I am guessing then that he chose his subject matter carefully knowing he was more or less working to a 5 stop rangeHis theory was that since the highest printable density for textured detail is Zone VIII, then expose for that zone and leave the shadow end fall where it may.
Not really, no. With proper testing of your chosen film and your equipment, quite detailed texture can be seen in Zone III and with even the faintest, darkest texture revealing itself in Zone II; though, sometimes you really have to look hard to see anything in Zone II. Therefore, we're looking at more of a 6 - 7 stop range.I am guessing then that he chose his subject matter carefully knowing he was more or less working to a 5 stop range
I would say that 99% of the time I am using this method and seeing what happens with all different lighting scenarios. I currently have one sitting in the holder where I need to do an N+4 as I am curious as to whether I can get what I visualised.IanB - you might want to give some thought to the negative crafted using Steve Sherman's EMA technique. IMO, though I don't have years of experience with these negatives, yet, the resulting negative using his development techniques might provide the perfect negative for both analog and desktop printing.
Having read your comment twice , the penny has dropped now David, I was going the wrong way in my head, going from 100 to 160 is actually making the film more sensitive.For my money, altering the meter dial by two-thirds of a stop for one shot is an optional extra. I'd welcome anything that increased shadow detail, even imaginary shadow detail. Clearly, others are more picky or better-informed then me.