>> What was your keeper rate when you were just starting/learning?
> Actually, pretty high, it was a long time ago. I had a fairly strict
> teacher
....
>> What happens to your keeper rate when you are experimenting with a new
>> (to you) technique or piece of equipment or a new film?
>
> Perhaps because of my early teacher, my research efforts are pretty
> extensive, so again, same answer. As an example, some time ago, I
acquired
> a Bowens Front Pro system. This is a combination slide projector/strobe
> and a special reflective background. Whatever slide you put in it is
> projected onto the background and becomes a part of the finished
****trait.
> For example, I have slides of all the local high schools. High school
> seniors can have a ****trait in front of their school without leaving the
> studio. The intensity of the slide can be varied, the intenisity of the
> studio lighting can be varied, and the camera f/stop can be varied. I
> spent several hours with flash meters before running thru any film. I
did
> one test roll, with +2, N, -2 bracketing, with N being what my metering
> tests predicted. My final results were exactly that, +2, N, and -2.
>
I think this is one area that most people don't understand about film. If
you know how to use a meter, and if you take test shots in a systematic
way
before you get down to business, you will only have to shoot off one roll
prior to generating cash producing shots.
And, when it comes to the darkroom, you need to spend a bit of time
reading
the manuals of your particular processor, as well as a good darkroom
how-to
book, but attention to detail will minimize waste and render good results
even more predictable than digital.
While my visual condition has made an avid digital shooter, I think I'd
probably be sharing much of Ken's enthusiasm for film had my eyesight not
tanked...
Take Care,
Dudley
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