What would you do if you have sometihng very dark in the scene that you want to put in the Zone 2, or 3 to be able to see the detail. Let's say it's EV 3. But then you have highlights waaay out of the zone system with EV 17, and you still want to see details in those highlights. This could be a scene of a dark room with the open window. Outside is too bright, and you want to capture details in the room and clouds in the sky.
I know film should be exposed for shadows, and recovering highlights is easier than shadows, but I'm talking here where the highlights will be blown out for sure if I exposed for shadows.
If I'm shooting digital, I'd bracket it and merge in post, but I'm curious how to achieve this on film. And, no artificial lights should be used.
I guess this is not possible, but I'm curious what would you do to achieve the best result for this scene.
Divided Pyrocat works pretty well under those conditions
Expose for the shadows ---- That means go ahead and place the dark parts of the interior in Zone II or III
Develop for the highlights --- This is where things get tricky; it's not really feasible to develop N-5
However, with a combination of reduced development, lower contrast paper and other tricks, you can get close.
You can certainly develop N-2 (if you haven't tested this out, now's a good time - usually you have to rate the film a bit slower than N, but only 1/3-2/3 stop). Then, you likely have a VC paper with a #0 or #00 filter. This gets you to N-4 or so.
Then there's a host of tricks:
~ Use a long scale film that holds detail with overexposure (see suggestions above)
~ Use a developer/development regime that compensates and reins in the highlights. PMK or other staining developers are noted for "not blowing out the highlights." Or use a dilute developer/reduced agitation regime to hold the highlights Again, experienced practitioners have tested this. You might want to too. (Note: you can expose the negative and then do tests before you develop it.)
~ Dodging and burning are your friends. If you anticipate having to dodge shadows a lot, be sure to give enough exposure to the negative so that they don't just end up gray.
~ Pre-flashing the paper will give it a just-under-the-threshold exposure and help hold the highlights. Burning with a #00 filter or equivalent does much the same thing.
~ Use split-grade printing techniques: there's really too much to explain here, but searching the forum will give you lots of results.
~ If you want to take the time to test things out, SLIMT techniques can be very gratifying in situations like this. It entails giving the negative a treatment in very weak ferricyanide/bromide rehalogenating bleach before developing it. Again, there is quite a bit of testing that needs to be done, but the process itself is quite simple. Search here and online for links to David Kachel's articles on SLIMT techniques. FWIW, I use, and like, SLIMTs a lot.
~ Sometimes it's not possible to keep detail everywhere; "you can't always get what you want." So make your best effort and see if it's acceptable.
Hope this helps,
Doremus
Beyond Doremus's excellent list, another option worth some experimentation is Phil Davis's DI-13 developer, intended exclusively for use with T-Max 100. It's available from the Photographers' Formulary, info sheet here:
https://stores.photoformulary.com/content/01-5075 DI-13.pdf
Others options include using a divided developer, Dinafine, one of Barry Thorton's, or divided 76, a pyro developer, PF also sells Phenidone Extended Range, a low contrast developer that can handle up to 20 stops with slow speed film. Last is water bath development.
To give a better answer, dark room and open window where you want clouds in the sky. Double expose. One shot with just the exposure for outside. Give one stop towards overexposure for the outside part of the picture.
Then wait until night, or cover the window. Make the second exposure good and proper for the interior.
Then develop normally. While printing, you will be able to “print down” that one stop of overexposure of the exterior. The interior will go darker when you print heavily, which will be what you expect it to look like. Any specific detail you want to see inside, you will be able to dodge a bit to reveal.
I would bracket and then use two negatives to make one print.
The example of a dark interior scene with a bright scene outside viewable through a window is particularly suited to this, because it is relatively easy to register the two images.
Perhaps more importantly though, you should consider whether you actually want full detail in the extremes. In many cases, if you achieve that, it will appear quite un-natural. Sometimes having detail disappear in the shadows and highlights is actually a good thing.
In this case, it is a single negative, and the highlights have been extensively burned in, but are still more suggestions than representations:
View attachment 318752
ND gel hung outside the window. Or reflectors (white, silver) inside the room as mentioned previously. Two bracketed exposures- you could do that with film too- scan and merge them in post.
Use a printing process that can eat that sort of contrast for lunch?
Thirteen measured stop difference with my Pentax Digital Spot (0 to 13) -- if your meter reads 0, can there be areas less than 0? Exposed at 2. Normal development. Straight print (single transfer carbon print).
That is why I posed the question, my meter metered 13 stops, but there were (by looking at the negative) areas that could have been darker than 0...so the SBR could be even greater....
This is very interesting. This is kind of a scene I'm talking about.
Can it be less than 0 — no, if you ask spot meter, but in reality yes. I'm sitting in my dim room right now and I'm pointing the light meter on my black jacket that hangs on the wall and it says 0, which is far from pitch black. It...
If that's what you are doing, why not bracket, do normal development and then blend scanned images.For now, I only digitize my negatives, so if the information is in the negative, I know how to recover it in post.
If that's what you are doing, why not bracket, do normal development and then blend scanned images.
:Niranjan.
Wooaah! That's beautiful! Makes me long for the seaside again.Use a printing process that can eat that sort of contrast for lunch?
Thirteen measured stop difference with my Pentax Digital Spot (0 to 13) -- if your meter reads 0, can there be areas less than 0? Exposed at 2. Normal development. Straight print (single transfer carbon print).
What would you do if you have sometihng very dark in the scene that you want to put in the Zone 2, or 3 to be able to see the detail. Let's say it's EV 3. But then you have highlights waaay out of the zone system with EV 17, and you still want to see details in those highlights. This could be a scene of a dark room with the open window. Outside is too bright, and you want to capture details in the room and clouds in the sky.
I know film should be exposed for shadows, and recovering highlights is easier than shadows, but I'm talking here where the highlights will be blown out for sure if I exposed for shadows.
If I'm shooting digital, I'd bracket it and merge in post, but I'm curious how to achieve this on film. And, no artificial lights should be used.
I guess this is not possible, but I'm curious what would you do to achieve the best result for this scene.
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