Zone System Chart

<p>Does anyone know if there is a comprehensive chart or list out there on the net showing a lot of common items and what zone they belong to? I've seen a small list mentioning a few items in each zone but I would think someone out there would have made a large list.</p>

<p>Its irrelevant really... The zone system isnt about what things belong in what zone, its about mapping tonality and exposure. Anything can be anywhere "you want" it to be on the scale so you need to understand what are the limits of you capture medium and what exposure lattidude exists in whatever youre photographing; and how you want the final image to look. If the lattitude in the scene exceeds that of the capture medium, then you need to make choices and compromise. In traditional B&W film there is the concept of N+1, N+2, N-1, etc that allows you to map these tonal relationships into the film's range by altering development. In the end, the zone system really doesnt apply to digital although people like to try. The bets you can do is try to ensure that the latitude in the scene fits and/or you know what your compromises are.</p>

<p>You might be thinking of the various things that fit in a "color zone system." For example you might place green grass in Zone V, dark red flowers Zone IV, bright yellow things in Zone 6, Snow in Zone 6 1/2-7, etc. The original Zone System was really devised for black and white large format sheet film in which one arranges exposure and development so that Zone V prints out on your paper, using your developer, and your enlarger as middle gray, and that Zone 3 is dark with detail and Zone 1 is pure black, and so on. </p>

<p>Craig, why would the zone not work for Digital? I've heard this before. A digital camera meters, doesn't it try to meter to the middle zone? I know I have one and have to push a stop or two because snow goes gray if I don't. That's digital not Film.<br>

I don't doubt you, I'm just trying to understand why the zone works best for film and not well for digital. This seems like a basic issue to me and clearly I don't understand it.</p>

I know what you want but there are few examples that cover everything. The most that I can find are a few examples:

 

Zone 1 Effective threshold. First step above complete black in the print. Slight tonality, but no texture.

 

Zone 2 First suggestion of texture. Deep tonalities, representing the darkest part of the image in which some detail is required.

 

Zone 3 Average dark materials. Low values showing adequate texture.

Middle values

 

Zone 4 Average dark foliage. Dark stone. Landscape shadow. Recommended shadow value for portraits in sunlight.

 

Zone 5 Clear north sky (panchromatic rendering). Dark skin. Gray stone. Average weathered wood. Middle gray (18% reflectance).

 

Zone 6 Average Caucasian skin value. Light stone. Shadows in snow in sunlit snowscapes.

High values

 

Zone 7 Very light skin. Light gray objects. Average snow with acute side lighting.

 

Zone 8 Whites with textures and delicate values (not blank whites). Snow in full shade. Highlights on Caucasian skin.

 

Zone 9 Glaring white surfaces. Snow in flat sunlight. White without texture. (The only subjects higher than Zone 9 would be light sources; they would be rendered as the maximum white value of the paper surface.)

Would anyone like to add to that list? That is what Stephen wants. In a normal exposure, what else would fall into Zone 4, Zone 5 and Zone 6 for example?

<p>In my graphics art classes we made zone charts as to compare color to gray scale. Numbering from 1 to 10 and starting with white while using as pure a color source as possible from a printed page (pure colors are prizmatic in this case). White=0, Yellow=1.5, Orange=4, Red & Green=5, Blue=6, Violet=9 and Black=10.</p>

<p>If you are relatively new to photography, I cant recommend highly enough the Rocky Mountain school of Photography weekend seminars that may come to your area. When I was exploring exposure several years ago, could find nothing on line or in books that answers this question. As bad as my eyesight is, I still see in color, not shades of gray. One Class deals with just this and the hand out is a 5x8 laminated card, zone system on one side, hyperfocal focusing on other side. Remember the camera thinks the scene is medium gray. Shoot white snow, you get grey snow. Dont eat the gray snow. It darkens the white to make it gray so you need more exposure to make it white-longer shutter/wider aperture. Black the camera lightens to gray, need to darken, decrease the camera exposure. This may not be the "Zone system" that is attributed to Adams, but it is based on the camera interpreting the scene as medium gray and it works. Their approach is : Zone V is camera indicated exposure, no need to adjust -coca cola red, school bus yellow, extension cord orange. north sky blue, latin, greek indian skin tones. Zone VI-caucasian skin, your palm(always have an extra on hand), pastels, open 1 stop. Zone VII-is white with detail, white snow on overcast day, clouds, white water on moving water. open 2 stops. Zone IV evergreens, dark green or red eg barn, cabernet, close down 1 stop Zone III-very dark with detail. dark animals, wet rocks, navy blue with detail. Istop down 2 stops If any darker would be pure black. Handy with light/dark subj/bkg. Spot meter and focus, camera in manual mode- or is it Manly- on the subject , and adjust exposure per the color of subject. Fine tune from histogram/blinkies. Or find a color in scene, adjust exposure and recompose. Again, take the school, $179 includes 2 days and a book with all the class info so full of good info you will be trying things for months. They will give you a viewing card. Get one and use it. It really helps with composition and getting that itchy finger off the shutter button. The instructors are outstanding and I think you get to take 5 or 6 courses like, exposure, composition, sports, sunsets/moving water, several on photoshop, camera controls, low light, macro. Great foundation for any novice. check their website for location in your area.</p>

<p>The following web page will help you translate colors into zones. It's not an extensive list of objects and tonalities, but the examples should make it easier for you to see where tones will fall.</p>

<p>http://www.normankoren.com/zonesystem.html</p>

<p> </p>

<p>I want to thank you all for your input. I'm trying to absorbe the information and considering your suggestions!</p>

<p>Stephen, this site is a wonderful place to learn and to pass on what you have learned. There are some truely knowledgeable shooters that I am learning so much from and who can answer your questions if you dont have a local resource. Keep shooting. </p>

<p>I see no reason at all why a modified Zone System can't work with digital. All changes in development do with film is alter tonal placement and contrast. With digital you accomplish the exact smae thing by adjusting levels and curves.</p>

Film - Expose for the shadows, develop for the highlights.

<BR>Digital - Expose the highlights as far to the right as possible without clipping, convert for the shadows in photoshop.

<p>The sensitometry techniques from various Zone System books remain useful with digital. But some of the techniques were geared specifically for the characteristics of b&w films and printing papers, to get the desired results with the available materials. Digital doesn't respond exactly the same way so not all aspects of the ZS are relevant. But it is useful to understand the same aspects of metering and how light is reflected by objects in our photos.</p>

<p>I tend to recommend the following so often it's almost a cliche, but is still one of the most helpful online tools: Fred Parker's <a href="http://www.fredparker.com/ultexp1.htm">Ultimate Exposure Computer</a> . It's a collection of tables, not really a computer (by the current paradigm) or program.</p>

<p>I can't think of a better aid to illustrating the relationships between lighting situations and exposure factors. Nothing is obfuscated by digressions into quirks of films such as reciprocity characteristics, contrast, the toe and shoulder, etc. So it's as relevant in the digital era as it was when I first saw this chart while I was using only film.</p>

<p>"Film - Expose for the shadows, develop for the highlights. <br /> Digital - Expose the highlights as far to the right as possible without clipping, convert for the shadows in photoshop."</p>

<p>The Zone System is more than just exposure and development. It's really about crafting a negative with the printing process in mind. No reason why you can't relate digital values to tones so that you can relate the digital file to the print.</p>

<p>Maybe I should take another look at LightZone.</p>