We did something similar to that in school. Shooting film (medium format T-Max
100).
Set up a plain white foam ball. Had to have shots with it black on one side,
white on the other (without blowing the highlights); shots with it grey on one
side; shots with a hard transition, shots with a soft transition ... one light,
but you could use all the scrims, flags & reflectors you needed to modify it.
All the required shots had to be in a certain sequence on one roll of film (had
to submit a contact sheet along with the prints).
We used incident metering. I don't think it was possible with in camera
metering.
Then we had to set up a Black, White & Grey cube so you could see three sides
equally, lit in various ways to change the tonal range of the sides.
One of the required shots was to make it look like it was just a gray cube by
lighting the black side while keeping the white side in shadow so they both
appeared to match the grey side.
Then we moved on to a checkerboard cube.
Second semester we duplicated the exercises shooting transparency film. Did them
twice - once for daylight film [studio strobe and/or filters] & once for
tungsten film [studio hot lights].
Third semester we had to put a green filter on a speed-light & a magenta filter
on the lens to balance fluorescent lighting for portraits on daylight
transparency film. The incident meter was also used with multi-pop studio
strobes so we could learn how to build up exposures on large format transparency
film.
On 3/12/2020 23:23:39, Larry Colen wrote:
I’m very curious if anyone has done any side by side tests. Set up a scene,
set the exposure on pure automatic, then by hand held meter, then by the
histogram, and see how the results vary. It would also be interesting to see
the final product of those different exposures.
A proper test would have a variety of scenes in a variety of lighting
situations, back light, front light, random bright and dark areas, focusing
on subjects in each.
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