Zone system with color transparency ?

Hello,

New to LF and the zone system, what zones do you use when shooting

color transparencies, and how much over/under exposure do you use at

each zone? I have a basic understanding of this system for B&W,

where Zone VI is +1, Zone VII is +2, etc, but do these values hold

true for transparencies with their narrower exposure latitude? Could

anyone clarify this, maybe post a scale with the appropriate zones

and compensation values?

Thanks,

Shane

In my experience color transparencies have such a narrow latitiude (+/- 1-stop) that the only workable approach is to expose for the average value and bracket.

Shane, since there is an extremely limited ability to control the development of color transparancy film, the Zone System is practically useless to use with that type of material. However, it is important to be able to identify Zone V (18% medium grey) and understand what your exposure meter is telling you. Contrast variations depend on the speed, or brand, of film you choose for your subject matter.

there must be at least three very extensive threads on this in the archives - take a hunt through

http://www.photo.net/bboard/q-and-a-fetch-msg?msg_id=0039Qa

 

http://www.photo.net/bboard/q-and-a-fetch-msg?msg_id=003Eap

 

http://www.photo.net/bboard/q-and-a-fetch-msg?msg_id=004Tkx

 

http://www.photo.net/bboard/q-and-a-fetch-msg?msg_id=000Imi

 

for starters...

Most color transparency films that are normally developed have an exposure range (highlights with detail to shadows with details) equivalent to about 5 to 5.5 stops. <P>Sounds "narrow" doesn't it? yet that is aboutthe same contrast range as a print made from a color negative. <P> I suppose I use a sort of thinking that modifies Zne System theory. I suse a spot meter and check the contrast range for the scene I am photographing andthink about where i want to hold the details, if I have to make a choice. <P>With color you also have to think about the chromatic relationships betwee nthe colors in the scene. These relationships (your palette) are not as easy to codify as simply as you can codify the tonal relationships in black & white photography, as you are also dealing with the emotional and psychological effects of color on the viewer as well as the purely technical measurements. <P>People like to beat up on poor old Ansel Adams but the truth is he is one of still what is only a handful of photographers to make black and white images that ring with emotional resonance, without regard to subject matter.

shane: the zone system includes development controls; however: putting aside those controls, using zone system language and the spotmeter one can learn much about the film you are using. if you are using transparencies for example, remember a zone is a stop. I use E100S and have it processed at a shop and know the film holds good detail from IV to VII. III gets dark and will not be open and luminous. VIII starts to blowout.

Shane,

 

True application of the Zone system, most often requires modificaiton of the

development time, to match the desired contrast and exposure in the

negative. This does not really apply to color films as, modification of the

development times throws the colors completely out of whack.

 

In the past 25 years, I've shot about an equal mix of B&W and color positive

film. I use my same spot meter for all films. For positive film, meter on the

brightest area that you still want to see detail then, increase the indicated

exposure by 2 stops. In the begining, bracket your shots by +/- 1/2 stop. As

you gain experience, you will only need to bracket for tricky scenes that are

either predominantly high, or low key.

 

As somone has already pointed-out, most positive films have an effective

range of 5 to 5.5 stops (almost always between zone 3 and 7).

I was just at a RMSP weekend that addressed this very issue. Their suggestion -- meter an approximately neutral area, make that Zone V, correct for proper exposure of what you want to show detail on (+ for light areas, - for dark) and make sure that the exposure of the brightest areas are within 2 zones. Use a Split ND as necessary.

In The Negative, Adams says in b/w you should expose for the shadows and then adjust development to control the placement of the highlights. He then goes on to show how the Zone System gives you a way to do this precisely. He also makes some remarks about color transparency film. First, the development process is fixed, so all you can do is use the part of the Zone System having to do with exposure. Unlike negative film, he suggests exposing for the highlights and hoping the shadows will take care of themselves. He also says that whereas with negative film, slight overexposure is sometimes advisable, with color transparency film, slight underexposure may be advisable. One wants to avoid overexposure.

 

What I do is decide on which zone I want to place various highlights in the picture, usually Zones VII-VIII. I then check the shadows. If the important shadows are in Zone III or possibly Zone II, I know I am in business. I then use the indicated exposure, perhaps underexposing a third of a stop. I also sometimes bracket.

 

I prefer negative film even in color because exposure is less critical.