Recording yep, there you go Oh
Ready good three ways to meet her film and be right every time
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Hi, this is JP Morgan today on the slanted lens. We're gonna talk about metering for film
I literally have exposed thousands and thousands of rolls of film
For a new person who's just shooting film the biggest and most important Hurley
you've got to get over is how to get a good exposure most of the cameras that people are buying today, even the
Pentek six four five
series that internal camera meter is a reflective meter and it gets fooled a lot if you have a white dress in front of a
Reflective meter, it's gonna try to make that white dress 18% gray
Which means it's gonna become very dark if you've got someone on a black tux in front of that reflective meter
It's gonna try to make that black tux 18% gray
Which means your image is gonna be really bright way too bright so that internal meter that reflective meter is not ideal for film
It's gets fooled too often
it's gonna give you the wrong exposure a lot of the time so you got to just get into a simple method on how you
Can get an exposure when you're shooting film for the purpose of our demonstration today
I'm gonna shoot on portrait 400 Fuji 400 and the portrait 800 those really are kind of the three go-to films for
C41 or print shooting color print shooting today
and so we look at those three on how to get a good exposure on those three different film stocks and here are three methods
That I've learned over the years that are everything from very simple
No piece of equipment required to using a handheld meter, which is probably the best way number one is a sunny sixteen rule
This is a tried-and-true method for calculating exposure that really was invented when film was invented
It used to be engraved on a plaque on the back of a lot of cameras. That didn't have meters
So you can look at it and figure out what your exposure could be. So here's how it goes. It's very simple
It's based on the fact that the Sun is always f-16 if you put your shutter to match your film stock
So if you have a 400 film stock set your shutter is close to 400
You can f-16 and that's going to give you a correct exposure
If you're gonna compensate give it a little more exposure because c41 field wants more exposure
It never wants to be underexposed. It wants to be overexposed
So here's the whole sunny 16 scale 16 and the Sun 11 if there's a little bit of overcast
8 if it's a little more overcast
5 6 if it's a heavy overcast heavy overcast is 5 6 in the shade like we are today is f4
That's what you have to remember from f4 to f-22 and the bright snow or sand. That's your scale
You can pretty much guess from there
And remember always give your exposure a little more because your films gonna be happy about that
This is not meant to be an exact form of mirroring
It's meant to get you very close and to get a good exposure very quickly
So right now I'm gonna have Kristine jump in here with me and I'm gonna take us around and we're gonna shoot in the Sun
in the shade and different scenarios
I'm not gonna use the meter and I'm just gonna shoot these Bam Bam Bam Bam Bam and see what we get
We'll put them up and just see how close we can get with a sunny 16 rule. Here we go
Let's look at how I hit my exposure with this sunny 16 rule first off
The first one was in that open shade f4. It looks very good
I mean, I'm getting good detail in the and the whites
I think it looks very nice when I went outside into the direct Sun that negatives a little more dance
I like that better
The shade could have even used probably I have stopped to a stop more the stuff out in the Sun is the negatives dense you
See great detail in the shadows great detail in that white dress that's being hit by direct Sun
That f-16 the same 16 rule worked perfectly in that exposure when I went to medium shade
I think this could use another stop of exposure. This was an f8 probably should have gone to 5/6
I should have given a little more exposure, but they're usable. They're very very very usable
I could correct these and make them work. Just fine like some of that close-up shots of her face just looks very nice
It's pretty in there
Then I shot just a couple of frames at the end right just in the deep shade and these look very nice
It's just great detail throughout
Really the Sun 16 rule worked fine here. I think it was in that kind of medium shade
I miss the exposure probably by a stop. So I think the thing to learn from this is give it more exposure
You're way safer to give it more exposure than not enough. So there you have it the sunny 16 rule now
I'm not yet introduced our model today Cristina Marie. She's fabulous. He's beautiful and you can connect on her instagram below
so now let's get on to our number two number two may seem kind of crazy to you, but
a lot of photographers do this and that is just simply use a digital camera to
Get the right exposure
So here's how to set up your digital camera first
Set the ISO of your digital camera at one half the box speed of your film
So if your film is a four hundred speed film set the ISO in your digital camera at 200
What that does is going to give us a denser negative
We're gonna be overexposed in by one stop
Now you simply set the aperture for the depth of field that you want
Then find the shutter speed that's going to give you the correct exposure take a picture of your digital camera as soon as you like
What you see on the digital camera transfer your shutter speed and the aperture over to your film camera and shoot away
You'll have a great looking negative. That's about one stop denser. And that's what we want number three is use on light meter
This is the most tried-and-true and best way to get a good exposure and that is using an external light meter
And here's a more examples. Thank you Christina. I've got a tried-and-true
old-fashioned light meter
And I've got the new Illuminati I use both of these meters and I love them both for different reasons
These are incident light meters which means they record the light that falls onto them. So they take an incident reading a
reflective light meter records the light that bounces off from the subject
that's why cameras have reflective light meters because they can only record the light that bounces off from the subject whereas an incident meter you
Want to walk into where your subjects at and take a meter reading after the subject pointed back towards the camera
The problem with this one is you have to walk up your subject. Take your reading then come back
where's the loominatee instead of trying to stand on the side and it just
Stays there and you can just keep shooting
You can move that stand around and just keep working and just giving you a meter reading all the time
So depends on how you want to work
So let's talk about how to set up our meter and take our meter reading and our subject Christina's gonna help us out again
and
first off
I'm gonna aim this at my study straight back towards the camera
the bowl be in or out it's interesting because everyone has this question if the bulb goes in it cuts your exposure by about a
Third of a stop to a half a stop and I don't think there's any reason to do that. I leave the bulb out
I don't think there's any reason to tilt this towards the ground
because that just cuts up by a third to a half a stop as well if you're gonna put the bulb in and
Aim, this towards the ground. You're basically making a shadow
Meter reading. That's what you're doing
So if you want to shout a shadow meter reading then put this in the shadow on the scene and take a meter reading
You know, don't try to pretend that. This is what it is. Do it. I aim it straight at the camera
I'm gonna cut my ISO by one stop now the Fuji 400. I would probably cut it one more stop
so I take my Fuji 400 and I would rate it at 100 and
I would take my portrait 400 and rate it at 200. So let's give them my Fuji two stops
Just give my portrait one stop. It's giving me a nice dense negative for both those film stocks
So there you have it our three different ways to meter. We've done our film test now
We're gonna get back to the studio and examine that film test but we're freezing out here. It's California. It's
October how could it be this cold?
We're gone we're back to the studio man
So here's the film test for the portrait 400. I started off with a 1:5 to a second at f/4
That was my normal exposure. I took a meter reading it gave me just a normal reading. I'm not giving it plus or minus
I'm running exactly off from the meter
So let's look at the film test on the Fuji 400, you know people love the Fuji 400
That's probably one of the most used films. I like the portrait
404 won reasons I see immediately when I open this up and that is the portrait 400 has a lot more contrast
There's a little heavier blacks, which I like
I mean, I'm looking at this and the whites in her dress are just there blown out. I don't see the wrinkles
I don't see the detail, but that's the normal exposure
Let's take a quick look now at the other film which I think is incredible
That's the portrait 800 a lot of people use this. We're going to shoot inside when you're in tough situations
This one has a lot of the same problems that the Fuji experienced
The first thing I see is the fact that at normal exposure. I don't get very good detail in this dress at all
When I go to plus one I get better detail
So there's a look at three ways to
Meter and to be able to get the exposure every single time and some film tests to be able to see what stocks gonna work
Best for you. Remember more explosions better less exposure you're in trouble. So keep those cameras rolling and keep on clicking. Oh
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