The Zone System. Zones are levels of light. A Zone System is a system. Photographic film is a strip or sheet of transparent plastic film base coated on one side with a gelatin emulsion containing microscopically small light-sensitive. A non-commercial community of large format photographers. Includes a selection of primers, how-to articles, user reviews of equipment and a discussion forum. Major Currency Pairs Forex Quotes - forex.tradingcharts.com forex.tradingcharts.com/quotes/major I have decided that I need a new tripod. The one I have was my dad's from his days of portrait and wedding photography. Probably purchased around 1963. Film Types and Examples By Tyson Call One of the most daunting things about starting to shoot film can be walking into your local camera store and seeing. It works in digital just as it does for sheet. Having a system allows you to understand and be in control. Ansel Adams was asked in the 1. Zone System was still relevant in that then- modern. He replied . The. Zone System is one way to get a handle on everything. When you know. what you're going to get you can make changes as you're photographing. The Zone System applies as. Ansel. Adams even shows us in The. Negative how to. use it with point and shoot cameras! Ansel Adams chose to divide. Each is an. f/stop apart. Color film and digital tend to have fewer zones, but. What's important is understanding how these zones. From the 1. 92. 0 through the. The. Zone System usually required weird film developing, since people developed. In the 1. 97. 0s through today. Zone System for film became more involved with printing as. With. digital in the 2. Zone System focuses. The Zone System is the basis. Photo. Shop's Curves command. With digital cameras you. I do and let the camera do this automatically. The biggest advantage of understanding. Zone System is understanding. You'll be able to concentrate on making great. Digital cameras no longer. Spot meters were used to evaluate subjects before. It was the only way we had to predict. Today we have histograms and LCDs instead. Today I use a digital camera instead of a spot meter to. That said, let me offer that the rest of this page was written in 1. I wrote it to apply to color slides. The. Zone System allows you to get the right exposure every time without. It does not require you do any special film development. Now aren't you interested? The. Zone System is very important to understand, especially for color slides. Today. the Zone System is the careful and analytical setting of exposure. Almost. no one does special development for each negative any more. I. learned it all from Ansel Adams' book . Ansel. Adams, . Therefore custom development of each. Today we usually use standard development. Even. Ilford recommends today what I do for color and B/W negatives: ensure. For. color one always uses standard development. The colors get very screwed. I have tried with Velvia and. The DMax and shadow level changed. Worse, the color. Color takes on a nice warmth with. I only push when I need speed. Here. are my quick suggestions: METERS much more here. If you. are shooting a modern SLR, use your built in meter in Matrix (Nikon) or. Canon) and forget about most of this. You will need to know. Matrix and evaluative. Zone System automatically. I have. a page on how to use the Nikon built- in spot meters here. If I. am shooting a camera with no meter, I use the same meters Ansel did, and. I use either the Pentax. Spotmeter V (analog) or Pentax. Digital spotmeters. The digital one is smaller and I use it today. Ansel did at the end. The analog model is more precise and easier to. The Pentax. meters are superior to the complex, confusing and more expensive Gossen. Sekonic models. COLOR. NEGATIVESFor. the color negatives shot by most amateurs just set the camera on automatic. GO! The films today have so much latitude that you just can forget. Honest, I have tried shooting the same scene at normal and FIVE STOPS. Fuji 8. 00 and in my prints I can't tell which was which. Overexposure. by a couple of stops may increase contrast and saturation a little. If. color is as important to you as it is to me, unless you print your own. See the film page for that info. B& W. NEGATIVESThe. Amateurs worry far too much about this. Details are on my film page starting here. If you. want to get deeper into it, I suggest using your spot meter and setting. Zone IV or Zone III. See more at the bottom of this page. COLOR. SLIDESFor. SLR Matrix or evaluative meter, that you need to add or subtract exposure. Use the spot or center. Here's. how much to add or subtract with the center- weight or spot manual meters: -3 stops. Zone II): Your slide film goes pretty black here. Don't do this unless. Yes, you can see some. Velvia even at - 4 stops (Zone I), but good luck trying to print. You will use this. This is about as much underexposure you can use and still have. For instance, make a spot reading of the shadow and set your camera. If you are lucky everything. You don't really need luck: use. Stop. (Zone IV): Very few things are set here. This is a dark middle tone, like. Normal. exposure (Zone V): This is where you set middle tones or a gray card. Oddly, in many scenes. Sometimes green grass falls here.+1 Stop. Zone VI): Medium light parts of an image. Skin and granite rocks go here. Bright yellow is set at +2/3 stops.+2 Stops. Zone VII): White things like snow and sheets of white Fome- cor are set here.+2. Stops (Zone VIII): This is where slide film goes clear. This. is how the zones of the classic zone system correspond to the analog bar. Zone. II = - 3 stops. Zone III = - 2 stops. Zone IV = - 1 stop. Zone V = +- 0 stops. Zone VI = +1 stop. Zone VII = +2 stops. Zone VIII = +3 stops. If you. are lucky, all the elements in your image will fall within - 2 to +2. Usually. they won't. If. your spot meter tells you that the shadows are darker than - 2 stops that. Slide. film usually goes clear at +2. It usually starts getting pretty. Velvia. You. need to think as a painter does and ask yourself at what level of tone. You need to be in control. Zone System lets you be in control. Otherwise you'll simply. The Zone System is useful here because it tells. What. do you do if the lightest and darkest parts of the scene are beyond the. Simple. you have to change the lighting somehow. If you have a very high- contrast. This. is where many amateurs get lost: exposure cannot correct for bad light. You have to wait for it. Photography takes. You can try a graduated Neutral Density filter which often helps. Here's an example of one. Some. people try to tweak development to compensate for crummy light. It's much. better to fix the light. Ignore the temptation to tweak development; this. Hollywood pull up three trucks of lighting equipment to light. If you. do your own developing the Zone System gets far more complex if you want. This used to be popular in B/W before. Ansel's day. Today B/W. If you're. asking, no, I have no idea how Ansel got ten zones. Today we only get. OK, actually I do know how he got ten zones: Ansel used less. We can't do that with color today. You can do this in B/W, and. In. Ansel's day everyone shot sheet film and used graded paper. Therefore. it made sense to develop each sheet differently so it could print on grade. Today. people shoot roll film (your Nikon or Mamiya) and need to develop the. One uses VC (variable contrast) papers to control. You. always develop color the same way, unlike B/W. Changing developing times. I have. pushed and pulled Velvia and saw little contrast change. The colors shift. B/W. film. You. have to change the light yourself or wait for God to do it. This is art. You have to know at what level. There are no written formulae. Ansel covered this quite well in his books. Testing for your correct film speed. A reader asks how to determine this, as if I had a number for him. For real B& W, you don't read the ISO numbers off the box. Ideally you test yourself. You'll need a densitometer, but not to worry; every decent lab has one and will make these readings for you if you ask nicely. First you need to set development so that contrast index is about 0. Once you have your development time calculated (or if you use whatever the lab uses for you), shoot a gray card at several ISOs. The correct ISO for you is the ISO that gives a density of 0. If this is beyond you, just shoot with a yellow filter and set an ISO of half the rated ISO, or an orange filter outdoors and an ISO of one- quarter the rated value. Shoot your tests through whatever filters you want to use. This way your system is completely calibrated as a system and you can use your tested ISOs for each filter — for perfect results! All rights reserved. Tous droits r. Alle Rechte vorbehalten. Help me help you top I support my growing family through this website, as crazy as it might seem. The biggest help is when you use any of these links when you get anything, regardless of the country in which you live. It costs you nothing, and is this site's, and thus my family's, biggest source of support. These places have the best prices and service, which is why I've used them since before this website existed. I recommend them all personally. If you find this. If you've gotten your gear through one of my links or helped otherwise, you're family. Thanks! If you haven't helped yet, please do, and consider helping me with a gift of $5. As this page is copyrighted and formally registered, it is unlawful to make copies, especially in the form of printouts for personal use. If you wish to make a printout for personal use, you are granted one- time permission only if you Pay. Pal me $5. 0. 0 per printout or part thereof. Thank you! Thanks for reading! Mr. Ken Rockwell, Ryan and Katie. 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