Sekonic 758DR alternative

[DavidClapp]

I spent the day with another photographer who used a Sekonic 758DR. We ascertained my Soligor digital spot meter is not measuring shadows correctly, but what I did like was its spot meter averaging and also compensating for polarisers / filters etc

Then I looked at the price and nearly spat my tea across the room.

Is there any meter that has a similar concept of Ev measurement / averaging etc?

 

[benjiboy]

Yes David the Kenko KFM 2100 https://www.amazon.co.uk/Kenko-Professional-Light-Meter/dp/B000UGSC9K or the Gossen Starlite 2 Dead Link Removed, but neither are cheap I'm afraid. Both of these meters I.M.O. are more suitable for purely film photograpohy than the Sekonic 758 DR

 

[chriscrawfordphoto]

I used to have a Minolta Flash Meter VI, which is what the Kenko actually is (Kenko bought the design from Minolta after Minolta quit making photo gear). I currently have the Sekonic L-758DR.

The Sekonic would be my choice. The spotmeter in the Minolta is very unergonomic. When you put the finder to your eye, the incident dome stabs you in the forehead. That is not a problem with the Sekonic. Also, the spotmeter in the Sekonic has better low-light sensitivity.

If you want just a spotmeter, and dont need incident metering, then how about buying a used spotmeter like the Minolta Spotmeter F or the Sekonic L778? Those are available pretty cheaply now.

 

[Poisson Du Jour]

The L758DR has a few extra superfluous functions intended for cine photography and wireless triggering and that is what makes it a bit more expensive, however unreasonably so. If you are not into cine or wireless triggering (of studio flashes et al) there is no justification for the *DR; go for one of the next lower models.

My kit at the moment comprises the Gossen Starlite and the L758D, which I have been using since 2008 and swear by it. The Gossen has selectable spot metering in degrees but looks to have a slight bias toward over-exposure in averaged spot metering, compared to the L758D in parallel exposure tests with identical baseline settings. Either of these meters are designed for intensive, considered photography where it is assumed the photographer has a detailed understanding of exposure, rather than relying solely on the meter to make a determination and follow that as gospel. There are many, many variations to any one reading made from any meter.

 

[DavidClapp]

I really appreciate your replies. The other option is going or a Pentax Digital Spot Meter, but I do like digital use of EV scale and digital information... still, none are very reasonably priced...

 

[BrianShaw]

You might be able to trim the cost a bit by considering a L-558.

When I bought mine the price was high but I considered it reasonable given all of the capability it offers.

What capabilities do you need and what's your price??

 

[DavidClapp]

I found a reasonable and mint minus L-758D in the end from Ffordes UK for £299. I really like the scale based reading system, that and the compensation features for filters on this range of meters. It look more extensive than I will need, but then you never you know what you will use it for.

 

[Trail Images]

I bought the L-758DR a little over a year ago and wish I'd been able to afford one earlier. The best meter I've ever owned in the 30+ years of doing outdoor landscape photography now. Admittedly I do not use all the features by far, but the reliability & accuracy is stellar.

 

[DavidClapp]

I bought the L-758DR a little over a year ago and wish I'd been able to afford one earlier. The best meter I've ever owned in the 30+ years of doing outdoor landscape photography now. Admittedly I do not use all the features by far, but the reliability & accuracy is stellar.

Thats good to read. After identifying my old Soligor being as a stop out in the shadows, I am throwing away so much transparency film that this needs to be addressed. I need to get a lot better at this and hopefully this will be the answer.

 

[baachitraka]

BTZS and Incident meter.

Incident meter the shadows and adjust for roll films.

 

[Trail Images]

I am throwing away so much transparency film that this needs to be addressed. I need to get a lot better at this and hopefully this will be the answer.

What transparency film are you using? I only shoot Velvia 50. Along with the meter I also I became more attentive towards reciprocity too. Both that and the meter usage eliminated my trashing images. A couple years back all of a sudden I was struggling with exposure issues. It had to be me losing sight of things and I just needed to refocus my attention to detail. For me, it was about the incident and spot metering all in one that was the selling point. I had both processes in two separate older meters prior. Same procedure now all in one.

 

[DavidClapp]

What transparency film are you using? I only shoot Velvia 50. Along with the meter I also I became more attentive towards reciprocity too. Both that and the meter usage eliminated my trashing images. A couple years back all of a sudden I was struggling with exposure issues. It had to be me losing sight of things and I just needed to refocus my attention to detail. For me, it was about the incident and spot metering all in one that was the selling point. I had both processes in two separate older meters prior. Same procedure now all in one.

I am trying to conquer Velvia 50 but I keep getting underexposures. 80-90% of the film goes in the bin. I might get 3 well exposed images for every 18 on 6x12 format, and these are usually the underexposed brackets I make as a failsafe. Saying that, often the bracket doesn't work at all and i end up with all three under.

What is your process for Velvia 50?

 

[Trail Images]

I am trying to conquer Velvia 50 but I keep getting underexposures.

Yep, been there. Although I was not at the loss that you apparently are. My older meters might have been more accurate then what you were using in the end here.
My approach is a bit low key, but works very well for me. I use both the incident meter and the spot meter as well as a reciprocity chart I made up. All of my work is in sunrise & sunset transitions too. So, the contrast is not near as harsh. Shooting a lot in my area is usually very bright harsh sunlight. So, the need to shoot in lower contrast is a challenge and something I figured out years ago. I live by the motto that transparency film just has no fudge factor. So I try my best to remain inside it's limitations, even if it requires using NDs, Grads, or Reverse Grads filters.
With that all said I meter the highs & lows to determine if filters are needed. When shooting I refer to my reciprocity chart until I get to the sweet spots I have memorized and then just adjust off the top of my head. I'm also a firm believer in using a neutral gray target to verify spot meter readings during my entire shooting process.
That's pretty much my routine. If you don't use a reciprocity chart I highly recommend one with V-50. It is a finicky film but I love it for what I do.

 

[benjiboy]

I am trying to conquer Velvia 50 but I keep getting underexposures. 80-90% of the film goes in the bin. I might get 3 well exposed images for every 18 on 6x12 format, and these are usually the underexposed brackets I make as a failsafe. Saying that, often the bracket doesn't work at all and i end up with all three under.

What is your process for Velvia 50?

In my experience Velvia 50 is much better rated at 40 or even 32 I.S.O., ( I assume David you know that know that reversal film is the opposite to neg. film the more exposure you give it the lighter the image gets and you can save yourself a lot of money buying a new meter by experimenting with a personal film speed for your Velvia until you get the image density you require)

 

[benjiboy]

I used to have a Minolta Flash Meter VI, which is what the Kenko actually is (Kenko bought the design from Minolta after Minolta quit making photo gear). I currently have the Sekonic L-758DR.

The Sekonic would be my choice. The spotmeter in the Minolta is very unergonomic. When you put the finder to your eye, the incident dome stabs you in the forehead. That is not a problem with the Sekonic. Also, the spotmeter in the Sekonic has better low-light sensitivity.

If you want just a spotmeter, and dont need incident metering, then how about buying a used spotmeter like the Minolta Spotmeter F or the Sekonic L778? Those are available pretty cheaply now.

Which eye did you use to look through the Minolta VI spot meter window? I have a Kenko KFM 2100 and use my right eye I have never had this problem , although I can see for a left eyed person it could be, but if it is a problem it's easy to turn the the incidental receptor head round out of the way.

 

[chriscrawfordphoto]

Which eye did you use to look through the Minolta VI spot meter window? I have a Kenko KFM 2100 and use my right eye I have never had this problem , although I can see for a left eyed person it could be, but if it is a problem it's easy to turn the the incidental receptor head round out of the way.

I'm left-eyed, and yes turning the dome works, but its still a dumb design. The Sekonic handles it much more elegantly, at the expense of a larger meter. The Sekonic's finder is bigger and easier to see through, and has full information (aperture and shutter speed) in it, unlike the Kenko which only displays aperture.

 

[DavidClapp]

In my experience Velvia 50 is much better rated at 40 or even 32 I.S.O., ( I assume David you know that know that reversal film is the opposite to neg. film the more exposure you give it the lighter the image gets and you can save yourself a lot of money buying a new meter by experimenting with a personal film speed for your Velvia until you get the image density you require)

Thanks for all the information - I have heard about others rating Velvia at 40 or 32 but I haven tried it yet. The meter should arrive this week, so I am going to go on a Velvia splurge.

 

[Poisson Du Jour]

Velvia 50 is more commonly re-rated at EI40 or EI32 when it is in the small 35mm format.
It is much easier to meter RVP50 in medium and large format than it is to rely on an onboard camera meter. This is why so many, many Ilfochrome Classic images were produced from anything other than 35mm, because it did not present or compound contrast control problems amongst small-format pjhotographers who had a poor understanding of using Velvia in specific lighting, as opposed to larger format photographers who could meter Velvia in any type of light and come away with a serviceable image. All of the Velvia emulsions had this contrast problem, including but not limited to the ugly 100F and also the hyper-enriched red channel 100 emulsion.

Re-rating at EI32 will significantly increase the risk of highlight clipping and mushy shadows — once they've gone, they are gone. There is no bringing them back, even with a proverbial magic wand! Essentially re-rating is a hobbling compromise with no real gain. Exposure is also something to think about. In 35mm, half-stop exposure is much better than third-stop. Problems announce themselves when an exposure is given 0.6 stops when it really requires no more than 0.5, resulting in either too dark or too light. It may not look much of a figure on paper, but to Velvia it is the tipping point. There is a fine balance to be struck.

 

[TareqPhoto]

I think i must use my Sekonic for film then, i bought it only as fun or show off, as i see some videos BTS of studio shooting using that light meter, so i bought one when i got studio lights.

Not sure if the digital cameras metering is nearly as good as those light meters, at the end aren't we set the camera according the light meter reading?

 

[Poisson Du Jour]

I think i must use my Sekonic for film then, i bought it only as fun or show off, as i see some videos BTS of studio shooting using that light meter, so i bought one when i got studio lights.

Not sure if the digital cameras metering is nearly as good as those light meters, at the end aren't we set the camera according the light meter reading?

The L758D is useful sometimes for profiling of colour spaces on digital cameras, but it is fiddly, involved and rather over the top (nerdy!) given the quality that is on tap from today's onboard metering systems and floating colour profiles.

The majority of evaluative/matrix/3D onboard camera meters are calibrated along a modified Zone System matrice. The Sekonic takes you to bare-bones metering methodology and puts the onus on you to read and interpret the scene correctly, all things being equal.

 

[TareqPhoto]

The L758D is useful sometimes for profiling of colour spaces on digital cameras, but it is fiddly, involved and rather over the top (nerdy!) given the quality that is on tap from today's onboard metering systems and floating colour profiles.

The majority of evaluative/matrix/3D onboard camera meters are calibrated along a modified Zone System matrice. The Sekonic takes you to bare-bones metering methodology and puts the onus on you to read and interpret the scene correctly, all things being equal.

I see, thank you very much!!!