Which camera body for which film?

[flavio81]

It is very important to match film stock to the specific camera it needs to be mated. That's why film manufacturers use codes.

..
Pro 160NPL --- L = Leica/Luxury

Interestingly that film also was intended for Lubitels. Coincidence?[/QUOTE]

Well, this is a very clever observation. Perhaps my Lubitel is a much better camera than I thought?

 

[flavio81]

I like the option of a matrix meter for slide film doing street work and want to go quickly.
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I think the need for matrix is a bit exaggerated. I've shot many slide film on my life and only one (1) of those occasions was with a matrix meter (the one on the Canon EOS 5). I've shot slides mostly used centerweigthed meters, handheld meters, and using the 80/20 meter of the F3, and I never had any problem.

For street photo just use the centerweighted meter with the appropriate exposure compensation and you'll be fine.

 

[Moose22]

I think the need for matrix is a bit exaggerated. I've shot many slide film on my life and only one (1) of those occasions was with a matrix meter (the one on the Canon EOS 5). I've shot slides mostly used centerweigthed meters, handheld meters, and using the 80/20 meter of the F3, and I never had any problem.

For street photo just use the centerweighted meter with the appropriate exposure compensation and you'll be fine.

I don't use matrix all the time. I just like to have it there for a few specific situations. I've shot some nice slides with an FM3A, too. It's not a matter of need, it's just another tool in the box. But I do use it, and it's pretty darned good on the F6. But the truth has always been that a good meter is what it is, you understand it, use it properly, and you can get nicely exposed shots by doing so.

Also, I use matrix for other odd things that are probably just me.

For example, I'm learning the quirks of film again after years of digital. I've been going back to exposure and trying to understand it differently of late, so sometimes it's fun to shoot matrix and reshoot making my own decisions using spot with manual compensation to see how the two shots come out differently. Especially with slides, things can look very different if you decide to go a stop in either direction, but I enjoy a more intentional test over just bracketing the shot.

Also, if I'm sitting around and see an interestingly contrasty scene I tend to look through the camera, see what the matrix says, switch to spot, choose various areas and see how they relate, etc. Doing so has taught me a great deal about exposure. I do the same sort of thing with a handheld meter, just when I'm bored and there's nothing I want to photograph around.

 

[George Mann]

60/40 biasing doesn't have the best to record with slides. But I have little trouble with my Nikon F90x's 80/20 CW meter.

 

[RDW]

As all these cameras have memo holders, clearly the main consideration is which film box end will best complement the camera design! But there might be one or two practical considerations:

F2A = HP5. No-nonsense film for a no-nonsense camera. Not the handiest body here, but that's no problem for slower pictorial work, especially on a tripod, where the removable prism may be useful.

F3HP = Velvia. Fuji's graphic design looks good on an 80s camera. And with probably the best meter here, your slides will be well-exposed.

FE2 = Portra. The more sophisticated of the smaller cameras gets the purple bling of the Portra box. Nice camera for your snaps and outings, too, when you probably don't want to lug a pro body around, and aperture priority helps you work a bit faster.

FM2n = P3200. Classic Kodak yellow box on a classic no-frills camera. Less conspicuous than the F2A for the concert and theatre shots, where the sound of its shutter and mirror would probably get you thrown out. The LED meter is ideal for those dimly lit interiors, and the extended fast shutter speed range means you can still use the camera if you're stuck with this film in daylight.

 

[xtolsniffer]

Thanks for your replies everyone, what I currently do is this:

FE2 for Portra 400. Excellent for snaps due to the Aperture priority and TTL flash, small and light to carry around.
F3 has the velvia due to the mirror lock-up facility and long manual shutter speeds when on a tripod for macro.
FM2n has the P3200 due to the led indicators which are easier to see in low light.
F2 has the HP5 just because it's a cool camera and HP5 feels right in it.
So spot-on RDW!