That's not strictly true Steve, I have no axe to grind in this discussion, but different light meter brands have different acceptance angles, measuring methods, and parameters .
So, for all of you who distrust your old meters, please feel free to send them to me. I will give them a happy home in retirement.
And then add onto that user variations. Are you aiming the meter correctly? If reflective, did you aim at an 18 percent gray? Did you account for dynamic changes in light? The list goes beyond the meter. Is your shutter accurate? Is your aperture dial correctly marked? Are you reading it correctly? And we won’t even talk here of post-exposure variations in how you process and print your negatives.
In the end, it really doesn’t matter whether the meter is calibrated to a standard, assuming there is one. What matters is whether you, the photographer, can devise a repeatable workflow, with reproducible results. I have no idea how far my L-28 deviates from factory standards. I DO know that if I set my L-28 for a stop slower than box speed and then rely on its readings, I will nearly always get a negative with great shadow detail, and good highlights too.
And in the end, that’s all that matters to me. I have created a system, with all of its accumulated errors, that together produces a printable negative. When I pick up a new L-28, as I did last week for $15, I calibrate it to my old L-28, and it is good to go. So, for all of you who distrust your old meters, please feel free to send them to me. I will give them a happy home in retirement.
In the analogue world, true freedom comes from recognizing that our art is the cumulative product of a succession of approximations. There's a wonderful Sally Mann video online where she's struggling with a beast of a LF camera, squints up at the sun, and says, "Yeah, I'd say 30 seconds is about right." At some point, you trust your overall knowledge of your equipment and materials, and build in enough of a fudge factor to compensate if you are off one way or another. In my case, I shoot half box speed, in part to make sure my shadows don't go black, but also in recognition that if I am wrong in my metering, I have some built-in cushion to play with.
YMMV.
But am I the only one who finds the Luna-Lux a huge come-down from the classic Luna-Pro in terms of design and construction? I expected better from Gossen.
The Weston's selenium is dead, so no-go there.
Not so fast: A lot of the Weston meters have issues with the contacts inside of the meter. I recall that squeezing a Weston Master V in the center can revive it. (I did that once.) Others have taken them apart, cleaned the contacts, and put them back together -- not a simple thing, as there are delicate parts inside. Before you consign the meter to the shelf, you might find with some fiddling that it can still have a place in your bag.
Speaking from experience now…. Yes. I have a couple Weston II which came to life when I made better contact.
But dreadful poor luck lately on eBay. One by one I have been finding weak cells that mean I can’t calibrate. Once in a while there’s a cell that reads “25 at 32” which is to say… there are Weston II that can come close. But I only have one or two that will calibrate.
The cells that show a “W” logo are the best. You can see it behind the bubble lens.
The Weston V are shamefully poor. Almost every one is a dud.
It’s the main thing they have going against the Sekonic
I will use my Studio Deluxe until it falls apart. Best meter ever.
Really? Descripe why please.
Low light metering was always wonky with this type of meter.
Never found one that worked continuously and opening it is daunting with the weird bolts on the back.
To me Weston’s in the short time I tried them, is all about superb daylight incident metering.
The invertidome is big and inverted. It’s the main thing they have going against the Sekonic.
Very nice. I bought one of those at my local shop and was very excited about its small size and nice build. Luna Pro is way too big for me. However, the Pilot's readings were off. I took it apart and there was some corrosion on half of the cell. I searched to no avail for a new cell. Good thing is the shop took it back. Some day I'd like to get another that works correctly.
small light meters are still available new from Gossen for reasonable money
Really? Descripe why please.
Low light metering was always wonky with this type of meter.
If the light is that low, I am not shooting film. Or if I am, then reciprocity failure is going to make me build in a big fudge factor. I prefer incident metering. I like analogue. I don’t like batteries. The Sekonic Studio Deluxes are well-designed and well-built. They sit well in the palm. For my photography, they are dead accurate. I never hesitate to trust mine. FWIW, I prefer the older models, the L28s. They aged well.
@Helge: I was curious to hear your further thoughts. When you say, “this type of meter,” were you referring to the Sekonic Studio Deluxe meters? Or to Se meters generally?
FWIW, I have never seen any inaccurate readings from my old Sekonic meters. I shot a roll at twilight in the woods last night, and the exposure was spot on. How has your experience differed?
I have an L-398A and it’s good down to about EV 7.
After that its precision gets less.
I wonder if the L-398A is less accurate than its predecessors. I stick with the L-28C and I have not experienced the issue you raise. For example: I shot a landscape with a Rolleiflex at twilight. The Sekonic said one second @ f/100 for EI 100, which I believe comes out to EV 7. I doubled exposure (2 secs) to adjust for reciprocity failure. The exposure was perfect.
The L-28C is from the late 1960s. I have never been led astray with one.
The comparison is invalid unless all the light meters have been calibrated with the same standard light source by a calibration technician. Otherwise it is just random measurements by randomly selected calibrated light meters.
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