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  #21  
Old 7th May 2017, 09:16 PM
Mike O'Pray Mike O'Pray is offline
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Quote:
Originally Posted by cliveh View Post
Use a larger aperture.
Clive, the problem with a forum is that replies can come thick and fast at times so can I ask what your reply is in answer to?

Thanks

Mike
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  #22  
Old 7th May 2017, 09:47 PM
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cliveh cliveh is offline
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The OP asking any tips for shooting on heavy overcast days?
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  #23  
Old 7th May 2017, 10:28 PM
Mike O'Pray Mike O'Pray is offline
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Quote:
Originally Posted by cliveh View Post
The OP asking any tips for shooting on heavy overcast days?
Clive, I can see why a bigger aperture will allow a faster shutter speed and reduce depth of field which may not matter but I am not sure how a bigger aperture addresses the kind of issues that SvendN mentions in his opening post.

Is there something about a bigger aperture per se that specifically in heavy overcast conditions?

Mike
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  #24  
Old 7th May 2017, 10:45 PM
Lostlabours Lostlabours is offline
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Quote:
Originally Posted by cliveh View Post
The OP asking any tips for shooting on heavy overcast days?
Quite true but this isn't really the answer:

Quote:
Originally Posted by cliveh View Post
Use a larger aperture.
That's the answer to shooting in lower light levels ansd just as valid is use a slower shutter speed. It really depends on the conditions, it's not that often even here in the UK that it's extremely flat light that needs N+2 development. And then the problem is it's individual images not easy with 35mm or 120 film.

There is another issue, I remember Roger Taylor (now Professor Roger Taylor) asking about one of my prints (during a tutorial), why was it so dark (it still had a lot of tonality), I said it was made at dusk, that's what I saw, however it could be printed to look like a normal daylight shot.

So when shooting in say very overcast light bwhat do you want the results to be. I realised shooting in heavy fog that I'd kill the atmosphere wiith N+ development.

Because I mostly shoot LF I can process individual sheets differently, there's only a few occasions I use N+ development and a slight reduction in exposure.

Ian
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  #25  
Old 8th May 2017, 12:09 AM
Svend Svend is offline
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Quote:
Originally Posted by cliveh View Post
The OP asking any tips for shooting on heavy overcast days?
Most amusing!

Hey man, I carry a Sekonic in a hip holster, a Gossen in a shoulder holster for backup, and I ain't afraid to use 'em!

Last edited by Svend; 8th May 2017 at 12:15 AM.
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  #26  
Old 8th May 2017, 12:54 AM
Svend Svend is offline
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Quote:
Originally Posted by Lostlabours View Post

So when shooting in say very overcast light bwhat do you want the results to be. I realised shooting in heavy fog that I'd kill the atmosphere wiith N+ development.

Because I mostly shoot LF I can process individual sheets differently, there's only a few occasions I use N+ development and a slight reduction in exposure.

Ian
Ian, a couple of things to comment on here.

As my skills improve after being dormsnt for 20+ years, visualisation of what I want the final print to look like is one of those important elements I've been working on. Still a long way to go, but it's getter better.

Agreed about N+ development of s foggy scene - good choice. The soft contrast really works...suits the atmosphere in your prints perfectly.

Re. sheet film processing vs. roll films, I'm actually quite serious about looking for a camera with changeable backs. It would give me so much more flexibility - same film in two backs, label one as N+0, the other as N-1 or N+1 depending on circumstances. As mentioned, I'm a bit lukewarm about the C330 - I've been using it as my main camera for about a year and am not too keen on the ergonomics, and while the lenses have great resolution they seem to be lacking in edge contrast. Maybe I haven't found a good film-developer combo that gets the best out of them? ...I'll save a final verdict pending further useage.

Cheers,
Svend
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  #27  
Old 8th May 2017, 06:52 AM
John King John King is offline
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Default Dull weather

I took 30 exposures on FP4 at the normal 125 iso yesterday in conditions more akin to a November day in the NE of England. They were varied with both inside and outside views/shots, call them what you wish.

Processed last night in FX39, diluted 1-25 for 5.5 mins and all look printable. I scanned a strip last night and they look ok there too. Unusualy for me, I used a tripod for every frame because some of the exposures were 8 seconds long because I used a small F stop and it was, deep in an industrial workshop.

So why all the angst? - Just do it - if it fails - go and do it again, learning from your mistakes.
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  #28  
Old 8th May 2017, 12:29 PM
Svend Svend is offline
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Angst? What angst? Not sure what gave you that impression, John. Just asking for tips and insight from others, who may have more experience than I, in getting the best out of a particular lighting condition. Pretty straightforward. Why should I waste precious time, film and paper doing testing if someone already knows the answers? Isn't that what these forums are all about? Sharing knowledge? As in: I help you with something you need, then you return the favour and help me back when I have a question, or you pay it forward and help another member. It's a great formula, which usually works well if everyone gets it.

In any case, time to wrap it up here, it seems. Many thanks to all who gave such helpful advice. From your feedback I have a pretty clear idea of what's not been working for me, and what to change to fix it. Much appreciated.

Cheers,
Svend

Last edited by Svend; 8th May 2017 at 12:41 PM.
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  #29  
Old 8th May 2017, 02:21 PM
Trygve Trygve is offline
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Try YG filter ( yellow-green).

Trygve😉
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  #30  
Old 8th May 2017, 02:50 PM
Svend Svend is offline
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Thanks Trygve -- good suggestion. I believe I have YG in BayII and 49mm, so should have one on hand for most of my cameras.

I will try a couple of frames with and without to see what the effect is. Should be interesting...

Regards,
Svend
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