Absolutely bloody superb!! I am so sad because I am sure that younger photographers will not have the 'attention span' to watch/learn this. I read Ansel's books many years ago, but this is a great 'refresher course'. Bedankt!
Absolutely, great video and information . Thank you. I had to watch in 2 sections. But, I have gotten a zone decal for my Pentax Spot meter. Can't wait for part 3.KB.
The zone system is much easier using a 1° spot meter which allows metering the shadows of the scene directly, eliminating the need to even use a gray card. I realized this back in 1971 when learning the Zone System from Adams books using a Honeywell 1° spot meter making my prints on fixed grade #2 print paper. The evaluation baseline making the print with just enough exposure to render the edges of the film maximum black which will result in any developed density in the shadows producing a Zone 1 tone above black. Calibrating the 1° spot meter to produce that result was simply a matter of metering a Zone 1 area in the scene and adjusting the ISO setting on the meter until a density just above film base and Zone 1 tonal value (print density) was achieved on the print. Meters are calibrated such that at nominal ISO rating on the film box any solid tone metered will produce a middle gray tone on the print. Older meters line the Weston were calibrated on an 18% reflectance standard which is why Adams used an 18% Kodak card as his exposure reference. For that reason if the Zone 1 shadow area of the scene is measured directly with the spot meter and the meter is set on the nominal ISO on the film box that Zone 1 shadow area will be exposed to render it middle gray - too much exposure on the negative and too light a tonal value on the print. To calibrate the meter for direct Zone 1 readings it is necessary to adjust the ISO setting of the meter lower in test shots, which will affect shutter speed at the aperture selected for the test to find the ISO setting on the meter (and corresponding negative exposure) which renders the shadows on the #2 print accurately. Once the “Zone 1” ISO for the film being used is determined the direct reading of a Zone 1 shadow in the scene should produce a Zone 1 density on the negative (slightly above film base) and a Zone 1 value on the print. Much easier than metering off an 18% card then interpolating. Once the meter ISO is adjusted to read Zone 1 shadows correctly the developing times need to adjust the highlight densities to fit the #2 paper under different lighting contrast - direct sun, open shade, snow scape, fog, etc. is just a matter of metering the Zone 1 and Zone 9 scene areas directly with the spot meter, noting the range measured in f/stops (which will vary depending on lighting contrast) and via testing of different development times for the film find the time needed to produce a full range print for the various scene ranges based on the spot metered f/stop ranges. In practice the scene is metered the Zone 1 area for exposure, the Zone 9 area for range, exposing based on the Zone 1 adjusted meter ISO and developing the film based on the measured range in f/stops to tailor the negative range to that of the #2 print paper. No gray card reading or interpolation needed.
Loving the long uncut video format! I've never used an enlarger, always opting to scan the negatives directly instead, but I've ordered a grey card, and I'm planning to do some calibration soon! I've never pulled in development, only ever pushed or done stand development, so I'm looking forward to the results. The hardest part about all of this of course is going to be to run through a full 36exp roll every time to try the different development times.
Thank you, it’s so complete! Thank you so much! But… what’s the range of contrast you switch from a scene of normal contrast and a scene with high contrast? Practically what is the range in stop of a normal contrast scene?
Well... if you measure like 10 stops between darkest and lightest you don't have to do anything, just expose zone 5 and you are good to go. Of it is more than 10 stops it gets complicated because you have to drop down the iso of the film. Dropping down and shortening developing time will increase your contrast... up until 15 stops! This will be in upcomming video...
Just watched this video and found it incredibly helpful (along with part 1!)… One thing I'm wondering though, I just set up a quick still life in my kitchen with a 18 gray card, grabbed my tripod and using a Sekonic incident light meter I measured from 800iso down to 200iso in ⅓ stops for HP5+. The only problem is, my Nikon FM2 and 50mm lens only handle full stops. So for the 7 exposures I took there were really only 3 different exposure values. Is there something I missed?
Great and best Video to Zone system. Thank You! But one question is left. HP5 in ID-11 at ISO 250 minus 15% as I have heard. But then: Developing time in relation to ISO 400 minus 15% or to ISO 250 minus 15%??
Terrific video fellas. I think you will find that Ansel’s taste did not change as much as his eyesight changed over the years. He appeared to be printing darker - as I recall? However, his dodging and burning (to me) produced photos I loved to look at then and equally now. Melodic - I don’t know? Maybe.
Great conversation, but with regard to ASA/ISO calibration with old classic cameras, don't you need a properly calibrated shutter mechanism that doesn't vary with temperature ? The same concern applies to old hand held light meters and built in camera metering? Could you discuss calibrating camera mechanisms and light meter systems. If a shutter is a bit sluggish and off by a stop or two, wouldn't that matter?
Great video again!! Sat trough in one go :-) now onto part 3: we had access to a great subject too much experience and too much equipment and little by little we went insane
Maybe we did... there is a lot possible with humble means. As long as one determine to live up to that, you can! Take your camera... take your film, stick with it, and learn... be patient and go for the ride! That is all there is to it really..
You have a disturbing audio channel inversion in this video ! Right guy's voice coming out of the left speaker and left guy's voice coming out of the right speaker. 😊
it's really interesting. I know hp5 since hp...! it's really flexible film from 64 asa to 1600 no problem, just adapt time development... personnaly hp5+800 asa🎉 in my experiences I reach more than 12 stop with this film and really good gamma but with special bath development.. actually I have sfx200, trix, tmy, tmx, bergger pan400, hp5+. There re all good film... if there were no so expensive tmz3200 so good ...
Man, this one drags SLOW. I appreciate the complexities of the Zone system and the process of calibrating film and developer, but this mostly chat and subjective bullshit. 30 minutes into the video, he has yet to describe the calibration procedure, much less demonstrating it. Then, he revealed that his print illustration was an inkjet print. This means that his example negative was scanned, then digitally processed, then inkjet printed. Or in other words, there is zero actual calibration being illustrated, since the final image is far more effected by the digital scanning and printing process. Very disappointing. I suspect that he may not know how to actually zone calibrate a film. No progress on this unhappy status at the half-way point. Maybe someone else has more patience. I quit.
@@BennyCFD … Good question. I guess the answer would be do you want to be a great photographer, or a good photo editor? For me post is about enhancing what should be a great and correctly exposed photograph out of camera, not spending all my time fixing what went wrong with my original shot in post.
For me what I got from this and some other stuff is you previsualise the outcome a print of the scene. You have calibrated your camera and film etc. metered the scene then you consider what adjustments you might need to get the best possible shot in camera, this makes development easier you may not need to pull or push, this gets the best negative for printing and again you may not need to pull or push. The print will be technically very good - here’s the hard part - any deviation from the ‘rules’ of the zone system in exposure, development and printing is your creativity and your style BUT this can only happen on the basis of a technically good image and negative, development and printing can’t rescue a technically bad capture. I think this is true of both film and digital
This Part 1, 2, and 3 is THE BEST walkthrough of the Zone System that I have ever seen... Thank You.
Could you, please, give me a link to the 3-rd part of the Zone System? I can't find it on this channel.
Stop searching, there is no part 3...
Absolutely bloody superb!! I am so sad because I am sure that younger photographers will not have the 'attention span' to watch/learn this.
I read Ansel's books many years ago, but this is a great 'refresher course'. Bedankt!
Absolutely, great video and information . Thank you. I had to watch in 2 sections. But, I have gotten a zone decal for my Pentax Spot meter. Can't wait for part 3.KB.
A great video! Ive seen it twice to not miss anything, looking forward to the third. Thanks.
We are still in the proces! There are some developments that are keeping us from actually making that video, but rest assured... it will come in time!
Another fantastic video thank you ,very informative it feels like I'm improving already
Looking forward to your practical part in your part 3.
This is probably the most I've learned about photography in my life.
Another exception video and looking forward to calibrator my process
pure passion, very very informative, thanks!
great great great video ever explain the zone system👍 thank you for sharing.
The zone system is much easier using a 1° spot meter which allows metering the shadows of the scene directly, eliminating the need to even use a gray card. I realized this back in 1971 when learning the Zone System from Adams books using a Honeywell 1° spot meter making my prints on fixed grade #2 print paper.
The evaluation baseline making the print with just enough exposure to render the edges of the film maximum black which will result in any developed density in the shadows producing a Zone 1 tone above black.
Calibrating the 1° spot meter to produce that result was simply a matter of metering a Zone 1 area in the scene and adjusting the ISO setting on the meter until a density just above film base and Zone 1 tonal value (print density) was achieved on the print.
Meters are calibrated such that at nominal ISO rating on the film box any solid tone metered will produce a middle gray tone on the print. Older meters line the Weston were calibrated on an 18% reflectance standard which is why Adams used an 18% Kodak card as his exposure reference. For that reason if the Zone 1 shadow area of the scene is measured directly with the spot meter and the meter is set on the nominal ISO on the film box that Zone 1 shadow area will be exposed to render it middle gray - too much exposure on the negative and too light a tonal value on the print. To calibrate the meter for direct Zone 1 readings it is necessary to adjust the ISO setting of the meter lower in test shots, which will affect shutter speed at the aperture selected for the test to find the ISO setting on the meter (and corresponding negative exposure) which renders the shadows on the #2 print accurately. Once the “Zone 1” ISO for the film being used is determined the direct reading of a Zone 1 shadow in the scene should produce a Zone 1 density on the negative (slightly above film base) and a Zone 1 value on the print. Much easier than metering off an 18% card then interpolating.
Once the meter ISO is adjusted to read Zone 1 shadows correctly the developing times need to adjust the highlight densities to fit the #2 paper under different lighting contrast - direct sun, open shade, snow scape, fog, etc. is just a matter of metering the Zone 1 and Zone 9 scene areas directly with the spot meter, noting the range measured in f/stops (which will vary depending on lighting contrast) and via testing of different development times for the film find the time needed to produce a full range print for the various scene ranges based on the spot metered f/stop ranges.
In practice the scene is metered the Zone 1 area for exposure, the Zone 9 area for range, exposing based on the Zone 1 adjusted meter ISO and developing the film based on the measured range in f/stops to tailor the negative range to that of the #2 print paper. No gray card reading or interpolation needed.
Did you ever do part 3? I couldn’t find it. Thanks
Hi Diana, good question. Yes, we will soon make part 3.
Great information, and easy to follow ... Now to put it into practice!
Greetings from LA,
Thanks guys this was extremely helpful!!
Thank you for this video. Lifesaver
Thank you very much for such a useful information!
I'd like to ask, when will the 3-rd part come out? Haven't it been filmed yet?
Loving the long uncut video format! I've never used an enlarger, always opting to scan the negatives directly instead, but I've ordered a grey card, and I'm planning to do some calibration soon! I've never pulled in development, only ever pushed or done stand development, so I'm looking forward to the results. The hardest part about all of this of course is going to be to run through a full 36exp roll every time to try the different development times.
You don't have to use 36 exp... you can buy empty cassettes and fill them with 12 exp. That gives you 3 rolls out of one!
Stand developing is insecure...steer clear!
Thank you, it’s so complete! Thank you so much! But… what’s the range of contrast you switch from a scene of normal contrast and a scene with high contrast? Practically what is the range in stop of a normal contrast scene?
Well... if you measure like 10 stops between darkest and lightest you don't have to do anything, just expose zone 5 and you are good to go. Of it is more than 10 stops it gets complicated because you have to drop down the iso of the film. Dropping down and shortening developing time will increase your contrast... up until 15 stops! This will be in upcomming video...
Very useful video and thanks of doing it.
Just watched this video and found it incredibly helpful (along with part 1!)… One thing I'm wondering though, I just set up a quick still life in my kitchen with a 18 gray card, grabbed my tripod and using a Sekonic incident light meter I measured from 800iso down to 200iso in ⅓ stops for HP5+. The only problem is, my Nikon FM2 and 50mm lens only handle full stops. So for the 7 exposures I took there were really only 3 different exposure values. Is there something I missed?
Please can you tell me where is Part 3 ? Thanks.
Great and best Video to Zone system. Thank You! But one question is left. HP5 in ID-11 at ISO 250 minus 15% as I have heard. But then: Developing time in relation to ISO 400 minus 15% or to ISO 250 minus 15%??
I think I understood "in relation to iso 400 (box speed).. But I may be wrong..
@@mathieumorel448 Thanks! Yes I´ve tried it in this way and it is perfect
Where is part 3?
We both have daytime Jobs, so we really have to plan this... not easilly done, buy it will come!
There is some video about the calibration please?
Terrific video fellas. I think you will find that Ansel’s taste did not change as much as his eyesight changed over the years. He appeared to be printing darker - as I recall? However, his dodging and burning (to me) produced photos I loved to look at then and equally now. Melodic - I don’t know? Maybe.
Great conversation, but with regard to ASA/ISO calibration with old classic cameras, don't you need a properly calibrated shutter mechanism that doesn't vary with temperature ? The same concern applies to old hand held light meters and built in camera metering? Could you discuss calibrating camera mechanisms and light meter systems. If a shutter is a bit sluggish and off by a stop or two, wouldn't that matter?
As long as you know the offset of the camera, you can compensate for this... working under cold conditions needs to have a well maintained camera...
Great video again!! Sat trough in one go :-) now onto part 3: we had access to a great subject too much experience and too much equipment and little by little we went insane
Maybe we did... there is a lot possible with humble means. As long as one determine to live up to that, you can! Take your camera... take your film, stick with it, and learn... be patient and go for the ride! That is all there is to it really..
Yes, the Weston Master series are still the greatest EXPOSURE (NOT LIGHT) meters ever made!
Very interesting
Interesting about Fomapan. For me Fomapan is barely 200 speed.
You have a disturbing audio channel inversion in this video !
Right guy's voice coming out of the left speaker and left guy's voice coming out of the right speaker. 😊
it's really interesting. I know hp5 since hp...! it's really flexible film from 64 asa to 1600 no problem, just adapt time development... personnaly hp5+800 asa🎉
in my experiences I reach more than 12 stop with this film and really good gamma but with special bath development.. actually I have sfx200, trix, tmy, tmx, bergger pan400, hp5+. There re all good film... if there were no so expensive tmz3200 so good ...
P3200 a personal favour!
35:05 Too much coffee
Man, this one drags SLOW. I appreciate the complexities of the Zone system and the process of calibrating film and developer, but this mostly chat and subjective bullshit. 30 minutes into the video, he has yet to describe the calibration procedure, much less demonstrating it. Then, he revealed that his print illustration was an inkjet print. This means that his example negative was scanned, then digitally processed, then inkjet printed. Or in other words, there is zero actual calibration being illustrated, since the final image is far more effected by the digital scanning and printing process. Very disappointing. I suspect that he may not know how to actually zone calibrate a film. No progress on this unhappy status at the half-way point. Maybe someone else has more patience. I quit.
Thank's for your comments, we will discuss them.
The Zone System is not that complicated. If it were, it would be useless to the creative photographer.
Why do you even need the zone system if you're digital. All adjustments highlights, shadow, contrast can be made in your photo editor.
@@BennyCFD … Good question. I guess the answer would be do you want to be a great photographer, or a good photo editor? For me post is about enhancing what should be a great and correctly exposed photograph out of camera, not spending all my time fixing what went wrong with my original shot in post.
For me what I got from this and some other stuff is you previsualise the outcome a print of the scene. You have calibrated your camera and film etc. metered the scene then you consider what adjustments you might need to get the best possible shot in camera, this makes development easier you may not need to pull or push, this gets the best negative for printing and again you may not need to pull or push. The print will be technically very good - here’s the hard part - any deviation from the ‘rules’ of the zone system in exposure, development and printing is your creativity and your style BUT this can only happen on the basis of a technically good image and negative, development and printing can’t rescue a technically bad capture. I think this is true of both film and digital
Gave up. Tedious.