THE PRACTICAL Zone System for Film and Digital Photography This page intentionally left blank THE PRACTICAL Zone System for Film and Digital Photography Fifth Edition Classic Tool, Universal Applications CHRIS JOHNSON Amsterdam • Boston • Heidelberg • London New York • Oxford • Paris • San Diego San Francisco • Singapore • Sydney • Tokyo Focal Press is an imprint of Elsevier Focal Press is an imprint of Elsevier 225 Wyman Street, Waltham, MA 02451, USA The Boulevard, Langford Lane, Kidlington, Oxford, OX5 1GB, UK © 2012 Chris Johnson Published by Elsevier Inc All rights reserved Cover design courtesy of Tom Ingalls Interior illustrations designed by Connal Hughes of Cabbage Designs No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in writing from the publisher Details on how to seek permission, further information about the Publisher's permissions policies and our arrangements with organizations such as the Copyright Clearance Center and the Copyright Licensing Agency, can be found at our website: www.elsevier.com/permissions This book and the individual contributions contained in it are protected under copyright by the Publisher (other than as may be noted herein) Notices Knowledge and best practice in this field are constantly changing As new research and experience broaden our understanding, changes in research methods, professional practices, or medical treatment may become necessary Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any information, methods, compounds, or experiments described herein In using such information or methods they should be mindful of their own safety and the safety of others, including parties for whom they have a professional responsibility To the fullest extent of the law, neither the Publisher nor the authors, contributors, or editors, assume any liability for any injury and/or damage to persons or property as a matter of products liability, negligence or otherwise, or from any use or operation of any methods, products, instructions, or ideas contained in the material herein Library of Congress Cataloging-in-Publication Data Application submitted British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library ISBN: 978-0-240-81702-6 For information on all Focal Press publications visit our website at www.elsevierdirect.com 11 12 13 14 15 Printed in China Contents Preface to the Fifth Edition xi Acknowledgements xv Why and How to Read this Book Chapter 1 “Will It Come Out?” Introduction What exactly is the Zone System? How does the Zone System Apply to Digital Photography? Why is Photographic Technique So Important? If the Zone System is So Important, How were Good Photographs Taken without it? Isn’t the Zone System Useful Only with View Cameras? Do I need a Spot Meter to Use the Zone System? Camera Manufacturers Give the Impression that Taking Good Pictures can be Simple and Automatic Is the Zone System Outdated? How does the Zone System Apply to the Use of an Electronic Flash? Can the Zone System be Used with Color Film? Chapter 2 Print Quality, Negative Contrast, and Dynamic Range xvii 1 3 4 5 Subject Contrast and Photographic Papers: A Bit of History The Photographic Procrustean Beds Working with Paper Grades Working with Problem Negatives Summary Chapter 3 The Control of Negative Contrast Expose for the Shadows Develop for the Highlights Normal Development Summary Chapter 4 The Zone Print Values Texture and Detail The Zones 13 15 15 15 18 21 22 23 25 26 vi | Contents Previsualization Measuring Zones Summary Chapter 5 Exposure Light Measurement Exposure Recommendations The Meter’s Dilemma Exercise: How Light Meters Really Work Exposure Detailed Place and Fall With Handheld Meters With In-Camera Meters Summary Chapter 6 Development Measuring Subject Contrast with In-Camera Meters Normal Plus Development Normal Minus Development Chapter 7 An Overview of the Zone System Expose for the Shadows and Develop for the Highlights Zone System Frequently Asked Questions Chapter 8 Zone System Testing: Method 1 Introduction Choosing a Photographic Paper The Use of Equivalent ISO (ASA) Numbers Zone System Testing: Method 1 Roll Film Sheet Film Standard Printing Time Test Expansion and Contraction Development Times Chapter 9 Zone System Testing: Method 2 About the Development Time Charts Development Time Charts Film and Developer: Questions and Answers Chapter 10 The Zone System and Digital Photography Introduction A Word about Structure and Understanding Basic Assumptions Digital and Film Photography 31 34 36 38 40 41 42 45 48 48 49 49 52 54 59 65 69 73 77 80 89 89 90 91 94 103 103 103 107 109 111 113 118 120 120 122 123 124 Contents | vii Other Digital Printing Considerations and Alternatives Pixels: Size, Resolution, Bit Depth, and Quality Optimizing Digital Image Resolution The Scanning Process File Size Calculator Guidelines Bit Depth and Digital Exposure The Zone System of Digital Exposure A Summary of Digital Exposure Effects The Zone System and Digital Contrast Control Raw Converter Choices An Introduction to Adobe Camera Raw Utility Summary of Digital Photography Cardinal Rules Chapter 11 The Zone System and Studio Photography 130 131 137 141 145 146 147 158 167 168 174 174 191 193 About the Cover Image Introduction Digital Workflow and the Power of the Zone System The Lighting Studio as a Creative Environment Understanding Flash Meters The Creative Sketching Process in the Studio Studio Exposure Methods: Flash Spot and Incident Meters Understanding the Lighting Studio Zone Chart Incident Meters Never Lie The Masterwork Re-creation Process Some Comments Regarding Equipment and Workflow Equipment 193 193 195 196 196 201 202 204 206 207 209 Steps in the Process Summary of preceeding steps The Shooting Process 209 213 215 Appendix A Color Management, Profiles, and Color Spaces Profiles Color Spaces Color Managing Your System The RIP Alternative Appendix B A Primer on Studio Lighting Photography Controlling Strobe Brightness in the Studio The Visual Qualities of Studio-lit Subjects Appendix C What Is a Pixel? Pixel Size Screen Pixels 219 219 222 226 235 236 236 239 249 249 249 viii | Contents Digital Image Sensor Pixels Scanners Printers 249 250 250 Appendix D Bit Depth 251 Appendix E Exposure and the Digital Linear Effect 253 Linear versus Nonlinear Nonlinearity, Zones, and Human Vision The Digital Linear Effect Appendix F Digital Light Meters and the Zone System Digital Light Meter Settings The Zone System and Digital Meters Previsualization, Placement, and Contrast Measurement Exposure Determination Appendix G A Primer on Basic Film Photography Photographic Emulsions The Negative The Print Processing ASA Paper Grades The Camera The Shutter Exposure Appendix H Films, Developers, and Processing The Basics Developer Notes Film Notes Processing Notes Appendix I The Practical Zone System Film and Developer Testing Method The Testing Process 253 254 255 259 260 261 262 263 267 267 268 268 269 272 273 274 277 277 280 281 282 284 285 287 287 Appendix J Film and Developer Commentary by Iris Davis 292 Appendix K Alternative Methods for Extreme Expansion and Contraction Development 294 Expansion Contraction 294 294 Contents | ix Appendix L Contrast Control with Paper Grades 296 Appendix M Developer Dilution 298 Appendix N Compensating Developers 299 Compensating Formulas Kodak D-23 Two-Bath Compensating Formula Water Bath Development 299 299 300 300 Appendix O Inspection Development 302 Appendix P Condenser and Diffusion Enlargers 303 Appendix Q ASA/ISO Numbers 305 Appendix R Filter Factors, the Reciprocity Effect, and Bellows Extension Factors 306 Filter Factors The Reciprocity Effect Bellows Extension Factors 306 306 307 Appendix S A Compensation Method for Inaccurate Meters 308 Appendix T Zone System Metering Form 309 Using the Zone System with In-Camera Meters Appendix U Exposure Record and Checklist for Zone System Testing Materials Materials for Sheet Film Steps Roll Film (Alternative A) Sheet Film (Alternative B) Appendix V Examples: Zone System Applications Christine Alicino David Bayles Dan Burkholder Judy Dater Chris Johnson Robert Bruce Langham III 309 312 314 314 314 315 315 316 316 319 321 323 325 327 Appendix W Suggested Reading 329 Film Photography Basic Photography Technique 329 329 Glossary | 341 Color Management The calibration, profiling, and coordination of all elements in a digital imaging workflow for the purpose of ensuring that the final print or other output matches the image represented on the computer monitor as closely as possible Colorsync A color management system introduced by Apple Computer Co Contraction The decrease in negative contrast brought about by using a development time that is less than Normal Development Contraction is symbolized by N –, followed by the number of zones by which you want to decrease the contrast For example, N – means decrease the development time below Normal Development enough to reduce a Zone IX negative density to a density equivalent to Zone VII Contraction is also known as “compaction.” Contrast Subject Contrast refers to the relative difference between the amount of light reflected by the “highlights,” or bright areas, of the subject and the “shadows,” or darker areas This difference is measured with a reflected-light meter Negative Contrast refers to the relative difference between the “shadow,” or thinner, areas of the negative and the “highlight,” or more dense, areas Print Contrast (also called “tonal separation”) is the ability of the film and printing paper to render a visual distinction between close tonal values Print contrast increases when a negative is printed on higher grades of paper Density “Density” is technically a scientific term used to indicate the relative opacity of a negative as measured with a densitometer The term is commonly understood to mean the relative thickness of silver in the negative DPI (dots per inch) A measurement of the resolution of a digital photo or digital device, including digital cameras and printers The higher the number, the greater the resolution Drivers Software associated with digital scanners and printers that controls the functioning and coordination of the device with all other elements of the workflow Dynamic Range The term used to define the total range of tonal values in a digital image Also referred to as “contrast.” Expansion The increase in negative density brought about by developing the negative longer than Normal Development Expansions are symbolized by N+, followed by the number of zones by which you want to increase the contrast For example, N + means to increase the negative’s development time above Normal Development enough to raise a Zone VI negative density to a Zone VIII density 342 | Appendix Y Glossary Fall The term used to indicate the position of any subject's meter reading on the Zone Scale after another meter reading has been placed on a different zone For example, when the contrast of the subject is Normal, the meter reading for the highlight will fall on Zone VII when the meter reading for the shadow is placed on Zone III Gamut The total range of colors that a digital device can reproduce Histogram A graphic representation of the range of tones from dark to light in a digital photograph Important Highlight The area of the subject that you want to appear in the final print as a fully textured and detailed light gray tone In most cases, this area will be previsualized as Zone VII Light clothing, concrete, and fully textured white objects are typical Important Highlight Area subjects Important Shadow The area of the scene that you want to appear in the final print as a fully detailed dark value This need not be an actual shadow In most cases, the Important Shadow Area is previsualized as Zone III Dark clothing, brown hair, and green foliage are common Important Shadow Area subjects Incident Light The light that falls on the subject from the light source; measured with an incidentlight meter Indicating Arrow The arrow or pointer on a handheld light meter that is matched with the indicated meter reading to calculate the meter's recommended exposure The meter number indicated by this arrow is automatically placed on Zone V Interpolation A mathematical method of creating missing image data to increase the file size and/ or dimensions of an image Inverse Square Law A physical law stating that intensity of brightness radiating from a light source is inversely proportional to the square of the distance from the source; so an object (of the same size) twice as far away receives only one-quarter the illumination For photographers working in a lighting studio, this means that if you double the distance between a subject and light source, the illumination on the subject will be decreased by four times (two stops) Inversely, if you halve the distance between a subject and light source, the illumination will be increased by four times (again two stops) JPEG A standard for compressing image data developed by the Joint Photographic Experts Group LCD (Liquid Crystal Display) A low-power monitor often used on the top and/or rear of a digital camera to display settings or the photo itself Glossary | 343 Megabyte (MB) A measurement of data storage equal to 1,024 kilobytes (KB) Megapixel Equal to one million pixels Neutral Gray Card A middle gray (18 percent) card designed for calibrating exposure meters and to serve as a visual reference for color reproduction Also known as a “Zone V card.” Noise Random patterns of either color or brightness that appear in the shadow areas of digital images with higher ISO settings (400 and above) Normal a Subject Contrast is said to be Normal when the meter readings of the Important Shadow and the Important Highlight fall on Zone III and Zone VII, respectively b Negative Contrast is considered Normal when the negative prints well on a Normal grade of paper, usually paper grade or variable-contrast filter c Normal Development is the amount of development for a given film and developer that will produce contrast in the negative that is equal to the contrast of the subject Normal Development is symbolized by N Pixel Pixels or picture elements are the smallest components of digital images Digital camera and monitor pixels are the physical units that capture and display digital image data, respectively Image pixels are the individual “tiles” of color or tone that make up the visible image on a monitor Placement The act of relating any single meter reading to a zone on the Zone Scale through controlled exposure For example, to place a shadow reading on Zone III, you first meter that area with a reflected-light meter and then stop down two stops from the meter’s recommended exposure Posterization See “Banding.” Previsualization (also visualization)—The act of mentally picturing a photographic subject in terms of the finished print Profile A small data file that describes the color idiosyncrasies of each element of a color-managed digital workflow, including the monitor and printer, for the purpose of providing coordination of color rendition from one end of the process to the other Raster Image Processor (RIP) A raster image processor or “rip” is a highly integrated color management, page layout, and ink-handling system that provides the highest quality results from inkjet printers Rasterization See “Bitmapped.” 344 | Appendix Y Glossary Raw Formats The unprocessed black-and-white data from a digital image sensor before it has been converted or Tone Mapped into a color format that can be edited with an application like Adobe’s Camera Raw utility Reflected Light The light that is reflected from the scene to the camera and meter; measured with a reflected-light meter Resolution For analog photography, the term is used to describe a film's capability to record fine detail For film, good resolution is a function of sharp focus, fine grain, good contrast, and minimum exposure and development For digital image files, good resolution is achieved through a combination of increasing the number of pixels per inch in your image and assigning an appropriately high bit depth to each pixel Tagging The process of attaching a profile to a digital image to allow it to be rendered accurately on other color-managed systems Textural Scale The range of five textured zones from Zone III to Zone VII Tonal Range The difference between the whitest white and the blackest black in a photographic print Tonal Separation See “Print Contrast” under “Contrast.” Tone The shades of gray, black, and white in a photographic print Tone Mapping The process of converting a digital image from its raw, linear state to a format that more closely resembles a familiar nonlinear distribution of tones Value The light and dark areas of a photographic subject, negative, or print Vector-Based Images A graphic image whose visual characteristics are created mathematically by an application like Adobe Illustrator As opposed to a digital image composed of numerous individual picture elements or pixels Visualization See “Previsualization.” Zone The basic unit of photographic previsualization and contrast measurement a Any one of 10 symbolic tones arranged in order from black to white This 10-step scale is called the “Zone Scale.” Each zone represents a small range of tones that can be found in both the final print and the original scene b A unit of photographic measurement equivalent to all other photographic controls according to a ratio of to Index A Acufine developer, 282 Adams, Ansel, 2, 111, 121, 130, 193, 300, 316 “Adaptation effect” of human vision, 255 Adobe Camera Raw, 174–191 advantage, 172–173 Highlight Recovery, 178–180 Agfa Rodinal developer, 109 Agitation, 270–271, 285 rate of, 18, 87, 112 Banner printing, 130 American Standards Association (now American National Standards Institute), 86, 272, 305 Basic Photographic Materials and Processes, 282 personal working (exposure index), 94b, 305 Bellows extension factors, 307 Angle of incidence, 39 Aperture, 197b, 199b, 275–276 Adobe Photoshop, 121–122, 124, 140b, 143–144, 149, 181, 225–226, 227b–228b, 325 Aperture-priority meters, 85 Levels Command dialog box, 151, 152f, 155–156 Adobe RGB 1998, 223f–225f, 224, 226 Adox Adonal developer, 109, 117t Banding, 153, 158, 158f Alicino, Christine, 316–319 Adobe Color Engine (ACE), 221, 226 Gamma software, 220 B Apple Display Calibration Assistant, 220 Bayles, David, 23f, 316, 319–321 Bit, 251 Bit depth, 132b, 133, 135, 136f–137f, 137, 142b, 146, 251 and digital exposure, 147–158 Apple Macintosh, 124, 227b optimizing through digital capture, 138 Applications of Zone System, 316 optimizing through digital scanning, 140–141 ASA numbers, 34–36, 35f, 272–273, 305 equivalent, 91–93 Automatic cameras, 279, 325 Bracketing exposures, 91, 182b Brandt, Bill, 1, 34, 193, 207–209, 208f Built-in camera meters, 309–310 346 | Index Built-in light meters, 40, 44, 49 calibration of, 83–84 center-weightedness of, 83 types of, 84 Bullock, William, Bullock, Wynn, 1, 34 Burkholder, Dan, 316, 321 Burning in, 269 Burrows, Larry, 120 Christine on Tomales Bay, 325, 326f Chrome films, 81–83 ColorSync, 226 Chromium intensifier, 294 Color Think Pro, 224 Chromogenic films, 285 Compensating developers, 299 Ciapponi, Laura, 207 Condenser enlarger, 303 Cleanliness, 270 Content-structure relationship, Clipping, 172, 172f, 225 Cold lights, 303 Color balance, 220 C Calibration, 220 Callier effect, 303 Calumet Exposure Calculator, 307 Camera histogram, 165f Cameras, 274–276, 275f aperture of, 275–276 exposure, 277–279 fully automatic, 5, 85, 279 semi-automatic, 279 shutter of, 277 view, Canon EOS 50D, 124 Caponigro, Paul, 34 Capture One, 174 Cardinal rule, for digital photography, 125, 138, 173, 191–192 Center-weightedness, 83 Channels, 149 for digital photographers, 226 Color-banding, 224 See also Banding Color channels, 142b, 149, 150f Color film, Zone System with, 5–6, 81–83 Color management, 123, 219 to system, 226–235 color space selecting, 227b–228b conflicts, resolving, 232b–235b monitor calibration, 227b printer driver settings, 230b–232b printer profile selecting, 229b–230b Color Management Module (CMM), 221 ColorMatch RGB, 226 Color photography, 120 Color profiles, 219–222, 221f Color spaces, 222–226 Continuous-tone printers, 86 Contraction, 19, 21, 294–295 development, extreme, 294 See also Normal Minus Development (N–) Contrast of color films, 82 control with paper grades, 296 general rules for controlling, 17 meanings of, measurement in terms of zones, 54, 59 negative, 7, 15–21 Normal, 59b of paper, 8, 273, 273f print quality and, 7–14 shadow, subject, 7, 13 Core Digital Values, 137, 146 Creative sketching, 201–202, 202f Crewdson, Gregory, 195 CS5, 124 Custom camera profiles, 173 Index | 347 D Darkroom diary, 110 Dater, Judy, 316, 322–323 Davis, Iris, 292 Dedicated film scanners, 140 Density effect of development on, 16–17, 17f film base plus fog, 26, 26f, 111b Normal (N), 18–21, 55f, 86, 110, 112 Normal Minus (N-), 19–20, 20f, 69–72, 107–108, 169f Normal Plus (N+), 20–21, 20f, 65–69, 108, 169f questions and answers about, 111 water bath, 295, 300–301 Development time charts, 111, 113–118 Diaphragm, 275 Dichroic fog, 283b compensating, 299 diCorcia, Philip-Lorca, 194 dilution, 298 exotic, 282 Diffuse reflections, 241, 241f general-purpose, 282 Diffusion enlarger, 303–304 notes, 282–283 Digital banding, 154f testing method, 287 Development, Normal (N), 3, 11–13, 15–18, 54–72, 89, 296, 303 correct time for, 18, 18b, 21, 77b expansion and contraction, extreme, 107–108, 294 inspection, 302 Digital images, 133–137 high quality, 134f low quality, 134f Digital light meters, 40, 40f, 259 two-bath, 295, 300, 300t questions and answers about, 118 optimizing, 137–141 of sheet film, 107 shadow, 15–18, 86 Developer, 18, 95b, 109–119, 114t, 269b, 281–282 See also individual entries Digital image resolution Digital image sensor pixels, 249–250 tank vs tray, 286 Detail, zones as, 23, 25 rubber strip, 153, 153f of roll film, 80–81, 107, 113–118 highlight, 7, 13, 15 Depth of field, 275 Digital gradation, 135, 135f–136f minimization, principles for, 154 Digital cameras, 87, 121–122 choices, 124 Digital camera sensor, 250f Digital capture, 138 optimizing bit depth through, 138 optimizing resolution through, 138–140 exposure determination, 263–266 previsualization, placement, and contrast measurement, 262 settings, 260–261 Digital Linear Effect, 255–258 Digital noise, 125b–126b, 126f, 142b, 169–170, 170f, 192 Digital photography, 3, 5, 86–87, 120–192 assumptions, 123–124 applications, 124 digital camera choices, 124 platform and operating management, 124 cardinal rules, 125, 138, 173, 191–192 digital contrast control, 164, 168–173 digital exposure, 158–167 and bit depth, 147–158 348 | Index Digital photography (Continued) exposing for highlights, 164–167 exposure, 126b–127b and film photography, 124–130 Digital spot meters, subject contrast measurement with, 65, 65f Digital workflow, 195–196 Dilution, 18, 87, 271, 285, 298 DIN numbers, 305 process, 125–130 Direct reflections, 241–243 similarities and differences, 124 Dodging, 269 ISO selection, 125b–126b Dots per inch (DPI), 142b–143b, 250 limits, 169–172 Driffield, Vero, 253 negative contrast, control of, 21 Drivers, 226 pixels, 131–137 printing, 129b–130b large-scale and banner printing, 130 Drum scanners, 140–141 Drying, 270b processing, 127b–129b scanning process, 141–145 structure and understanding, 122–123 automatic alternative, 122–123 color management, 123 scanning, 123 teaching approach, 123 Digital raw, 127b–129b Digital scanning, 138 optimizing bit depth and resolution through, 140–141 Exotic developer, 282 Expansion development, 20, 107–108, 294 extreme, 294 See also Normal Plus Development (N+) Exposing for highlights, digital exposure, 158 digital shadows problem, 162–164 exposing to right, 158–162 Exposure, 3, 5, 5b, 10–11, 13–14, 38–53, 126b–127b, 253, 272–273, 277–279 DX code-reading systems, 85 bracketing, 91–93, 100b, 182b, 321 Dynamic range, 8, 142b–143b, 153, 170, 175, 177 built-in meters, 83, 85, 278–279 lightjet printer, 130–131 printer quality, 130 Enlargers, 91, 94b, 297b, 303 E Edwal FG-7 developer, 112, 113t, 282–283, 282b, 298t, 299 Eggleston, William, 120 bits per channel, 142b–143b, 146–147 Electronic flash, Zone System and, 5, 82, 84 Electronic imaging techniques See Digital imagery EI (Exposure Index), 94b, 305 Emulsions, 267, 267f with modern electronic flash, 84 recommendations, 41 studio, methods, 202–204 Exposure Adjustment, 174 Exposure compensation dial, 85 Exposure meter, 42 Exposure values (EVs), 35, 35b, 35f, 40, 51, 51f F Fall, 48, 56 Fiber-based papers, 90, 273 File size calculator, 145–146 Index | 349 Film, 18, 94b–95b, 267, 281, 284–285, 292 See also individual entries advantage of, 177–178 chromogenic, 285 Filter factor, 306 Final print duality guidelines, 146 Fine-grain developers, 282 H Hand-held light meters, 34b, 35, 41, 49, 278 analog, 41, 41f Fine-grain films, 281 Hard shadows, 239–241 Fixer (hypo), 270b Hass, Ernst, 120 Flash, Zone system and electronic, 5, 82, 84 Hasselblad/Imacon Flextight scanners, 140–141 high-speed, 281 Flash apertures and distance, 198b–199b medium-speed, 281 Flash meters, 196–201 High-contrast subjects, 69–72, 70f–71f, 170–171, 171f, 177–191 development time recommendations for, 111 exposure plans for, 91 fine-grain, 281 old vs new Kodak film, 281 pushing and pulling, 83 questions and answers about, 118 roll, 4, 103, 105–107, 106b–107b, 281, 285 sheet, 103, 105–107, 286 tabular grain (T–Crain), 284–285 testing method, 287 Film base plus fog, 26, 26f, 111b aperture, 197b–198b flash apertures and distance, 198b–199b readings, 199b, 245 Flash spot meter, for studio exposure, 202 Flatbed scanners, 141 Fog, dichroic, 283b F/stop, 34–35, 35f, 275 Fully automatic cameras, 5, 85, 279 Film processing, 272t G Film speed, 112 Gamut, 223 adjustment of, 85 High Dynamic Range (HDR), in landscape, 321 High Dynamic Range (HDR) software, High Dynamic Range Pro, 181–191 High key lighting, 243–248, 244f Highlight, 7b, 14 densities, 7, 11, 18 developing for, 15–18, 54, 77–80 judging, 106b–107b High-speed films, 281 Histogram, 147–153, 165f, 171 stretching, 153–158 General-purpose developers, 282 Hot lights, 196 Glare reflections, 243 Human vision, 173, 254–255 Graded papers, 274 Hurter, Ferdinand, 253 panchromatic viewing, 53 Gray channels, 149, 149f variable contrast, 14, 18b, 90, 274, 296 Grid, 217b Hydrargyrum medium-arc iodide (HMI), 196 Filter, 306 Kodak Wratten Filter Number, 53 Hypo (fixer), 270b 350 | Index I Ilford, 109, 111 Inspection development, 302 Kodak, 109, 109b, 111, 281 Integrated raw converters, 174 Kodak Data Guide, 306 Intensification, 294 Kodak D-23 developer, 282, 299–300, 300t International Color Consortium (ICC), 220 Kodak D-76 developer, 114t, 282–283, 298t Interpolation, 137–138, 140, 140b, 145 Kodak HC-110 developer, 113t, 282–283, 298t, 299 Ilford HP5 Plus film, 281 Inverse Square Law, 198b–199b, 199f Kodak 125PX (Plus-X) films, 281 Ilford ID-11 developer, 117t, 282–283 Iris printer, 121 Kodak Safelight Filter, 302 Ilford Delta films, 284–285, 307 Ilford Delta 100 films, 281 Ilford Delta 400 films, 281 Ilford FP-4 film, 281, 293 Ilford Ilfotec developer, 115t Ilford Ilfotec HC developer, 282–283, 298t Ilford Pan-F Plus film, 281 Ilford Perceptol developer, 112, 118t, 282–283 Image quality, 135 Important Highlight Area, 29, 29f, 48, 55, 60, 67 Important Shadow Area, 10, 27, 27f, 27b, 48, 55, 60, 67 placing on Zone III, 48, 74b In-camera meters, 40–41, 41f, 49–52, 59–65, 278–279 Zone Metering Form, 75b, 76f ISO, 86 selection, 125b–126b ISO numbers, 305 equivalent, 91–93 J Jobo, 286b Kodak T-Max 100 films, 281, 293 Kodak T-Max RS developer, 116t, 282–283 Kodak TMY 400TMax films, 281 JPEG format, 127b–128b, 128b–129b, 166–167, 251 Kodak TMZ T-Max P3200 films, 281 June in Sèvres (photo), 325 Kodak 400TX (Tri-X), 281 K Key aperture, 199b, 205, 212b Incident-light meters, 38, 38f, 198b–199b, 206–207, 206f, 213b subject contrast measurement using, 202–203, 203f Ink-jet printers, 87, 130 Kodak T-Max films, 307 Johnson, Chris, 325 Incident light, 38, 80–81, 277 Indicating arrow, light meters, 41, 41f, 57 Kodak T-Max developer, 108, 116t, 282–283, 283b, 293 Kodak Wratten Filter Number, 53 Kodak XTOL developer, 282 L Knoll, Thomas, 122 Langham, Robert Bruce, III, 316, 327 “Known light source” test, 308 Large format scanners, 140–141 Index | 351 Large-scale printing, 130 in-camera, 278–279 Lighting incident-light, 38, 38f, 42 arrangement, 209b–210b, 210f indicating arrow on, 41, 41f, 67 distance, 200–201 measurement, 40–41 Lighting studio as creative environment, 196 hot lights vs strobes, 196 creative process, steps in, 214f meter’s dilemma, 42–44 problems from not using, 83–84 proper direction for turning, 78 reflected-light, 38, 39f Measurement of zones, 34–36, 35f Medium-speed films, 281 10-megapixel sensor, 139, 139f Meiselas, Susan, 120 Memory lock, 85 Metadata, 127b–128b Metering form, 75b, 76f, 309 Metering system, overriding automatic, 84–85 normal contrast in, achieving, 203–204 spot meters, 4, 39, 39f, 49, 94b zone chart, 204–206 types of, 38 Meter readings, determining, 213b wide-angle meters, 39, 39f Meter’s dilemma, 42–44 Lightjet printer, 130–131 Meter numbers, 34–35 Lightroom 3, 174 Microphen developer, 282 applying zone system to, 51–52 Linearity, vs non-linearity, 253–254 Minimum time/maximum black test, 287 ASA numbers on, 101b–102b Low-contrast subjects, 20f, 21, 65–69, 66f–67f, 175–177 Mode of Photographic Discovery, 193 Light meter, 38, 45–48, 277 average gray exposure of, 42 built-in, 40, 44, 49 calibration of, 83–84 center-weightedness of, 83 compensation method for inaccurate, 308 digital, 40, 40f fast readings, 80 faulty, 80 functions of, 40 hand-held, 41, 49, 277f, 278 steps, 143b, 175b–176b Low key lighting, 243–248, 245f M Mann, Sally, 194 Masterwork re-creation process, 207–209 equipments and work flow equipments, 209 process, steps in, 209b Mode of Photographic Fabrication, 194 Mood depiction, 243–248 high and low key lighting, 243–248 N Narrative Tableau, 207 Nash, Graham, 120–121 Negative, 268 Negative, The, 111, 282 352 | Index Negative contrast, 7, 15–21 control, 15–21 in digital photography, 21 rules, 17 O PCs, 124, 227b Object shape Personal working ASA (exposure index), 94b depiction, 239–243 Penn, Irving, 195 and print quality, 7–14 hard and soft shadows, 239–241 Photographer’s Formulary, 293–294, 299 photographic papers, modern, 8–9 reflections and surface depiction, 241–243 Photographer’s Toning Book, The, 293 problem negatives, 9–13 Negative films, color, 82 Neutral Gray Card, 28, 45, 85, 95b Nikon D70, 124 Noise, 125b–126b, 126f, 169–170, 170f Non-linearity, 254–255 Normal contrast, 19, 19f, 55f, 59b achieving, in lighting studio, 203–204 Normal Development (N), 18–21, 58–59 Normal Development Minus One zone (N-1), 72 Normal Development Plus One zone (N+1), 68 Normal Development Time, 94b, 112 Normal Minus Development (N-), 19–21, 20f, 69–72 Normal Plus Development (N+), 20–21, 20f, 65–69 extreme, 69b “125th Street Station, New York City,” 321, 322f Photographic prints See Prints Overdevelopment, 11–13, 16–18, 170–171, 269b Photo Lab index, The, 282 color, 82 Overexposure, 10–11, 11f, 285 color, P Panchromatic viewing filter, 53 Paper, photographic, 8–9, 90–91, 95b choosing, 90–91 contrast of, 112, 296 fiber-based, 273 graded, 274 grades, 9, 273 modern papers, procrustean bed of, 8–9 Photoshop See Adobe Photoshop Photosites, 132 Piaget, Jean5, 175b Picker, Fred, 79 Pixels, 131–137, 131f, 149–151 digital image sensor pixels, 249–250 hardware pixels, 131b, 132 image pixels, 131b, 132, 250 monitor pixels, 132 printers, 250 scanners, 250 screen pixels, 132, 249 size, 249 Placement for exposure, 57, 79 zone, 48 resin-coated (RC), 90, 90b–91b, 273 Plane of sharp focus, 275 variable-contrast (polycontrast), 90, 274 Point-and-shoot type cameras, 124 Index | 353 Polycontrast (variablecontrast) papers, 90, 274 Posterization See Banding; Color-banding Previsualization, 3, 31–34, 32f–33f, 37, 45, 53, 57–58, 73f, 74b, 80 Printers, pixel, 250 Procrustean Bed, 8–9, 168 Profile Connection Space (PCS), 220 Profiling, 220 ProPhoto RGB, 226 time, 94b Printing time test, standard (SPT), 103–105 Print processing, 272t Print quality, 14 negative contrast and, overdevelopment and, 11–13 overexposure and, 10–11, 11f underdevelopment and, 11 underexposure and, 10, 11f Prints, 268–269 judging test, 106b Print values (tones), 22–25, 269 Problem negatives overdevelopment, 11–13 overexposure, 10–11, 11f Scanners, 140–141 pixels, 250 Scanning process, 141–145 Pushing the film, 83, 86 Screen pixels, 249 R Raster Image Processor (RIP) solution, 235 Raw converters, choices, 174 Reciprocity effect, 306–307 Sekonic L-758DR DigitalMaster Flash Meter, 197 Selenium toner, 69b, 294b “Self-replenishing” developers, 282, 282b Semi-automatic cameras, 279 Reciprocity failure, 306–307 Separation, tonal, 9, 69, 273, 298, 303 Reflected-light meters, 38, 39f Setting the white point, 156 Resample image box, 144–145 Shadow, 7b densities, 7, 13, 17, 68, 106b Resin-coated (RC) papers, 90, 90b–91b, 273 exposing for, 15, 48, 77–80 Resolution, 133, 135, 136f–137f, 137, 142b–143b, 144, 146, 192, 249 Sheet film, 105–107, 286, 314 optimizing through digital capture, 138–140 optimizing through digital scanning, 140–141 Roll film, 105–107, 106b–107b underdevelopment, 11 exposure plan for, 101 underexposure, 10, 11f Zone System applied to, 80–81 Processing, 269–272 See also Development Safelight, 269, 302 Pulling the film, 83 Printing in digital photography, 129b–130b S Rudman, Tim, 293 Zone III and, 27b exposure plan for, 101–103 Shooting process, 215–218 background, separation of, 215–217 lighting effect, final, 217–218 preparation of, 215 room, lighting, 217 Shutter, 277 Shutter-priority meters, 85 Shutter speeds, 34–35, 35f 354 | Index using key aperture and zone chart, 202–203, 203f Slide films, 81, 82 Smith, W Eugene, 34 Soft shadows, 239–241 Spherical diffusers, 198b–199b Spot meters, 4, 39, 39f, 49, 206, 213b digital, 65, 65f problems from not using, 83–84 and photographic papers, Subject values, 56, 58, 172, 269 Standalone raw converters, 174 personal working ASA, 94b standard printing time, 103–105 Sultan, Larry, 194 test prints, judging, 106b Surface depiction, 241–243 Texture, zones as, 23, 25 Surface reflections, 241–243 Thyristor circuit, 5b, 84 T Standard printing time (SPT) test, 103–105 Tabular grain (T-Grain) films, 281–282, 284–285 Stop bath, 270b Tagging, 222 Strobe brightness, controlling, 236–238 Tank development, 286 Strobe lighting, 196, 204b, 210f Temperature, 18, 87, 95b, 271, 286 Studio exposure methods, 202–204 Temperature Adjustment (Camera Raw), 174 using spot flash meter, 202 objectives of, 94 Subject test, selection of, 95b for studio exposure, 202 sRGB, 223–224, 224f, 226 Normal Development Time, 18, 18b, 21, 59, 86–88 Testing, 89–119 Tonal levels, 147, 149–150, 151f, 172 Tonal range, 273 Tonal separation, 9, 273 Tonal values, previsualizing, 210b–211b Tone Mapping, 163, 173, 258 Toner, selenium, 69b, 294b Tones (print values), 22–25, 269, 273 Transparency films, 82 Tray development, 286 checklist for, 312 Tress, Arthur, 195 strobe brightness, controlling, 236–238 choosing photographic paper, 90–91 Tungsten lights, 196 studio-lit subjects, visual qualities of, 239–248 development time charts, 111, 113–118 Studio lightning photography Studio-lit subjects, visual qualities of, 239–248 equivalent ASA numbers, 91–93 Studio photography, zone system and, 193–218 expansion and contraction development times, 107–108 Subject contrast, 7, 13 measurement with in-camera meters, 59–65 highlights, judging, 106b–107b materials needed for, 78 Two-bath development, 300, 300t U Uelsmann, Jerry, 86, 195 Underdevelopment, 10–11, 16, 269b color, 82 Underexposure, 10, 11f, 16 Index | 355 V Values, 7b Variable contrast filter, 18b, 296 Variable-contrast (polycontrast) papers, 90, 274 Wide-angle meters, 4, 39, 39f, 83 “Wrap-around” effect, 240 Zone, 21–37 digital photography and, 3, 120–192 Visualization See Previsualization measurement of, 23 Water bath development, 300–301 Webb, Alex, 120 Weston, Brett, 34 Weston, Edward, 301 White, Minor, 2, 34 common problems encountered with, 77–80 Z defined, 22 Washing, 270b with color film, 5–6, 81–83 defined, 2–3 View camera, W Zone System, 1–6 pinpointing, 78 previsualization, 3, 31–34, 45, 53, 58, 59b, 77–78 Zone chart, 212f, 212b digital imagery and, 86–87 electronic flash and, 5, 82, 84 exposure logic, 50–51 film and developer testing method, 287–291 hurried shooting and, 80 lighting studio, 204–206, 204f metering form, 309 subject contrast measurement using, 202–203, 203f sheet film and, 103 Zone Scale, 22, 22f, 25f, 254–255, 254f natural divisions of, 30f roll film and, 80–81, 103 spot meter and, 4, 39, 39f, 83–84 and studio photography, 193–218 .. .THE PRACTICAL Zone System for Film and Digital Photography This page intentionally left blank THE PRACTICAL Zone System for Film and Digital Photography Fifth Edition... Nonlinearity, Zones, and Human Vision The Digital Linear Effect Appendix F Digital Light Meters and the Zone System Digital Light Meter Settings The Zone System and Digital Meters Previsualization,... exposed and developed individually As you will see, this makes applying the Zone System to large-format film photography very simple On the other hand, the principles that govern the Zone System