Weeks often months can go by before I shoot a shot. If it's not what I want or think it's anything special, I won't bother. So when I finally feel it's worth taking the camera out and setting it up and actually shooting, the extra shots to make sure I got the exposure right are worth the cost. Especially because I shoot chromes mainly with their more limited range over negative color and BW.Originally Posted by Drew Wiley
Flickr Home Page: https://www.flickr.com/photos/alanklein2000/albums
You got it. And many (probably most) people at the top of the field do the same.
Bracketing exposures on film remains an extension of not fully understanding the limitations_abilities of ALL the photographic materials and process involved with print making and the image maker's print goals. This included having and knowing how what tools are required and using them to the best of their abilities and capabilities.
To gain understanding and behavior of photographic materials demands testing ... as was the beginning of this LFF "discussion".
In the specific case of color transparency film, this previous post examples how this was done decades ago as a common daily event.
https://www.largeformatphotography.i...perfect-quot-)
Once actual film speed to produce a given density and overall color balance of the color transparency film has been measured and determined, these metrics become the basis for how that specific lot/batch of film will be exposed coupled to the limits of the dynamic range of color transparency film. Much identical applies to B&W films like Kodak TMax... Don't believe for a moment B&W film is more forgiving than color.. to achieve GOOD print results demands the same degree of attention to testing as color transparency film. Doing less results in wasting photographic materials, YOUR time (not replaceable once spent), YOUR resources and much more..
The working "pro" foto industry back then developed specific tools to stop the practice of bracketing film exposures by applying science and technology to remove the need for bracketing exposures which is in many ways guessing to deal with uncertainty.
Clip from Sinar Info# 31 on Contrast Control..
It is much about fully understanding the dynamic range and Latitude of a specific photographic material. It is why and how the Sinar ground glass metering system came about.. This is also why properly using a GOOD accurate/precise spot meter can work wonders to eliminate bracketing exposures.. to about zero.
Back in them days of color transparency film centric images for color printing and other means of printed materials, Fotographers that bracketed their film exposures lots were considered incompetent and "lesser" in many ways as long experienced working "pro" photographers considered exposure bracketing a serious wast of film and much more.. This discipline of making each and every frame or sheet of film exposed count seems lost today.. due to the non-cost of digital image making.. but appears to have been some what re-discovered by folks new to film image making.
Take the time to read the complete Sinar Info# 31 on Contrast Control as it directly applies to this specific discussion and speaks directly to the belief bracketing exposures is needed.. the .jpg versions to follow..
https://www.pacificrimcamera.com/rl/01388/01388.pdf
Discussion by Olympus Lifescience on film exposure.. info applies here.
https://www.olympus-lifescience.com/.../filmexposure/
As for, "Weeks often months can go by before I shoot a shot.".. Non-option for photographers that make images to put food on their table, roof over their head and meeting the demands of daily life and living... This is one of the differences between some of the very best artistic commercial photographers back in the day -vs- hobbyist or artist wanna be..
Bernice
Last edited by Bernice Loui; 11-Aug-2022 at 12:45.
Sinar info# 31, Contrast Control..
Attachment 229926
Attachment 229927
Attachment 229928
Attachment 229929
Bernice
Sinar info# 31, Contrast Control..con't.
Attachment 229930
Attachment 229931
Attachment 229932
Attachment 229933
Bernice
For the professional world bracketing was how it was done - there isn't a single professional photographer that I met in my 40+ year career that didn't bracket or proof his/her film - most everyone "overshot" by a wide margin depending on the project and type of photography being done. There are a myriad of reasons, economic and aesthetic that this is done especially if you are working on location where the lighting conditions are variable or you are mixing strobe with ambient - there it is necessary to cross bracket (bracketing both the overall exposure and the ratio of strobe to ambient). When I was doing assignment work for Architectural Digest (4x5) I would average 16/20 frames per shot (bracketed -1 to +1 in 1/2 stops, 2 sheets each) and 10/16 sheets of polaroid (type 54) - we would do 12 -15 shots over 2 days - 250+/- sheets per job plus the same in polaroid. And I brought both daylight and tungsten film just to be sure, and a full 2 1/4 kit with film/polaroid as well.Bracketing exposures on film remains an extension of not fully understanding the limitations_abilities of ALL the photographic materials and process involved with print making and the image maker's print goals. This included having and knowing how what tools are required and using them to the best of their abilities and capabilities.
To gain understanding and behavior of photographic materials demands testing ... as was the beginning of this LFF "discussion".
In the specific case of color transparency film, this previous post examples how this was done decades ago as a common daily event.
https://www.largeformatphotography.i...perfect-quot-)
Once actual film speed to produce a given density and overall color balance of the color transparency film has been measured and determined, these metrics become the basis for how that specific lot/batch of film will be exposed coupled to the limits of the dynamic range of color transparency film. Much identical applies to B&W films like Kodak TMX... Don't believe for a moment B&W film is more forgiving than color.. to achieve GOOD print results demands the same degree of attention to testing as color transparency film. Doing less results in wasting photographic materials, YOUR time (not replaceable once spent), YOUR resources and much more..
The working "pro" foto industry back then developed specific tools to stop the practice of bracketing film exposures by applying science and technology to remove the need for bracketing exposures which is in many ways guessing to deal with uncertainty.
Clip from Sinar Info# 31 on Contrast Control..
It is much about fully understanding the dynamic range and Latitude of a specific photographic material. It is why and how the Sinar ground glass metering system came about.. This is also why properly using a GOOD accurate/precise spot meter can work wonders to eliminate bracketing exposures.. to about zero.
Back in them days of color transparency film centric images for color printing and other means of printed materials, Fotographers that bracketed their film exposures lots were considered incompetent and less in many ways as long experienced working "pro" photographers considered exposure bracketing a serious wast of film and much more.. This discipline of making each and every frame or sheet of film exposed count seems lost today.. due to the non-cost of digital image making.. but appears to have been some what re-discovered by folks new to film image making.
Take the time to read the complete Sinar Info# 31 on Contrast Control as it directly applies to this specific discussion and speaks directly to the belief bracketing exposures is needed.. the .jpg versions to follow..
https://www.pacificrimcamera.com/rl/01388/01388.pdf
Discussion by Olympus Lifescience on film exposure.. info applies here.
https://www.olympus-lifescience.com/.../filmexposure/
As for, "Weeks often months can go by before I shoot a shot.".. Non-option for photographers that make images to put food on their table, roof over their head and meeting the demands of daily life and living... This is one of the differences between some of the very best artistic commercial photographers back in the day -vs- hobbyist or artist wanna be..
Bernice
hard to believe bracketing and a film test is somehow considered "unprofessional" and really kind of funny.
Agree
Tin Can
No images
Tin Can
I guess we all can't be the GOAT...
Last edited by jnantz; 12-Aug-2022 at 04:18.
Posting Permissions
Reply With Quote
Bookmarks