Ah... no. There really is no color equivalent to 18% gray. Red is not
equivalent to black. There are all sorts of blues with varying degrees of
reflectance.
I've thought about what I do with a spot meter and now realize that I have
no real method whatsoever. I suspect this may be a bad thing. Over time I've
simply become used to what the film & the equipment does. I may use the spot
meter on something I know I would want to be about like my 18% gray card if
I was shooting B&W. I may point the meter at what I think is an important
part of the image or a part of the image whose effect on the film I know, take a
reading and adjust exposure with the idea that I know I want it darker or
lighter than the card would be - although I don't actually think about an actual
card. Sometimes I shoot both the lighter parts and the darker parts that I
want some detail in and adjust to keep this range within the latitude of the
film. Mostly, I just adjust the camera for what my experience is for the
conditions and adjust for changes and to hell with the meter. Actually, I can do
better with a center weighted meter because it's _consistent_ in what it does.
It always reacts the same way. Then I make adjustments for the scene or subject
or whatever knowing (now intuitively) why the CW meter told me what it did.
Keep in mind that I'm just a hack, but I do believe that there is no
substitute for burning copious amounts of film, taking notes on each shot
(as possible) and making notes on the results. This implies that one retains
control over exposure.
Maybe I need help.
Regards, Bob... Give blood. Play hockey.
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- Spot Metering Question CDCook1951
- Re: Spot Metering Question PAUL STENQUIST
- Re: Spot Metering Question Dan Scott
- Re: Spot Metering Question Dan Scott
- Re: Spot Metering Question PAUL STENQUIST
- Re: Spot Metering Question Tiger Moses
- Re: Spot Metering Question Dave Evans
- Re: Spot Metering Question CDCook1951
- Re: Spot Metering Question Bob Blakely
- Re: Spot Metering Question William Robb
- Re: Spot Metering Question PAUL STENQUIST