The Zone System Part 1 Introduction with Hans de Graaf
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- เผยแพร่เมื่อ 3 ก.ย. 2021
- In this video I have a second interview with Hans de Graaf, in which we discuss the zone system. Hans is and educated experienced photographer and the owner of The Fotovakhuis in Haarlem together with his wife. This is part 1 and meant as an introduction. In part 2 Hans will elaborate on the technical details involved with using the zone system. We hope it is informative for you! Sit back, relax and we hope you enjoy the video!
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I learned the Zone System in 1971 became a photo lab tech at National Geographic in 1974 after two years apprenticing with photographer / teacher Monte Zucker.
Technically Adams Zone system is based on his desire to make all prints on #2 grade paper. The reason for that is the DlogE response curve of film that has a curved toe in the shadow Zones 0, 1 and 2 then linear response on the rest of the tonal scale. #2 paper requires a negative with a shadow - highlight density range of about 3.0 density units which are the log(Incident/Transmitted).
Prior to around 1930 B&W was Orthochromatic and not sensitive to red light. Photographers like Adams, Weston, etc. were able to develop watch the highlights on their sheet film develop in a tray under safelights and pull it when experience told them the highlights had a density of 3.0 to fit the fixed range print paper they used. They knew that it took less time for the highlights to get to 3.0 on a sunny day than cloudy or overcast. They exposed for the shadows and developed for the paper TO FIX THE RANGE OF THE PRINT PAPER. When Panchromatic film was introduced Adams and others using sheet film had to develop in total darkness but they still knew from experience to develop lower contrast scenes for more time to fit the paper.
For historical context, when Kodak developed roll film it presented a new problem. One frame might be taken in sun, the next in open shade or overcast but they all had to be developed for the same time. The solution? Develop all film as if it was taken on a sunny day then fit the range to the negative by changing the print paper contrast. #2 was the paper grade that fit a 3.0 density sunny shot, #3 and #4 for shorter density range cloudy, overcast days, and #1 if encountering very contrasty lighting.
Adams based his exposure on Zone V = 18% reflectance because Weston meters were calibrated to 18%. Why 18%? Because a typical landscape photo composed with 1/3 sky and 2/3 cross-lit sunlight had and average reflectance of 18%. If one pointed the meter at a scene like that the shadows would wind up with density on the negative-sometimes more than necessary or desirable. That is why the 18% gray card came into existence. Instead of metering off the scene if you metered off the card instead with the 18% calibrated meter you should with correct development of the negative get a reproduction of the card on the print which also reflects 18%! Genius - for the day… But truth be told the “SUNNY 16” of exposing at 1/ASA RATING @ f/16 worked about as well outdoors.
The first test in the Adams system was finding actual film speed for correct Zone 0 (clear negative base) / Zone 1 (first silver density) on the negative to keep Zones 1 and 2 in the shadows (shape and visible texture) on the toe of the DlogE curve. You shoot 3-4 sheets / frame bracketing exposure and then look at the negatives. Typically you needed more exposure than the ASA rating indicated; e.g. setting meter dial to 320 for ASA 400 Tri-X.
The second series of tests were to match development time to different contrast scene lighting Sunny, Cloudy, Open Shade, Overcast. This was done by waiting for a day with that type of lighting then shooting 2-3 sheets / rolls at the adjust ASA setting from test one, develop them for different times, then printing on #2 paper looking at how the highlights fit the paper range.
What those tests accomplished was fitting the entire range any scene to the range of the #2 paper with optimal shadow transitions which were one of the hallmarks of Adams work. The ARTISTIC / IMPRESSIONISTIC part started from the baseline of simply accurately recording ‘seen by eye’ detail everywhere making sure to preserve the specular Zone 10 highlight reflections of the sun on white Zone 9 solids on the print by making the Zone 9 whites gray so with paper base the Zone 10 value.
The artistic part was of course the process of dodging (blocking exposure) or burning in (adding more exposure). Adams would first make a baseline evaluation print what showed the scene as it was then dodged and burn until he liked the look. Then he made notes on the tissue overlay of the ‘master edit’ print that would be followed to made the prints for exhibition and sale. Once he created that ‘blueprint’ his assistants could do the work of cranking out the sausage to sell in ‘paint by number’ fashion.
It was a very precise way to control the technical process of matching scene detail to print, and also brilliant way to made it possible for others to make the prints for him while he was out in the field capturing more iconic images.
Learning the Zone System was my introduction as a teenager to the concept of “process control”. The stunningly good B&W prints I was able to make quite easily following his steps help get me my job with Monte and National Geographic Society, but NGS job resulted from buying a house next door to the Asst. Chief of the NGS photo lab 😊
I went on in my career to manage offset printing for a commercial magazine printer and the US Information Agency and one day in 1985 a dozen Adams prints landed on my desk to reproduce for the cover and article about him in a magazine USIA published and distributed from Embassies to ‘influencers’. I used the same full-range double black duotone technique I had developed at National Geographic to capture their tonal range and texture as well as lithography can.
Adams made the process far more complicated than it actually is:
1) Exposure and develop to recored detail everywhere on #2 print paper
2) Dodge and burn until you improve how it looks
The genius in the marketing was the scenes rarely looked like his prints in person due to all the tonal manipulation he did with filters color filters on the lens and dodging and burning.
I like those froknowsphoto stickers on the display cases :)
Thank you brilliant video looking forward to the next one
So much useful information in this video. Get this video as recommended at the perfect time.
Great info! Looking forward to part 2. Always very informative when Hans is speaking. Till next time
I agree!
Very good session. Thank-you
Excellent. Thank You.
what an informative guy! fab interview
awesome video :) learned alot!! cheers janosch now second part :D
This is great video. I read the books many time but it did not work as the video mentioned. I am glad to hear that it need practice.
Heel waardevol, vooral met die voorbeelden! Ik kijk uit naar deel 2
Die gaat komen Joris, maar daar is best wel veel voorbereiding voor nodig dus kan effe duren!
Superb channel! I am 57 and have taken photos since 11. I am sad that younger photographers will not really watch this and learn..... they only want reviews of the latest digital cameras with AF and auto exposure!
i think you´re wrong :)
@@Raumweiter Also "glaubst" du nur, dass ich falsch liege? Wenn du es "weißt", dann musst du wieder schreiben.
how do YOU know younger photographers are not willing to learn and invest their time into this? This is an assumption i heard too many times, may it be in the analog audio recording world or photography. It is the classic "the younger generation is spoiled and will never make those experiences nor understand what is it about" and i can´t stand it. Sorry
I worked as an army photographer doing photojournalism back in the late eighties and early nineties. I also worked the darkroom for our public affairs office. So not only did I develop my own photos but those of my colleagues. I knew about the zone system but wasn’t really familiar with it. I shot thousands of photographs and made countless prints. I didn’t have time to think about shadow detail. I needed to take the pictures fast or miss the shot. I used TTL metering as well as a hand held meter. But after taking pictures everyday you get a sense of what the exposure is by the lighting around you. So I generally got it right. But if you shoot a roll of film and even if you did your best.. only a few of the shots on the roll is worth printing. I developed tons of to twenty rolls or more at a time. But only a limited amount of pictures will be selected for publication. The other half of photography is in the darkroom. A good darkroom technician can take an average shot and make it great. Using the right paper and filters as well as burning and dodging and other little tricks to bring out those details. I had a shot that was an okay negative that was taken on a foggy day and the background had a building in it that you could barely make out on the negative let alone on a print, but I was able to burn it in with more detail than I thought making a publishable print that was put into our monthly magazine. If you use good film and get a good general exposure you will get a good print. But there were times when I was able to take my time and get the perfect exposure where I knew I needed a stop or two more or less to get the shot. I didn’t realize at the time I was using the zone system in a way.
Great video!
Looking forward to part two as the others have said.......This is perfectly timed for me as I am getting back into film (4x5) after being away from it for 30 years (due to marriage, job, kids, house and digital cameras). My question is (and if to be answered in part 2 then I will wait) You mention cutting back 15% or 30% on your development for highlights...how do you determine the correct starting point for developing your film.......Ilford Delta Pro 100 in D-76 (stock) can be anywhere from 7 to 9 minutes @20c...How do I determine the correct time to develop initially, so I know where to start from when having to reduce my future times to hold detail in the highlights?? Hope this makes sense. Thanks...Great info presented very well !!!
Great question for Hans to answer. Maybe he can help you on your way before we bring out part 2!
Make a test setting with all kinds of subjects. White and black, medium contrast etc etc. Make sure your little still life is even lit. Start with exposing your film at box speed and then gradually lowering the iso speed. Develop normal as the factory recommends.
If you make prints, look for the negative that gives you just enough information to print the shaddow open, with the rest of the scene properly exposed. Your highlights will be blown out at this point.
Determined the iso you were able to achieve, and by the next exposure shorten the development bij 10%.
Reprint and watch the highlights. If there are still washed-out highlights you need to lower even further in the development. Continue until the shaddows and the highlights are open. For printing use contrast filter 2!
It is a painful process but you only have to do it 1 time for this particular film. Be precise use fresh film and developer...
Good luck!
Thank you for the great interview with Hans. I'd like to hear more about the zone system, in conjunction with digital printing. Develop , scan and the print. Great books, I am an owner of all three books.
OK, I will pass it on to Hans...!
It's in de video.... expose for the shaddows prosses for the highlights...
If you're shooting digital you don't need to know the zone system. Make all your adjustments in your photo editor.
@BennyCFD that is just not true... if you want the highest quality you need to expose correctly. Fixing it in the RAW converter will not do it. Noise levels will be visible...
Thank you
allemachtig goede content!
Thank's!
Waiting on part 2
Hi Michael, we are preparing part 2. Trying to arrange an interesting location, whereby Hans will guide us through the zone system taking an image (or 2) with his 4 x 5 camera. We are looking forward to it! Thank's for your patience!
@@ThePhotographyMinimalist I got out a Minolta spotmeter f and have been using 400TX in a Pentax 6x7 developing in HC-110 B...
Might take a while, but it will come!
So lets say I'm using Portra 400 film, but in camera I'm shooting at ISO 200 this is giving the overall image a +1 stop of exposure. Ok so now if im using the Zone system and I meter for the shadows and I decide to put the shadows in zone 3 and the highlights in zone 9. does that mean that in reality i'm shifting everything over one zone since i'm shooting at ISO 200 instead of 400 ? I hope this makes sense.
Comparing the egg sign with the ship, were filters used to get cloud detail?
From what I've been reading a yellow or orange filter would produce a sky like in the ship photo. It doesn't seem like overexposure and under-developing should have a similar effect unless I'm missing something pretty big.
No filters were uses in the boat shot.
Just the result of finding the right sensitivity and the right developing time. This is what the Zonesystem is all about. Except for special effects there is no need to use filters...
Thank you, looking forward to part 2.
Always wondered if differing light sources, could change your film's sensitivity.
(100F not a cloud, mid-day in SE Texas)
Stay safe.Peace
In earlier days sensitivities did change. With orthochromatic emulsions there was a difference between natural light and artificial light. Because the film was much more sensitive for blue, and allmost blind for red light. Nowadays with panchromatic films there is little difference...
@@fretlessfender Thanks for getting my "learn something new ", early today
Who knew Fro would make an appearance.
Almost nobody!
Writing on part 2 people... just another few weeks and the rest will be revealed.
The second part is the hardest part, I just have to find the right English words :)
I have a book on Henri Cartier Bresson. He was arguably one of the best photographers out there. His photos are incredible.
He never used the zone system. What did he know that modern photographers don't.
Although Henri-Cartier Bresson knew how to process and develop his own film, he never did it by himself.
I adore HCB's work - but he was never a landscape photographer, like Ansel Adams. He mostly did Street, Candid shots. And later, he was being fed up with photography, and went back to painting. Sadly, "The Decisive Moment" is now being unpayable, xxx EUR into the higher segment, too bad i've missed the 2018 Re-release edition. I have those books from Ansel Adams, and others...being a big fan since my childhood, from Ansel. He also invented his own Darkroom. From a viewing PoV, i can also recommand "Ansel at 100", it's a great book !
One on the single negativecoordinated development can ultimately only be achieved with sheet film. Most people won't be able to cut up 35mm film and then develop individual negatives.
I'll tell that there are other way to do so.... thks