Quote Originally Posted by photomc
Donald,

I DID understand what you were saying..but I can see where if someone did not read this thread carefully they could get confused. Would be kind of hard to meter both the shadows and the highlights and try and force the exposure. In fact, do you not do this with the development? Would seem if you want to affect the change on the highlights N, N+, N- development is the way to do it - Right?


One thing I have done, is found a Zone reference (calculator if you will) on line (same one View Camera printed a few years ago). This helps me to 'see' where the highlights fall if the shadows are placed on Zone III or IV. I am sure that for those of you that have done this for a while you actually 'See' the zones (No, I don't think you see the zone I, II, etc on objects, but in a way I guess you do), but as a novice, this is a great tool.

Any how, no matter how bad they are I will post anything I get done, and will try to keep good field notes and darkroom notes.

Thanks for the help so far!
Mike,

I agree with what you have said about development being the control through which we alter the density range (contrast) of the negative. There are other means that one can employ that afford this at the exposure stage but that is another topic for another time.

On the subject of seeing zones or their tonal representations on a print, one of the things that has proven helpful to me is to make projections of the actual "zone" densities on enlarging paper. This is most accurately done with the Stouffer calibrated step wedge. From that one can "see" what the actual negative densities convert to in tonal representations on the print. The step wedge will allow that in 1/2 stop increments.