High Key with NPH

[vihao]

With high key lighting I'm to expose the background - white muslin -

with 1 1/3 f-stops more light than the subject (incident reading from

key light).

 

<p>Many posters on PN suggest rating NPH at 320 or 250 with normal

processing (no pull). This helps with shadow detail and jacks up the

color saturation a little, right?

 

<p>Now, can I use the 1 1/3 high key lighting 'rule' if I shoot NPH

at 250 or 320 (without pull) and expect good results? Same question

for rating NPS at 100. Or will this create lens flare and other bad

effects similar to over-lighting the backdrop 2-3 stops? If I shoot

at 250 or 320 should I pull accordingly? Or should I just rate the

films as indicated on the box and save myself the trouble?

 

<p>As of now this is what I'm planning:<br>

key light: f8<br>

fill light: f5.6<br>

background light: 1/3 above f11<br>

camera: Nikon N90... no 's' - f8 @1/125<br>

film: Fuji NPH (400 speed) rated at 320 or 250, normal process<br>

- NPS rated at 100, normal process<br>

- Tri-X rated at 200, pull 1 fstop

 

<p>I'm looking for if-then relationships. If I do this and this,

then this and this will happen...

 

<p>I'm new at this. I know that the best thing to do is to try it

all out and burn film, but if I can save myself some time and money

by picking your brains, well, I'm gonna give it a try.

[vihao]

The pulling for Tri-X falls under 'expose for shadows, develop for high lights' adage.

[igord]

I would rate NPS at 160 (I did a lot on this film) and NPH at 320.

[EricM]

yer right ontrack, just set your incident meter at 250/320 and dial in your lights

[hclim]

The last time I tried a similar setting using the 85mm Nikkor f1.8 AFD I had a flare problem. Well, I didn't put the lens hood on so I think that was the cause but I didn't went back to retest with hood. Just to give you a bit of caution with Nikkor lenses for high key studio use.