Figure 4-3 is just a group of gray patches. This is what I mean by vague. In The Print he writes, "It is my opinion that the photographer need not devote much time to the theoretical study of print sensitometry." Now, it's not necessary to understand sensitometry to make a print. That is not the point of this thread, but the characteristics of the paper as well as the subject determines the aim contrast of the negative. What does this say about a methodology that is supposed to be about controlling the materials.
Originally Posted by CPorter
On page 55 of The Negative , there is a table which has subject luminances compared to negative Zones which are compared to print Zones.
As Zone I is at 0.10 over Fb+f, the negative Zones can be extrapolated as being at intervals of one stop subject luminance differences. On the negative as well as the print, flare will need to be accounted for. The print Zones, would then be where the negative Zones fall on the print. Example 5 appears to be the most representative of this concept. Exact placement is still unknown as there isn't a RD defined to key any of the print Zones on. This would suggest Zones are not intended to appear to be a gray scale of equally perceived steps. From a sensitometric perspective, this is the approach that makes the most sense, but as the intention of the Zone System on this point remains vague, any of the examples are potentially valid.
Last edited by Stephen Benskin; 04-27-2013 at 09:03 AM. Click to view previous post history.