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#1
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Indoor Lighting Exposure
Hi all,
I'm about to shoot a still life design that I have constructed.... The flat subject will be placed on a kitchen floor, in order to utilise the reflection pattern of nine 50watt spotlights, that are arranged in a square pattern on the ceiling directly above the subject, at approx 9 foot height. I will be shooting at night, so there will be no other light sources. I will be using a tripod and cable-release at a focal distance of around 4-5 foot, and shooting with Delta100 -120 format 65mm + 127mm. Assuming a 400-450 watt total output of ''regular'' kitchen spot-lighting, can anyone offer advice on adjusting to the different light conditions, compared to my exposures taken outdoors. I have spot-metered the scene, and the readings for ISO 100 at 1 second are - dark shadow @f4 and pure white highlight @f22. I know that this indoor lighting shift in the spectrum affects colour film markedly, but I'm not sure about the effects it will have on monochrome film......any tips welcome. JP |
#2
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bracket...
probably around 1/2 to one stop over exposure will be required but it really depends on the lights, tungsten or otherwise. |
#3
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As Above. Bracket, over expose by half to one stop, that way the blacks stay black and whites white, and I would also use incident light metering,not spot, for still life, with my meter set, with 100 ISO film, at 50 if this is a high key still life, or at 100 if a low key subject, and bracket a stop either way, that way you should get a negative that will give you the image you want.
Richard
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#4
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Monochrome does have a spectral response and this does affect the speed of the film under different lighting conditions.
In some extreme cases, different film speeds are quoted for different lighting conditions. However, with Delta you should be fine shooting at your normal film speed. Looking at the exposure, by placing the deep shadow (1s @ f4) in Zone III we get this :- Zone III = f4 Z IV = f5.6 Z V = f8 Z VI = f11 Z VII = f16 Z VIII = f22 So, setting the camera at Zone V (1s & f8), the deep shadow will be Zone III (very dark but still has texture) and the highlight becomes Zone VIII (very pale with almost no texture) Therefore the subject fits perfectly within the tonal range of your film without need to adjust film speed and developing time But, if its important and you can only get one go at it, you may want to bracket your exposure around the nominal - say +/- 1 stop in 1/2 stop increments Hope this helps Martin Last edited by Martin Aislabie; 4th February 2012 at 11:42 AM. |
#5
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Thanks guys,
I've just finished the task. Went ahead confidently as you removed all my 'spectral' doubts. Will process soon, and then post an example for criticism when printed. Should be about week. Here's what I settled on..... ....after spot reading again,( I don't have access to an incident meter) and using the EV stop mode, I found that the 'main' middle tones only spanned 2-2.5 stops, so, with the addition of a weak 20watt bare bulb under the rig (to somewhat counter the shadow cast by the tripod legs), I read a middlish grey and went.... RB67 - cable release - 65mm lens - no filter. ISO 80 - 1/4 sec @f/11-f/8-f/5.6. Then removed the bare bulb and used same settings with - f/4 and f/9. I will use either ID11 or Pyrocat HD to develop. I haven't decided yet. I should get the range I want from one or several of these negs during the printing stage. I will also be using these negs in my first attempts with Fotospeed LD20 Lith developer, although I only have access to MGWT FB paper, which I understand is NOT ideal for this process, and I intend also to put the 'Lithed' and 'non-Lithed' prints through Tetenal Gold Toner (that a kind-heart gave me for free) in an attempt to achieve blue hues. ....it should be fun, and the outcome is anyone's guess. Thanks again for the help. JP |
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