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I saw that but no one's perfect. Seven ivories and five ebonies. But it so much more than that. Like Ansel said, if the negative is the musical score then the final print must surely be the performance. As one writes a score in various keys and tempos with varying degrees of attack and release, one evokes all sorts of tonal relationships and density ranges from a subject on the negative. It is control over the final performance/print that gives life and emotion and personality and verve to the work.
A great thread!
Playing around with a spot meter and the Zone System's concepts relevant to exposure has sure improved the reliability of my exposure technique. I would say, if you aren't familiar with the concepts behind the zone system, you're like the motorist who can drive a car only if it is equipped with an automatic transmission. :)
Interesting analogy. It's definitely all about control. I'm glad you guys have liked the article. Thanks all for reading it.
Originally Posted by ic-racer
bracket when you expose,
develop as normal,
and bracket/vc when you print ...
i don't 35zs ... i 35bednvcp
Hey, John. Sorry I overlooked that. Only omitted because it is the one I am not at all familiar with.
Thanks for the thread. Very informative.
I'm glad you got a little something from it.
There is no subsitute for correct exposure Fred Picker points this out early in his book the
Zone VI Workshop. No matter what you do latter you can not make up for quality that is not captured at exposure.
I personally find using a spot meter and the zone system a wonderful tool no matter what the film even film processed by C41 mini lab. As for processing when I have control I stick too the same normal processing with strict attention to time and agitation as well as temperature.
I shoot the ZS in all my work: 35mm-5x4 (when I can) and personally use an exposure meter to get the tonal range I'm looking for.
I have found that by doing so, it makes my printing a whole lot easier and the resulting image closer to how I envisioned it originally.
Like others have posted, get it right at the exposure stage, makes a whole lot of difference to the printing - I have AA's books Camera, Negative, Print and thoroughly enjoyed reading his process; Kodak also had a book on Advanced B&W Printing, which gave a simplified ZS and calibrating film speed etc to your equipment which I still use to this day.
I do bracket on those scenes I think will take some extra work, but 9/10, I can usually get it spot on with the correctly exposed neg; I just like to cover all my bases, and give myself options just in case.
(All in all, I still shoot the dreaded d****** exactly the way I shoot film, and yes, it makes all the difference to my digital technician's processing and manipulation. Who says film is dead? - everything I learned shooting film, I now apply to d****** as well and it makes all the difference.) :)
And I think this is the key in using TZS in a 35mm application. You cannot augment processing but to affect the entire roll unless you strip dev and you risk cutting through that most prized shot in doing so.
Of course, you can apply it to the printing. But I think that, regardless of procedure, if you don't have the basic information, your report will miss it's audience.
Wow, glad folks are still reading this article. Awesome.