Warren T.
Well-known
Hi Patrice,
Congratulations on your M3 and welcome to RFF 🙂. You have some good advice already. Personally, I would recommend that you pick up a small handheld meter (like the Sekonic L-208) and learn to use it. Even if you don't need it when you're outdoor and going with Sunny-16 rules (it works well), you will have the meter with you and available when you run into a difficult lighting situation for the first time and you won't have a clue how to estimate exposure. In time, you will rely less and less on the meter. For film, I agree that either Tri-X for true B&W, or Ilford XP-2 for C-41 process would be appropriate.
At least initially while you're learning, you may find it useful to keep a small notebook around to jot down your exposure setting for each frame so that you can see how the setting affect the way your negatives look (density, contrast, etc.)
By using a fully manual, meterless camera like the M3, it forces you to think not just about the correct exposure, but you will begin to see the importance of how lighting must be an integral part of your subject and composition.
--Warren
Congratulations on your M3 and welcome to RFF 🙂. You have some good advice already. Personally, I would recommend that you pick up a small handheld meter (like the Sekonic L-208) and learn to use it. Even if you don't need it when you're outdoor and going with Sunny-16 rules (it works well), you will have the meter with you and available when you run into a difficult lighting situation for the first time and you won't have a clue how to estimate exposure. In time, you will rely less and less on the meter. For film, I agree that either Tri-X for true B&W, or Ilford XP-2 for C-41 process would be appropriate.
At least initially while you're learning, you may find it useful to keep a small notebook around to jot down your exposure setting for each frame so that you can see how the setting affect the way your negatives look (density, contrast, etc.)
By using a fully manual, meterless camera like the M3, it forces you to think not just about the correct exposure, but you will begin to see the importance of how lighting must be an integral part of your subject and composition.
--Warren