EZ Zone System Part 2 - Much Improved Shadows but What Happened to my Highlights?
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- Опубликовано: 7 июл 2023
- Today we continue our journey with the EZ Zone System, a way for you to improve your photographs easily both in the darkroom and anodigital workflow (scanning negatives).
I show the results of increasing the exposure of my shadows and how much more tonality we get - but also I show the problem with doing this.
Film: PanF Plus exposed at ISO 50 (box speed) last week then EI25 (plus 1 stop) this week.
Developer: Any
EZ Zone System Part 1: • EZ Zone System Part 1 ...
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Very effective demonstration. Clearly showing how wrong a film box speed could be, and at the same time putting an end to all that nonesense of ' exposure latitude '. I hope those new to film photography and even the oldtimers unfamilair with the Zone System, watch and benefit from this series. Thank you.
Thank you, Lensman. I appreciate your comment!
@lensman5762, A little humility…humbleness goes long ways….we are all learning, we all did not know at a certain point and someone walked us the path to knowledge, ….
@@photozen8398 I fail to see any arrogance in my comment. Sometimes, to hammer the truth home, a little reminder is necessary. With regert as the digital took hold, the skill and craft of photography, and to a large extent the technical know how took a dive. The results are all over the You Tube to see, mostly by the newcomers to photography. The arrogance is in fact the other way, that now the poor Ansel Adams is being ridiculed for his methodical approach to photography. I have heard one or two ' famous ' photographers saying that with the large exposure lattitude of the modern emulsions , none of that Zone System is necessary. Well, I leave you to judge.
@@lensman5762 I came from digital, I ditched my click chimp click D850 for the same reason you mentioned, I am here to learn, all is good here, thx.
You can still learn plenty with digital, if you wish to learn. With digital, though, pretty much any ISO above base is artificial and essentially a boost in post, unless it has dual native iso in the sensor, then you have two true base isos.
Basically, you can't cheat light.. Just take care with your photography, make prints, and it'll be creative.
I prefer black and white film for black and white prints, though. @@photozen8398
Another great one, John, thank you!
Cheers!
Thank you ! One has to be sure, that every camera you use has correct exposure times for you do not have to test iso for every camera !
Cameras can have deviations in their shutter speeds and lenses but they are usually pretty accurate. What can be different if they're in built meters. For this reason I always recommend using a hand held meter. This way you can be more confident that your testing will match your cameras. It'll soon become apparent if one of your cameras needs a service.
John
Just received your book The Art of Black and White Developing, so pleased I’ve got it, bought it of the back of seeing your clear and concise videos, just had a quick flick through looks great, full of new things to learn. Thank you.
Thanks for buying it! Really appreciated!!
Thank you so much.. Can not wait for the next part ❤
Cheers, Nasser!
Thank you so much!!! This series is exactly what I needed!!!!
Awesome!
hello maestro, ultimately exposing more and developing less amounts to lowering the sensitivity of the film. This is what we do with fine grain films among other things.
Correct
I've been shooting my B&W film at box speed for years. My solution to the empty shadows is to develop *more* -- but not to "push" the film. I combine the extended development with reduced agitation. This works especially well with Parodinal, but I've found it also works well with D-23 replenished stock, and I've used it with Caffenol as well (a low contrast variant I made up for microfilm stock in 16 mm and films like Adox CMS 20). As long as you have a film/developer combination that's not prone to bromide drag, this works.
My hypothesis on *how* it works is that the extended development gives more time for the shadows to develop, so the exposure they received produces more developed silver (= more detail), but the reduced agitation allows local exhaustion to limit density in the highlight areas -- essentially reducing overall contrast like an N-1 development (roughly) while still improving shadow detail, allowing speed-losing developers to give full box speed.
Great comment, S.O., and supported by the recent Rodinal stand development video. I intend to talk about this when I conclude the series but this will definitely help others understand why stand/semi-stand development helps film speed. Thank you!
John, great video as always. I’m wondering how to reconcile this with the Rodinal stand development results. The 1 stop above box speed produced the best grain and overall results. Maybe I have to just keep watching. I am familiar with shooting using the zone system. It has been a while because I’d stopped shooting film. We didn’t do stand development back in those days. Would you say stand development is compatible with the zone system?
This is a great question and I will keep this in mind when I close the series. I can totally understand the conundrum. Thank you for bringing this to mind, it helps me support you guys!
Buena demostración
Thank you!
Hi John I recently got back into film after 20 years of digital. Ive been watching you channel/videos with great interest (I also bought your book) I notice that you have an RH Designs Analyser, as well as their Paper Flasher in your darkroom. How do you find the Analyser Pro and have you thought of doing a video about the device and the principals behind the darkroom workflow i.e f stop test strips etc?
Thank you, expose to shadows, develop to highlights…!
You're welcome
great video! Did you took the images on different days with different light? If yes wouldn't it be more useful to shoot the rolls on the same day?
I know why you're asking this, it looks so different doesn't it? The light was the same, same sun, same time of day (5:30am), same shadows, same spot, same sky. It's not always possible for me to shoot all I need in the same day but I do try to get the same conditions. Frankly, for this series, it wouldn't matter because I'm showing the boost in shadow detail and luminosity but I knew the profound difference this would show and strived to replicate the week before exactly. I bet you think the light was quite different but it wasn't, it was exactly the same - that's the power of what I'm demonstrating!