Interesting video by Tim Layton on using a Digital Pentax Spot Meter for Black and White Film Photography
Would love to hear about the critical information which has been left out especially as I am new to large format and only use black and white filmWell, no offense to Mr. Layton...he's a fine photographer...but, he does leave out critical information in that video which I'm sure he follows in his own practice of exposing B&W film.
Nope...works for my digital prints, too. But, if you have a high-end scanner like a Creo or get drum scans done, then you may be able to pull a little more tonality out of the high end of your negative. It all depends on the dynamic range your scanner can handle. With any consumer level scanner, like the current Epsons, you'll be fine. I use a very old Epson Expression 1680...can't afford drum scans or a $6K - $10K flatbed scanner!Am I right in assuming this MPD approach is only going to really be effective for darkroom printing
As Stephen pointed out, "expose for the shadows and develop for the highlights" is lore that has been passed down for years; that's why all the books tell you to work that way.I am very familiar with ETTR for digital but this may seem a daft question.
Why do all the books recommend exposing for the shadows on Zone 3 if we can simply expose 3 stops higher than the meter reading off the high values and then bring the shadow areas down
Someone on the same wavelength as me for a change.I first meter the highlight and shadow areas of my scene. Then I look at my composition/vision and simply decide if (in case I have more than 5 stops to cover) the highlights or the shadows are more important for the look I want to achieve and then expose accordingly and let the other ones fall into whichever zone they fall.