sounds cool. One thing to remember though is that once you get into the reciprocal failure mode of a film and want to use time bracketing, you wont get linear time progressions for equivilant exposure changes. ( i.e. the 2.5, 5, 10, 20 sequence will not yield equal steps in exposure change). This varies from film to film but in general the longer the time, the even longer the time you will need for the same change (increase) in exposure.
For example I used to do some LF lens tests across the house indoors at night with tungsten room lighting, my exposures were typically 20 second at f16, 60 seconds at F22, and 5 minutes at f32 for exact same density (exposures). As you can see the time increases arent linear. I think this was on TMAX400 if I recall correctly and I am sure it will vary from film to film... I had to find this out by trial and error sort like what you did...But once I knew the correct compensation times it was easy to repeat. jco -----Original Message----- From: Paul Stenquist [mailto:[EMAIL PROTECTED] Sent: Tuesday, August 23, 2005 11:30 PM To: [email protected] Subject: Re: Survey: Your Most Unusual Shot I'm game. I've shot a lot of weird things and attempted some rather difficult shots, but one comes to mind immediately. It was almost 25 years ago, and I was working for Hearst Magazines in New York. We were running an article about Ford's propane engine cars in Motor Magazine, and the editor decided we had to have a picture of a propane flame for the cover. I bought a propane torch and various tips. I found that the paint scraper tip gave me a nice looking, broad flame. To record the flame on film, I obviously had to eliminate all other light, so I set the torch up in my garage after dark. I tried to shoot all our covers on 4x5 in those days, so I set up my Speed Graphic and loaded ten film holders with ektachrome 64. To get the flame large in frame, I had to extend the bellows beyond the 1:1 position, so that increased exposure considerably. My meter reading and teh macro correction indicated a very long exposure, so I had a reciprocity failure to factor in as well. My calculations with the Kodak Photoguide wheels indicated an exposure of about 10 minutes. To bracket in half stops, I'd half to do 2.5 minutes, 5 minutes, 10 minutes, 15 minutes, and 20 minutes. Unfortunately, my cable release had no lock mechanism, so I had to hold the shutter open, while standing in the pitch dark garage. I did exactly that for over ah hour. The 20 minute exposure was best: a nice blue flame above a glowing red metal nozzle. A difficult and tedious job, but well worth the effort. Paul On Aug 23, 2005, at 10:26 PM, [EMAIL PROTECTED] wrote: > Okay, I am kind of tired of the large print discussion (and thank > goddess the > political thread has died), so LET'S DO A SURVEY!!! > > Also, it might provide me with some inspiration since I am sort of > uninspired > photography-wise these days. > > I do realize I still owe people the results of the exposure survey and > I've > got it around here somewhere, but I have to get a new cartridge for my > laser > printer so I can print out all the answers so I can tally them. But I > will do > that, I promise. Maybe when this survey is done. > > Well, this isn't so much a survey, actually, as just a sharing thing. > Because > I don't imagine that that many answers will be the same. But if they > are, I > will tally them. :-) > > I hope people like it and want to participate. It's sort of like where > is the > weirdest place you have ever done it... > > Q. What is the most unusual subject matter you have ever shot? The > most unique? Or the weirdest? Or simply the subject matter that you > have had the hardest time "capturing" (either because it was hard to > get to, or timing, or movement, or whatever)? > > Please expound. > > A. > > > > > > TIA, Marnie aka Doe >
