introduce their own set of problems, including an annoying greenish cast in the cheaper ones.

[Gabe]

For such a scene on transparency film I would consider balancing the exposure with a 2-stop hard grad ND filter, with the clear transition following the shoreline in the upper right. I think you will struggle capturing the dynamic range otherwise. A polariser can be used in addition, if required.

With Portra it should be easily doable with just the polariser.

[Willie]

Use "Sunny 16" rule and compensate for the Polarizing filter.

[jnantz]

Use "Sunny 16" rule and compensate for the Polarizing filter.

+1

[PatrickMarq]

I must say, the scene was perfectly metered, but the camera moved a but down after focussing. I had not enough room to move around so perhaps pushed the legs ?
I have used the grey card, and then did some calculations for the filters.
Still sharp but not what I wanted, so now I need to wait until next year.

[Kerosene Hat]

You’ve got 2.3 stops or so before you blow the highlights on a transparency. Meter the highlights with a spot meter, expose +2.3 stops and bracket from there. If with negative film. Meter the grass and even add a stop extra to fill in the shadows.

Just for grins, when I see those interesting reflections of clouds, I’d even bracket 2/3 stop under my lowest bracket, to drop the other ambient light and call attention to those reflections, if shooting slides (or negative, too, really).

Please share the finished product in this thread!

[Alan Klein]

You’ve got 2.3 stops or so before you blow the highlights on a transparency. Meter the highlights with a spot meter, expose +2.3 stops and bracket from there. If with negative film. Meter the grass and even add a stop extra to fill in the shadows.

Just for grins, when I see those interesting reflections of clouds, I’d even bracket 2/3 stop under my lowest bracket, to drop the other ambient light and call attention to those reflections, if shooting slides (or negative, too, really).

Please share the finished product in this thread!

What if the ground is in shade?

[Kerosene Hat]

What if the ground is in shade?

Then the ground is in shade…not sure I understand. I just see in the scene a chance for some interpretation and often, chromes look good when underexposed slightly. It all depends on the highlight density. Not a lot of latitude to play with and you have to make your compromises…one poster said an ND grad, which could also help.

[PatrickMarq]

You’ve got 2.3 stops or so before you blow the highlights on a transparency. Meter the highlights with a spot meter, expose +2.3 stops and bracket from there. If with negative film. Meter the grass and even add a stop extra to fill in the shadows.

Just for grins, when I see those interesting reflections of clouds, I’d even bracket 2/3 stop under my lowest bracket, to drop the other ambient light and call attention to those reflections, if shooting slides (or negative, too, really).

Please share the finished product in this thread!

6x17
So, the whole idea was that the dark part was more in the middle of the composition.

[Alan Klein]

Then the ground is in shade…not sure I understand. I just see in the scene a chance for some interpretation and often, chromes look good when underexposed slightly. It all depends on the highlight density. Not a lot of latitude to play with and you have to make your compromises…one poster said an ND grad, which could also help.

Well, that was my point. What if the ground is sunny, then exposing like you do would work. But if it's in the shade, then it will come out black and you might need a grad ND filter. It's good to check the ground with a meter and see if there are too many stops from the sky.