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Thread: What did you compose at Waters Edge?

  1. #6061
    austin granger's Avatar
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    Nov 2003
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    Portland, Oregon
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    2,852

    Re: What did you compose at Waters Edge?

    Thank you for the kind words. As far as your question, for large format stuff, I use an old Pentax spot meter, and employ a sort of sloppy Zone System. Generally, that means I'll meter the shadow area, or the darkest area where I want to retain some detail (here it was the landform at left, where it meets the water), and then I'll place that on Zone three, so basically dark but retaining some detail, and then I'll let the rest fall where it may. Alternatively, for a scene with bright highlights, say sunlit snow, I might meter the brightest area and place that on zone eight (so I'd add three stops to the meter's recommendation which wants everything to be zone five middle gray) and then let the rest fall wherever it does. Does that make sense? As I said, this a very sloppy way to use the zone system, but I'm simple-minded when it comes to technical stuff, and need all my mental facilities to try and recognize pictures in the first place.

    I can't speak specifically to the L358, but I often use a medium format camera with center-weighted metering (a Fuji GF670), and in this case, I would take its general recommendation and then have given an extra stop or so, figuring that the brightish sky might have fooled it to underexpose, and also to retain the general feeling of lightness that I wanted.

    I realize that this all sounds somewhat vague, but I'm afraid it's the best I can offer. Honestly, when I'm out photographing, I'm not super precise, technically speaking; it's more like I have a feeling that something needs more or less exposure. In general, I tend toward fuller exposures, as I can reign those in somewhat, whereas if I under-expose, it's a bigger problem.

    If you don't have it already, I would highly recommend the Ansel Adams book "The Negative" which covers metering way better than I ever could. It was very helpful to me when I was starting out.

    Best, Austin

  2. #6062

    Join Date
    Dec 2012
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    80

    Re: What did you compose at Waters Edge?

    Thank you for that. I'll check out that book.

  3. #6063
    Mike in NY's Avatar
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    Sep 2012
    Location
    Hudson Valley, NY
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    183

    Re: What did you compose at Water’s Edge?

    Boats cast upon the shore of New York's Croton Reservoir.
    Ilford FP4+ using a Zone VI 4x5 View Camera



    Boats on Shore
    by Michael Stewart, on Flickr
    Last edited by Mike in NY; 19-Jan-2020 at 19:52.
    I dream in black and white.

  4. #6064

    Join Date
    Feb 2010
    Location
    Marietta, GA
    Posts
    323

    Re: What did you compose at Waters Edge?

    Quote Originally Posted by austin granger View Post
    Thank you for the kind words. As far as your question, for large format stuff, I use an old Pentax spot meter, and employ a sort of sloppy Zone System. Generally, that means I'll meter the shadow area, or the darkest area where I want to retain some detail (here it was the landform at left, where it meets the water), and then I'll place that on Zone three, so basically dark but retaining some detail, and then I'll let the rest fall where it may. Alternatively, for a scene with bright highlights, say sunlit snow, I might meter the brightest area and place that on zone eight (so I'd add three stops to the meter's recommendation which wants everything to be zone five middle gray) and then let the rest fall wherever it does. Does that make sense? As I said, this a very sloppy way to use the zone system, but I'm simple-minded when it comes to technical stuff, and need all my mental facilities to try and recognize pictures in the first place.

    I can't speak specifically to the L358, but I often use a medium format camera with center-weighted metering (a Fuji GF670), and in this case, I would take its general recommendation and then have given an extra stop or so, figuring that the brightish sky might have fooled it to underexpose, and also to retain the general feeling of lightness that I wanted.

    I realize that this all sounds somewhat vague, but I'm afraid it's the best I can offer. Honestly, when I'm out photographing, I'm not super precise, technically speaking; it's more like I have a feeling that something needs more or less exposure. In general, I tend toward fuller exposures, as I can reign those in somewhat, whereas if I under-expose, it's a bigger problem.

    If you don't have it already, I would highly recommend the Ansel Adams book "The Negative" which covers metering way better than I ever could. It was very helpful to me when I was starting out.

    Best, Austin
    This generally how I meter (with a Zone VI modified Pentax Digital Spot), but I tend to focus more on the finding the brightest spot rather than the shadow areas as most of my exposures are done with transparency film. When I start to shoot more B&W film I may need to adopt the shadow approach more. I have the L358, the Pentax spot, and I now use an app on my phone lately and sometimes I bring a small digital camera to check, and it seems they all give me slightly different to quite different meter readings, so now I find myself second guessing a lot (this is with my newly acquired Hasselblad 500 C/M). I have not processed any film yet, but shorty I'll send off the transparencies to see the results of my phone metering.

  5. #6065

    Join Date
    Nov 2019
    Location
    New Jersey
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    139

    Re: What did you compose at Waters Edge?

    Quote Originally Posted by gnuyork View Post
    This generally how I meter (with a Zone VI modified Pentax Digital Spot), but I tend to focus more on the finding the brightest spot rather than the shadow areas as most of my exposures are done with transparency film. When I start to shoot more B&W film I may need to adopt the shadow approach more. I have the L358, the Pentax spot, and I now use an app on my phone lately and sometimes I bring a small digital camera to check, and it seems they all give me slightly different to quite different meter readings, so now I find myself second guessing a lot (this is with my newly acquired Hasselblad 500 C/M). I have not processed any film yet, but shorty I'll send off the transparencies to see the results of my phone metering.
    I've forgotten my spot meter at times and use a phone app to meter. Everything turns out okay.

  6. #6066

    Join Date
    Jan 2011
    Location
    Staten Island, NY
    Posts
    77

    Re: What did you compose at Waters Edge?



    Abandoned oil storage facility, Staten Island
    Chamonix 045N-2, Fuji 75 SWD, expired Acros 100
    Using a 10 stop ND, 2 minutes at f/22

  7. #6067

    Join Date
    Jan 2011
    Location
    Staten Island, NY
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    77

    Re: What did you compose at Waters Edge?



    Not quite the edge as I was actually standing in the water. I'd like to thank my LL Bean boots for making this shot possible.

  8. #6068

    Join Date
    Dec 2018
    Posts
    198

    Re: What did you compose at Waters Edge?

    Quote Originally Posted by mitch.goddard View Post


    Abandoned oil storage facility, Staten Island
    Chamonix 045N-2, Fuji 75 SWD, expired Acros 100
    Using a 10 stop ND, 2 minutes at f/22
    I really like this! Great composition, a lot going on!

  9. #6069

    Join Date
    Nov 2019
    Location
    New Jersey
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    139

    Re: What did you compose at Waters Edge?

    Quote Originally Posted by mitch.goddard View Post


    Not quite the edge as I was actually standing in the water. I'd like to thank my LL Bean boots for making this shot possible.
    I just bought some Wellies from orvis that come to the top of my calf in hopes that I can use them for this exact purpose.

  10. #6070

    Re: What did you compose at Waters Edge?

    Quote Originally Posted by mitch.goddard View Post


    Not quite the edge as I was actually standing in the water. I'd like to thank my LL Bean boots for making this shot possible.
    A traffic light on a waterway? I love the cognitive disconnect in this image.
    --- Steve from Missouri ---

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