Hi John,
----- Original Message -----
From: "John Pendley" <jpendley@xxxxxxx> these unsnipped bits:
> Whatever works.
Can't argue with that!
>Again, I should have said that Pearce (and I) were talking
> about B&W which has a longer contrast range that color--especially--slide
> film. I said that this is only one method I use. Sometimes, in fairly
> ordinary lighting circumstances, I just use a gray card and rely on my
film
> speed and developing tests to give me a good negative.
> >
Funny, I don't really worry too much about Zone system considerations with
either BW or color negative film, even though with especially BW that's what
it was conceived for. Fred Picker's advice for BW always seemed helpful to
me: get your shadows right on exposure (probably developing for N or N-1)
and then concentrate on getting the whites right in printing, using contrast
grades to get the correct level of blacks. Seems to work OK, but I'm not
doing wet darkroom work anymore.
> BTW, wouldn't it work if you limited your "Zones" to five
> and then made decisions about what, if anything, had to be saved in the
> image?
> JP
Yes, I think so, but it means correctly identifying two zones and the
correct relationship of stops between them as well. But yes, I think if you
confined yourself to 5 known zones with chrome film, averaging would work
fine most of the time. For me it is simply more direct to identify the
known values, place them with one spot reading, and then shoot. Most of the
time these known values are things like grass or green folliage or north
blue sky (Zone V -- shoot at the reading), Caucasian skin, i.e., my palm or
normal, lighter blue sky (Zone VI -- open 1 stop), or snow/sand/clouds with
some detail (Zone VII -- open 2 stops). I have apparent success with this
way of shooting, and the OM-2S is as facile for this as any camera could be,
which may be why I like it so well.
Joel Wilcox
Iowa City, Iowa USA
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