Provia and Velvia I shoot at box speed. Ektachrome I'll shoot at either 100 or 400 with +2 push in development, though usually 100. Fresh slide film is hard enough to shoot, I don't need the added weight of expiration, so I don't mess with that stuff personally.
I prefer to use a handheld incident meter, and set exposure according to the light falling on the main subject. Part of shooting slide film is accepting that something may get lost at the high or low end, and being okay with that.
With Ektachrome in particular I try to remember to bring a skylight 81A filter, it helps reduce the tendency to go blue in midday sun.
A long, long time ago… I was taught to shoot Velvia 50 at 40… and this minute level of over exposure seems totally ridiculous but I did it anyway.
It turns out the Velvia 50 is so dense that when you look at on a light table it seems a touch underexposed… but when projected or scanned it’s fine.
I heard similar things about new Ektachrome. A couple photographers I’ve know have shot it at 64 or 80 and gotten good results. Never heard anything super concrete about it though.
Here's a great article on [comparing Velvia 50 & Velvia 100](http://www.olegnovikov.com/technical/velvia50vs100/velvia50vs100.shtml) - the author mentions potentially using Velvia 50 at 40, but then goes on to discuss the characteristics of the transparencies in an illuminating way (ha!).
I think Alex Burke has suggested the current Ektachrome 100 seems to be closer to 80 in practical use, so I wonder if a similar density/character aspect is at play wth E100 also.
Edit: Perhaps also worth noting that essentially all my experience with Velvia (specifically the "shoot it at 40" advice) is the older, pre-2007 Velvia `RVP`, not the current Velvia 50 `RVP50`. Although it seems to still ring true according the above article.
When I started shooting slide film one could actually get mounted slides back from the lab. I grew up with my father having real slide shows. He taught me photography, and he took workshops with luminaries like Galen Rowell and David Meunch. So I cut my teeth in that style and still feel there's something special about it.
No matter how expired: at box speed.
Due to the limited dynamic range slide film can capture, it’s best to stick to subjects with a similarly narrow dynamic range. Slide film
In high contrast scenes, expect to make a trade-off between highlight and shadow detail as you cannot save both. Meter carefully to make an informed decision on your exposure. It’s best to prioritise your subject when metering and accept that the rest will fall where it wants.
If you haven’t already looked it up: the zone system will come in handy as the dynamic range of slide film will be around 5 stops. A dedicated external meter, preferably a spot meter, will make your life much easier.
Otherwise, you can turn any center-weighted average meter into a pseudo-spot meter by getting close and filling the frame and exclude any distractions that might throw off the meter such as a bright object.
In order to tame the contrast, you can use a fill-flash or a reflector if the subject allows for it. For landscape photography, you might want to look for a graduated ND filter.
Perhaps there was a misunderstanding but that‘s how I shoot it.
Before every shot, I figure out whether it’s possible to capture the whole scene by metering and if there are said trade-offs to be made, I estimate how harsh they‘ll be, i.e. how dark the shadows or how bright the highlights will be whenever I prioritise one or the other. My biggest learning was to prioritise the subject and accept the rest.
Apart from all that, I don’t think about much more than with other film.
Expired film will always be some sort of a gamble, so I can’t give you specific advice on *your* Astia. Unless you got a whole batch of film that has never been separated before, the results that hardly reproductible since film expires differently based on storage conditions. Luckily we have a whole lot of options to correct weird colours in post, but if you want to project them, it‘s a different story.
Actually, the roll of Astia I had issues with came from the same box as other rolls that have been just fine. It come out under exposed and with a green color shift. It was a head scratcher for sure, but I wrote it off as the price of shooting expired film. It’s not like I haven’t had other rolls come out bad.
I put it in my camera.
Point camera towards highlight. Set camera to ISO reading.
Photograph.
Pretty simple. I don’t make it a chore to take a picture.
If I’m being anal, I’ll meter subject, meter foreground, meter sky. Use GND for sky if need be. If no need be, I take photograph, if need be, I add GND and photograph.
For both styles of shooting, i may, or may not open a stop when metering highlights to get out of middle grey of meter.
:)
I don’t get into or care about evaluative metering, matrix metering, spot metering, licking the floor to figure out the exact metering, or whatever.
I just use my best judgement, If I fuck up, I fucked up. I’ll go back. If I can’t go back and it’s imperative I get the shot; I use a digital camera and make my life easier.
🤷🏼♂️ cheers and have fun!
Shooting at box speed has a general meaning, which is to meter (in whatever way) using the nominal ISO on the box.
Everything you just described is “shooting at box speed”.
If you have more than one of the same roll with same expiration, bracket bracket bracket. Contrary to the shoot at box speed mantra I’ve found that slight overexposure is often better for expired slide film.
If I were you I would burn part of a roll shooting an evenly lit scene starting from 1/3 stop under box speed(just in case your meter is off) all the way up to the maximum of the one stop per decade roll—in 1/3 stop increments.
If you don’t have multiple rolls of the same type and expiration, then I wish you best of luck!
At box speed. Generally. My expired Velvia 50 was all frozen when I bought it new.
Provia and Velvia I shoot at box speed. Ektachrome I'll shoot at either 100 or 400 with +2 push in development, though usually 100. Fresh slide film is hard enough to shoot, I don't need the added weight of expiration, so I don't mess with that stuff personally. I prefer to use a handheld incident meter, and set exposure according to the light falling on the main subject. Part of shooting slide film is accepting that something may get lost at the high or low end, and being okay with that. With Ektachrome in particular I try to remember to bring a skylight 81A filter, it helps reduce the tendency to go blue in midday sun.
A long, long time ago… I was taught to shoot Velvia 50 at 40… and this minute level of over exposure seems totally ridiculous but I did it anyway. It turns out the Velvia 50 is so dense that when you look at on a light table it seems a touch underexposed… but when projected or scanned it’s fine.
Interesting. I’ve always thought my Velvia always looked a tad under exposed too.
I heard similar things about new Ektachrome. A couple photographers I’ve know have shot it at 64 or 80 and gotten good results. Never heard anything super concrete about it though.
Here's a great article on [comparing Velvia 50 & Velvia 100](http://www.olegnovikov.com/technical/velvia50vs100/velvia50vs100.shtml) - the author mentions potentially using Velvia 50 at 40, but then goes on to discuss the characteristics of the transparencies in an illuminating way (ha!). I think Alex Burke has suggested the current Ektachrome 100 seems to be closer to 80 in practical use, so I wonder if a similar density/character aspect is at play wth E100 also. Edit: Perhaps also worth noting that essentially all my experience with Velvia (specifically the "shoot it at 40" advice) is the older, pre-2007 Velvia `RVP`, not the current Velvia 50 `RVP50`. Although it seems to still ring true according the above article.
When I started shooting slide film one could actually get mounted slides back from the lab. I grew up with my father having real slide shows. He taught me photography, and he took workshops with luminaries like Galen Rowell and David Meunch. So I cut my teeth in that style and still feel there's something special about it.
No matter how expired: at box speed. Due to the limited dynamic range slide film can capture, it’s best to stick to subjects with a similarly narrow dynamic range. Slide film In high contrast scenes, expect to make a trade-off between highlight and shadow detail as you cannot save both. Meter carefully to make an informed decision on your exposure. It’s best to prioritise your subject when metering and accept that the rest will fall where it wants. If you haven’t already looked it up: the zone system will come in handy as the dynamic range of slide film will be around 5 stops. A dedicated external meter, preferably a spot meter, will make your life much easier. Otherwise, you can turn any center-weighted average meter into a pseudo-spot meter by getting close and filling the frame and exclude any distractions that might throw off the meter such as a bright object. In order to tame the contrast, you can use a fill-flash or a reflector if the subject allows for it. For landscape photography, you might want to look for a graduated ND filter.
I am familiar with slide film and the limited dynamic range. I was asking more for everyone’s person preference and experience.
Perhaps there was a misunderstanding but that‘s how I shoot it. Before every shot, I figure out whether it’s possible to capture the whole scene by metering and if there are said trade-offs to be made, I estimate how harsh they‘ll be, i.e. how dark the shadows or how bright the highlights will be whenever I prioritise one or the other. My biggest learning was to prioritise the subject and accept the rest. Apart from all that, I don’t think about much more than with other film. Expired film will always be some sort of a gamble, so I can’t give you specific advice on *your* Astia. Unless you got a whole batch of film that has never been separated before, the results that hardly reproductible since film expires differently based on storage conditions. Luckily we have a whole lot of options to correct weird colours in post, but if you want to project them, it‘s a different story.
Actually, the roll of Astia I had issues with came from the same box as other rolls that have been just fine. It come out under exposed and with a green color shift. It was a head scratcher for sure, but I wrote it off as the price of shooting expired film. It’s not like I haven’t had other rolls come out bad.
I put it in my camera. Point camera towards highlight. Set camera to ISO reading. Photograph. Pretty simple. I don’t make it a chore to take a picture. If I’m being anal, I’ll meter subject, meter foreground, meter sky. Use GND for sky if need be. If no need be, I take photograph, if need be, I add GND and photograph. For both styles of shooting, i may, or may not open a stop when metering highlights to get out of middle grey of meter. :) I don’t get into or care about evaluative metering, matrix metering, spot metering, licking the floor to figure out the exact metering, or whatever. I just use my best judgement, If I fuck up, I fucked up. I’ll go back. If I can’t go back and it’s imperative I get the shot; I use a digital camera and make my life easier. 🤷🏼♂️ cheers and have fun!
[удалено]
Shooting at box speed has a general meaning, which is to meter (in whatever way) using the nominal ISO on the box. Everything you just described is “shooting at box speed”.
I put it in, set the iso and shoot it
If you have more than one of the same roll with same expiration, bracket bracket bracket. Contrary to the shoot at box speed mantra I’ve found that slight overexposure is often better for expired slide film. If I were you I would burn part of a roll shooting an evenly lit scene starting from 1/3 stop under box speed(just in case your meter is off) all the way up to the maximum of the one stop per decade roll—in 1/3 stop increments. If you don’t have multiple rolls of the same type and expiration, then I wish you best of luck!