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kevin_moloney

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  1. Indeed you would Alan. But with the zone system you decide before the exposure which zone you would like that black rock in the shade to be -- dark but with some visible detail (zone III) -- and that white rock in the sun to be bright but with texture (zone VII). Rather than them telling me how bright they are in reality, I am deciding how bright I want them to be in the print (or scan). I decide the dark rock in the shade should be in zone III in the print. I read the dark rock and get some numbers. I look for that aperture number under the zone III column. Sliding my finger two columns to the right I see what aperture I should set on the camera, with the shutter speed the meter gave me on that reading. Then I decide I want the white rock in the sun to be in zone VII and I take a reading on it. Using the same shutter speed as before I look for the aperture given on that reading on the same row of the table. Sliding up to the N numbers I see how I should develop the film to have that white rock end up as zone VII on the print. It's truly expose for the shadows and develop for the highlights.
  2. Hi Jim, All the numbers I'm using in the example are along the row that starts with 2.8 on the left (under zone I). If you took a reading in the area you previsualize as landing in zone 3, and the result was f/5.6@1/125; then you took a reading for an area you want to land in zone VII and the reading was f/32@1/125; you would expose at f/11@1/125 (under zone V) and give N-1 development (above the f/32 in that row on the table). In this example the scene is contrasty. The area you would like to have zone VII tones is a stop too bright for normal development, so N-1 development would lower those highlights by a stop and have them land right where you want them. However, if your zone VII meter reading happened to be f/22, you would have a normal contrast range and N (normal) development. No change in development time needed. If your zone VII reading was f/16, it is a low-contrast situation. You would give N+1 development to increase the density in the highlights and stretch the contrast. Maybe those additions will help. If not, feel free to let me know and I'll see how I might better describe it. Cheers, Kevin
  3. From the Adox site, as of Jan. 29: The Production of MCC and MCP is currently paused because one of our premanufacturers has raised prices to an extend that we cannot continue the cooperation. The solution is to transfer this part of the production to our own factories in Switzerland and Germany. Currently our production team is busy implementing Polywarmtone and Lupex with MCC to follow. If you wish to see this process accelerated, help us in recruiting chemists / lab technicians with a passion for analog. Thank you for supporting ADOX! | MCC and MCP Availability I would imagine that this popular paper will be back after Mirko and his small team get their new Swiss plant running. In the meantime, buy what Adox products you can so they can weather this pandemic.
  4. I'm sharing here a simple zone system table I developed after working to learn the zone system a dozen years ago. Please feel free to use it or share it with attribution. I find it quite a lot simpler and faster than any formulas or logging techniques. It is a PNG set up to print as a 3X5 card or to be loaded onto your mobile phone for quick field calculations. Here's a link for an easily printable PDF version of the card: A Simplified Zone System Calculator Table Simple instructions are on the card, but here's how you use it: From the scene in front of your camera, previsualize the area of full shadow detail (zone III) and of full highlight detail (zone VII). These aren't true black or true white, but the areas that should show some detail in the final image. Meter the area for zone III first, and find on the table the row where that aperture lands under zone III. Shutter speeds do not appear on the table, so set the shutter speed that pairs with your selected aperture in this reading and leave it. Meter for zone VII next. Looking down the same row where your chosen aperture was for zone III, find the aperture listed in the zone VII column. Set your aperture to expose for the aperture in the zone V column from that same row. You now have your exposure. In that same row, find the aperture you metered for zone VII. Look at the top of the column for the development N number. Develop according to that N number above your zone VII aperture. An example: You arrive at a scene and pull out your spot meter. You meter for the shadow that you would like to hold just a little bit of detail in the final print. That reading is 1/125 sec. @ f/5.6. Set your shutter to 1/125 and then look in the zone III column of the table for 5.6. See it? Sixth row below the zone numbers. Next, meter the highlight where you'd like just some readable detail in that print. Meter also for 1/125. It reads f/32. On that same row, look in the pink zone V column. It says f/11. That's your exposure aperture. Set the camera to 1/125 @ f/11. Look at the table one last time. Finding that VII reading (f/32) look to the top of the column where f/32 sits. It says N-1. That's your development factor for that exposure. Scribble it on your film holder, in a notebook, on the roll itself, or on a memo on your phone. You might find your own process for using the table, too. For example, I have come to quickly read for zone III, jump to the zone V entry on the same row, set and shoot, then circle back to meter zone VII and find the development factor. I don't have a densitometer and never dialed in my materials the way maestro Ansel did. I use Chris Johnson's basic development factors to adjust development times for most film/dev combos: Standard films_____T-grain films N-1______0.7________0.9 N-2______0.6________0.8 N+1_____1.4________1.1 N+2_____2.0________1.2 If the results are not perfect, they are at least very good. My negatives all land nicely in the range of very small and easy printing adjustments, particularly with the flexibility of variable contrast papers. Frequently I land a perfect grade 2 negative.
  5. <p><strong>Vitessa-L rangefinder adjustment</strong><br> This is an old thread but I thought I would add the key simplification differences with the last barn-door model Vitessa-L. Though the early models are indeed difficult because the top plate must be taken off for any adjustments, the late model Ls can be adjusted (most of the time) by removing the accessory shoe.<br> Remove the three small screws that hold the shoe in place. Through the hole in the top plate that it reveals you'll see about 1/3 of a brass sprocket. This is the vertical alignment adjustment. With a small screwdriver, a finger nail or the tip of your finger you ac gently rotate that sprocket one tooth at a time to align the rangefinder coincidence vertically. It is only held in place with friction, so don't lubricate it.<br> Above it and to the left (when looking from the camera's rear) you will see a hole in which are a pair of sideways Vs cut into two black metal plates that press against each other with friction. They are offset making a diamond shape: <> This is the horizontal coincidence adjustment for infinity. With the lens extended, set the focus on infinity and find a clear object more than about 150 feet away. Insert the tip of a slot screwdriver into the diamond and gently twist to move the horizontal alignment left or right until the rangefinder aligns at infinity.</p> <address>Assuming all else is well inside the rangefinder system this should realign the finder. You can test it through the range by removing the back and running some matte scotch tape across the frame hole. Set the shutter on B and lock it open with a cable release if you have one. Focus at the close point with the rangefinder, then place a loupe over the tape in the frame without moving the camera position. You should see sharp focus there. Repeat at infinity.</address><address> </address><address>If one end is sharp and the other not, the range is out of adjustment. For this you must remove the top plate. To do that, remove the screws as described above. With the lens folded shot (which disconnects the cam followers from the cam on the focus knob). Work the focus knob a little as you gently lift the top off of the advance post.</address><address> </address><address>Just above and to the left of where the knob sits you will find a second V pair with a lock screw. This is the range adjustment. Slightly loosen the screw and slip the range back and forth slightly to familiarize yourself with which direction it will move. Re-lock the screw and replace the top plate. Through the shoe hole realign infinity as above. Then using the tape and loupe, chce focus at the close point again.</address><address> </address><address>Because of the lock screw this adjustment is rare. First align at infinity on the assumption that a bump move the friction plates or the sprocket and that adjustment will get you back to sharp focus.</address><address> </address><address><img src="https://www.flickr.com/gp/76004407@N06/299NAD" alt="" /></address><div></div>
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