Planet Venus looking very bright of late.Western sky around sunset.

Very nice

L o m g

Excellant video, thank you!

I dug the ambient vibe on this one! Great shots too

Totally gonna give this a try, thanks for making such a great video explaining how to use everything!

Great video. Incident metering can be tricky when you're shooting film with a limited dynamic range (slide or specialty) in a high contrast environment. You still need to "place" your total exposure as your whole scene could clip both your highlights and shadows, and you may want to pick one. For metering the sky, aim north (in the northern hemisphere).

Thank you for an engaging video! Please leave any questions below.

Too much creativity

Great video! Some of those shots were incredible. I absolutely agree about the Holga being perfect for capturing something like a rave. I recently dug out my 15 year old Holga in anticipation of an upcoming trip to Japan, and immediately broke the spring that resets the shutter. I managed to use a bit of wire to physically attach the shutter button to the mechanism so I can pull it back up after shooting to reset the shutter. It was also very interesting to see the lengths I went to to modify the Holga many moons ago, such as replacing the foam that keeps the film tight with denser foam, and putting tape over the screws behind the mask to prevent light leaks.

nice video

Incredible vid, Adam, thanks for documenting the weekend! The male form IS kinda cozy

Love how the penguin photos turned out!

Such a fun watch as an avid film photographer and tour guide at the Arch!

Sir, at 10:06, I believe you were jaywalking, which is against the law.

The Hope Creek nuclear power plant is easily my favorite power plant

Not gonna lie, stopped in for the film...stayed because I miss my home state of Bama...but kept saying War Eagle every few seconds in my head. You have a great channel non the less ;)

First time watching vid, hear fart sounds. Hooked

This is one of the best explanations I have ever heard for what push processing actually does and why it creates more contrast on a scientific level. Keep up the great work!

Really good depicted !

wil - MID ton .. point taken lmao .. cool vid good commentary

That’s a big bridge

PHL 🔛🔝 raaaaahhh 🦅

Sorry to all the Wilmington stans out there.

Funny how you take issue with the British spelling of "analogue", but not "colour".

Beautiful work as always! Pro 400H was an amazing choice for these

I got a camera that shoots in raw, has auto exposure and has 15 stops dynamic range. Is there a reason why i would ever need this or am i missing something.

If you don't have a grey card you can also meter the palm of your hand instead of grass or the blue sky. Sometimes it's just handier ;-) Those Seconics 308 are great, my favorite user as far as external meters go. Thanks for the video, extremely good summarized basics of metering, good to have it in one place. And I don't care that you're filming in your closet, people used to develop film there in the old days or make prints. So thanks again and best wishes.

Very helpful Adam have you ever entered for infrered digital photography in struggling a bit to get consistent results 👍🏻

Super helpful tips!

I always got good results by underexposing Ektachrome slide film by 1/4 to 1/2 a stop. Gave better colour saturation, too.

Brainiac reference, nice! haha!

Great review! The blood was a nice touch!😂

What you are apparently not aware of is that the metering standard for ISO is 12% not 18%. 18% is what was used in the older ASA film rating system used prior to 1975. The significance of that is cameras and meters sold after 1975 which have ISO for film speed will only correctly expose the shadows values on negative film if a 12% gray card or the incident dome of the meter is used correctly which for exposure is to place on the camera axis pointed back at the camera so the % of highlight and shadow on the dome of the meter match those of the scene. There is an interesting story why Kodak still sells 18% cards. Ansel Adams created a new ‘religion’ based on worshiping the 18% gray card in his Zone System as Zone V middle gray (perceptually between white and black). Back in the early days of metering taking a reading off the 18% card with an ASA rated Weston meter was the only way to get accurately exposed shadows. You didn’t use the ASA number on the film box, you tested with a series of bracketed exposures CHANGING METER ISO (and shutter / aperture accordingly) until YOUR EYES told you the shadows in the negative were exposed correctly and from that point on that was the ISO setting used on the meter for exposure off the 18% gray card for every Zone System exposure. Adam upon learning about the new ISO 12% exposure / film speed calibration stand went to Rochester NY and lobbied the Kodak executives convincing them to keep the Kodak card 18% so as not confuse those who used his system. That is why if you actually read the instructions for exposing per the Kodak R-26 card you will see a note which instructs the user of the need to adjust meter readings by 1/3 to obtain correct exposure. It is also why if you fill the frame of a digital camera with an 18% gray card and let the camera metering set exposure the histogram spike created by the card will not be in the center as you might expect “middle gray” to be. But if you did the same thing with a 12% reflectance card which are also available from other sources it would be because digital camera metering conforms to the post 1975 ISO 12% standard. I know this because I first started in photography in 1968 developing and printing using the Kodak roll film method of developing all negatives for the same time the using different contrast print papers to fit scene range to print. Then starting in 1971 learned and used the Adam Zone System approach which was to always print on #2 grade paper and adjust negative development time based on scene range I measured with a Pentax 1° spot meter. In 1972 I got hired as apprentice / assistant to top wedding photographer Monte Zucker who devised a method for creating full tonal ranges on color prints in wedding albums by dual two speedlights in a KEY over FILL arrangement to CHANGE SCENE RANGE TO FIT RANGE OF PRINT. It is very simple: Put a flash over the lens on a bracket for Fill, adjusting its power until shadow detail is seen on the negative at the desired aperture the adjust the power of the off camera flash he mounted on a rolling medical IV stand until the highlights it hit were exposed correctly. It was like Adams Zone system but it fit the range of the scene to the fixed range of the color print using LIGHTING RATIO. Keeping the off camera flash 2x (one stop brighter) fill allow capturing a full range of tone in a black suit and huge white wedding dress in the same photo. It is a method I still use 52 years later. My next job in 1974 was in the National Geographic photo lab, one I got by meeting the asst. chief of the labs who was impressed with my experience up that point where I got totally immersed and educated on the technical side of photography and photo reproduction via halftones and color separation for printing which back then was all done with analog techniques. I was mentored by top experts from Kodak and DuPont (which made the lithographic film and color proofing system we used. Thats why I’m aware of the change in ASA / ISO metering standards and the Ansel Adams story about the gray card. The best metering tool is a 1° spot meter because it allows direct reading from the scene in shadows for setting exposure, eliminating the need to meter off a gray card. A modern meter which used ISO numbers is calibrated to reproduce what it meters as 12% gray. The simplest way to meter negative film is to change the ISO setting of the meter about 3-4 stops to change that calibration point to a Zone 2 scene / print value which is the first shaded content were texture is scene. On some meters like Sekonic did can be shifted via a compensation setting or just keep altering the ISO setting on the meter until your eyes tell you the shadows on negative are being record optimally with density on the negative in the darkest shadow areas above total black void (like a cave). If shooting reversal film (transparency / slides) you can use the same spot metering hack of changing the ISO setting but you base it instead on getting the Zone 8 (textured white), Zone 9 (smooth white) and Zone 10 (specular reflections) rendered accurately. With digital / scans the eyedropper values for the critical exposure ‘Zones” are: Zone 0 = 0, Zone 1 = 1-30, Zone 2 = 30 - 50 … Zone 8 = 230-245, Zone 9 = 246-254 and Zone 10 = 255. In other words the only thing exposed at 255 clipping should be specular reflections from the sun or light source on smooth white objects. On a digital camera correctly exposed highlights are simply a matter of turning on the overexposure warning and adjusting exposure to keep all non-specular highlights 1/3 stop below clipping. After doing that correctly expose the highlights you then look a the left side of the of the histogram. If the bars are piled up on the left it indicates the scene range exceeds sensor and you need to decide to either accept loss of shadow detail or adjust exposure to blow out the Zone 9 / Zone 10 contrast that provides the clue to 3D shape on white objects. Exposing for correctly rendered highlights and accepting loss of shadow detail is nearly always the better choice perceptually. It is possible to get a full range rendering of foreground objects in direct sunlight by shooting into the sun using it as back rim light and adjusting exposure to keep any white clothing and skin it hits 1/3 below clipping. The add FILL flash from the camera axis until detail is seen on the front of a black towel draped on a stand, then add KEY light off axis raising it’s power until the white clothing in the shade of the sun + fill flash is raised to the point it is 1/3 stop darker than the sunlit whites (i.e. 2/3 stop below triggering clipping warning with the KEY flash). The result will be a full range of rich tone and detail on the flash lit front of the subject without any blown out sunny highlights. The highlights in the sun lit background will also be correctly exposed but since the camera sensor can’t handle the entire scene range some detail will be lost in the shadows in the background but will not typically be noticed.

Why are you in a pile of clothes?

Come out of the closet already....

Picked up one of them sekonics as a hand me down with no idea how to read the readings, this is coming in at a great time

Well played young fella..........Don't give up on that home ownership. In the 80s a home costing say $80k seemed unreal v when it cost your parents $3k in 1963.....I'm not making light of real issues, but keep striving....

Amazing video, thank you

love the video I've been trying to teach some friend interested in film photography and this is an amazing video to help them learn to properly expose their pictures thank you!

You’ve single handedly revolutionized my photography… are you happy now?

Fantastic video...look forward to more of your knowledge and content...

I learned something on KZbin today. Thanks for teaching me how to expose myself, Adam!

It's better to develop black&white film yourself. All colorfilm has a standard development process, but black&white hasn't. All have their own development times and some film doesn't work well with some developers. A big chance that your lab developes all black&white film the same way and that may not be the best for your film. Developing yourself gives you a lot more control over the end product.

My favorite photo is the christmas tree. The others do not have the orange cast I like.

Sweet shot at 9:37!

So you are unhappy about the spelling of analogue but ok with that of colour?

Great video! I really liked the photos - the analogue touch is definitely there. Thanks for testing all different scenarios and sharing your opinions :)

Sugar cookies with no icing! Great to dip in coffee

That train shot goes hard! Also, I loved the Initial D shout out!