This came out of the “Things that infuriate you well beyond their actual importance”.
I was reminded about how there is a neat and effective way of arranging your side mirrors on your car that eliminates the blind spots. The thing is, everybody has done it the traditional way all of their lives, but when someone learns the new way they become annoying in their desire to make new converts. I don’t use the alternate technique because after 40 years of driving I don’t want to mess with something that is now solid muscle memory.
So, that’s the gist of the thread: something that has been always done one way, and you know a vastly superior way and make a nuisance of yourself to the unenlightened around you.
Here’s my contribution:
In black-and-white darkroom photography, you need to make a test strip of paper where you expose the paper for increasing times, making a bit of a gray scale chart, often with 7 sections, so you can pick the one that is right for your photo–that gives you the number of seconds for your enlarger.
Since the beginning of time people have done this by exposing the whole thing for a base exposure (say 10 seconds) and then adding a fixed interval (say 5 seconds) as they cover progressively larger sections of the test strip. This results in a series of exposure times like this: 10s, 15s, 20s, 25s, 30s, 35s, 40s.
But that produces test strips that have detail in one side only. The darker side of the test strip is all muddy and you can’t even see the dividing line between the sections. This is because increasing light works as a geometric progression, not an arithmetic progression. Just like this year is a smaller portion of your whole life than the year when you turned five, each subsequent 5-second exposure is a smaller portion of the whole, resulting in way too little change on the far end of the test strip.
So the cool way to do it is called “F-stop printing” where you use a multiplier, such as root 2, to calculate the exposure times from your base time. (e.g. 10s, 14s, 20s, 28s, 40s, 56s, 80s). This produces a very smooth progression of grays across the whole test strip.
The thing is, even though this is not a new technique, few use it. Ansel Adams makes no mention of it in his works. After its introduction in a book the 1980s, most people who have tried it have been amazed at the difference and go on to make pests of themselves with the unenlightened traditional photographers who have not heard of this technique. I know I do!