I certainly agree that incident metering is the best way to put the
tonal range in the same place on film as in the original scene. When
using film with limited exposure latitude, this may put some desired
detail outside the film's range and defeat the purpose of the shot. In
Skip's example the incident reading would lose important shadow detail.
In shooting flowers, the exquisite subtle detail in the areas where
sunlight shines through petals can be lost as highlight detail for the
same reasons. Since I shoot almost exclusively negative film, I seldom
run into such a problem, but do keep it in mind when shooting. Whenever
highlight detail is blown out in 4x6s or the develop&scans, I find it is
there on the film. Particularly true with 160NC. As John L. said, it
sure has latitude.
Remember that the OM-4 series has Highlight and Shadow spot metering
functions to assist with the dark against darker and white dove against
white building problems. They keep tones in at least something near the
rignt places in these suituations that the Average and regular Spot
Modes don't handle well.
Moose
Skip Williams wrote:
If you have a VERY dark subject, it might be beyond the ability of the film to accurately record the dark tones, but it should place them at the right point on the tonal scale.
You might have to open up to force the tones up where you can see the detail,
but that action should make the tones appear lighter than they really are.
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