BW exposure

[more photography]

I normally shoot Velvia, as you know it has @ 4 stops of latitude, I would like to try taking some B&W 4*5 film, dowes any body have a guide or some useful information how to meter and expose. At this stage I don't intend of developing and printing myself, giving uit a try.

I have read that you expose for the shadows, but how much compensation do you need to make and when.

[Ron Marshall]

If you want to understand then the link below will be a start.

http://www.luminous-landscape.com/tu...e_system.shtml

Otherwise, spot-meter an area in shadow that you want to show detail in a print and give two stops less exposure than the meter reading. This will get you close; you can fine tune your technique with more experience. If you want to place the highlights, you must alter the film development to suit the luminance range of the scene. But before doing that you have to test your film to find your personal EI, and personal N development time. Not difficult, but definately more involved.

If you are not dealing with very flat or contrastly lighting, and you don't wish to modify the tonal range of the scene, then you can get away with simply metering the shadows; at least until you get a feel for the process.

Good luck!

[more photography]

Thanks Ron

Will try what you have suggested by spot metering the shadows and adjusting by 2 stops and let the highlight fall where ever. Is that for dark shadows near back with texture?

[coops]

This may be helpful. Sure did help me.

http://www.viewcamerastore.com/produ...products_id=82

[JoeV]

...At this stage I don't intend of developing and printing myself, giving uit a try...

So then we can assume you'll be employing a lab to process you B/W film?

And how do you intend on having prints made, by a custom lab? And what type of prints, silver gelatin, or inkjet from negative scans? Alternative process? These are important questions to ask up front because they dictate how the negatives should be exposed and developed.

Being as how the development process, along with the exposure, is so crucial to the resulting local and macro contrast and granularity, perhaps you can find some C-41 B/W film in 4x5 with which to experiment with. I don't know of many labs that do a good job on silver gelatin film negatives; most will use the "default" manufacturer's recommended dilutions and process times, and end up over-processing the film. You have to work with a silver gelatin lab to get your working exposure index dialed with their processing methods, otherwise the negatives won't be printable.

Speaking of printing, that's a whole 'nother ball of wax.

But you need to consider the whole process, from front end to back end, in order to determine your course of action. B/W silver gelatin is not a commercially processed medium much any more; rather, a specialists medium, which is why most people are doing it themselves, to get the quality they want.

~Joe

[Chris Strobel]

Ansel Adams book 'The Negative' might be worth a read.That book was my bible when I started B&W and I still reference it today on occasion.You really should think of at least developing your own negs.You expose for the shadows and adjust your development time for the highs.

[Ron Marshall]

Thanks Ron

Will try what you have suggested by spot metering the shadows and adjusting by 2 stops and let the highlight fall where ever. Is that for dark shadows near back with texture?

Near black with texture.

Keep notes of your exposure, so you can make corrections and get a feel for it and improve your technique. Try to be as consistent as possible, to reduce the number of variables.

It is best to develop the negs yourself if possible, and it is not difficult.

Stick with one film and developer until you are comfortable.

[Bill_1856]

Don't make a big deal out of it, (unless that's what you like to do). Just meter for your B&W like you do for your Velvia and you can't miss.

[Andrew O'Neill]

Don't make a big deal out of it, (unless that's what you like to do). Just meter for your B&W like you do for your Velvia and you can't miss.

That's really not helpful advice to give especially if he goes and places his high lights a couple of stops above what the metre reads and your shadows are more that 5 stops below this. Your shadows will be empty black voids. You cannot treat B/W film as you would with Velvia. You should be rating your film about 2/3rds to 1 stop lower than the manufacturer's ISO. For example, I shoot HP5+ at EI 250 for N development and when it will be printed on B/W paper. EI 12 for Efke 25. 64 for FP4+, 1.5 for Efke IR.

Get into the habit of basing your exposure on important shadow areas where you want to retain detail. See where you high lights fall where you want to retain detail. If you place your shadows a couple of stops below your metre reading (zone III) and your high lights fall on zone VIII (5 stop difference from your shadows), you can probably develop normally. If your high lights are 6 stops higher up from the shadows, give about 25% less development time (and it doesn't hurt to give about 1/3 stop more exposure). If the high lights are even higher, give even less development ( and slightly more exposure). If high lights are 4 stops from your shadows, give about 25% more development, and so on. Of course, this is only my opinion. You really should do your own testing to see what works for you.
There is a lot of good books out there. The Negative, by AA is a great book to read as previously mentioned.

Keep notes of your exposure, so you can make corrections and get a feel for it and improve your technique. Try to be as consistent as possible, to reduce the number of variables.

It is best to develop the negs yourself if possible, and it is not difficult.

Stick with one film and developer until you are comfortable.

This is very good advice.

[Bill_1856]

"Don't make a big deal out of it, (unless that's what you like to do). Just meter for your B&W like you do for your Velvia and you can't miss.

"This is very good advice."

Thanks, Andrew.