Does N+1 Mean Push One Stop?

[k_michael]

I'm new to the Zone System. My question is: When you process at N+1,

is that the eqiuvelent of pushing the processing one stop? If so,

then is N-1 the equivelent of pulling the process one stop?

[eric_chamberlain]

Ummm, a murky subject because many zoners are pedantic about terminology. I would like to say that N+1 is pushing a stop, but it really is a generic term that says 'use a variation on a typical development process such that the developed density range is expanded by 0.3 Log O'. The 0.3 log O corresponds to the density of one zone. Someone else may say for sure that the term is/isn't pushing. But I will say that most often this variation is done by changing the development time just as in push processing, but it could be through using different agitation or temperatures for extreme changes. I hope this helps and not harms.

[m0002a]

In the Zone System, development of the negative is changed to manipulate negative contrast. They way negative contrast is determined is by printing the negative and observing the zone values in the print.</p> A N+1 development time to add negative contrast would produce a Zone VIII print value that would print as Zone VII with "normal" development. A N-1 development time to decrease negative contrast would produce a Zone VIII print value that would "normally" print as Zone IX.</p>

 

When using N+1 development time, it is sometimes useful to increase the film speed, maybe about 1/2 a stop. When using N-1 development time, it is sometimes useful to decrease film speed about 1/2 a stop. The actual film speed changes required vary between photographers and individual testing is recommended.</p>

 

Film speed changes are (sometimes) a <b>consequence of</b> N- or N+ processing. The <b>purpose of</b> N- or N+ is to alter negative contrast.

[art_haykin]

To begin, the ZS is a highly personalized method of controlling contrast, and was originally intended for sheets of cut film. Second, all test data applies to one type of film in one type of developer, done by the same person. The ZS consists of manipulating the exposure and processing times in certain increments, and, in the case of developing, the increments are referred to as "N," and these are not "stops"per se, but merely more or less time in the soup. MY N plus 1, amy differ from your N plus 1. Read "The Negative" by Ansel Adams.

[richard_cochran]

<cite>Film speed changes are (sometimes) a consequence of N- or N+ processing. The purpose of N- or N+ is to alter negative contrast.</cite>

<p>

Unless you know what the photographer was thinking, you can't

tell which was the purpose and which was the side effect.

There are plenty of photographers who occasionally push film

for the <b>purpose</b> of increasing speed, and they accept

the increased contrast as an unintended and sometimes

even unwanted side effect. And there others (or even some of

the same people, under different circumstances) who do it

with the motivation you describe.

<p>

Is the purpose of wine consumption to enjoy the taste,

with alcohol intoxication a side effect? Or

is the purpose alcohol intoxication, with the taste of

the stuff unwanted? Though you may think one motivation

is more prevalent, or more "right", neither motivation

is universally true for all people at all times.

[m0002a]

The original question in this thread, and in my response, it was specifically mentioned that we are talking about the Zone System.

 

Granted, there are many photographers (including myself when I was much younger and ignorant about the Zone System) who "push" film for the purpose of gaining speed. But that is not the Zone System.

[d_poinsett]

�When you process at N+1, is that the equivalent of pushing the processing one stop? If so, then is N-1 the equivalent of pulling the process one stop?�

 

Maybe, but generally no. Pushing and pulling a stop refers to adjusting development time in relationship to effective film speed. In other words, if you had 100 speed film and shot as though it were 200, you could push it one stop in the development (longer time) in order to recover the lost density due to underexposure. The longer development would also result in increased contrast. The opposite is true for pulling. In our example here, if you shot the 100 speed film as though it were 50, you could pull it one stop during development (shorter time) in order to avoid the additional density due to overexposure. The shorter development also results in lower contrast.

 

Zone system practitioners exploit this relationship between film, developer, development time (temperature and agitation too, although every effort is usually made to keep these unchanged), and contrast to match the tonal range of the subject matter to the response of printing paper to render that tonal range as you intend.

 

The term N refers to what you have constituted as Normal and, although there are several versions of �what is normal�, all systems reference some standard range of tones in the subject matter to a standard range of density on the film. When the range of tones in the subject matter cannot cover the �normal� range of density in the negative because the scene has too much or too little contrast, we have the option of adjusting the contrast in the negative by increasing or decreasing development. Since increasing or decreasing development also increases or decreases overall density, we would also adjust the exposure accordingly to compensate for this unintended effect.

 

A low contrast scene that has one stop less range of tonality than a �normal� scene can be exposed and developed for N+1 (more contrast) in order to produce a negative with the same density range as that resulting from a �normal scene. A high contrast scene that has one stop more range of tonality than a �normal� scene can be exposed and developed for N-1 (less contrast) in order to produce a negative with the same density range as that resulting from a �normal scene. So, N+1 or N-1 expand or contract the range of the original scene to produce a negative with a �normal� density range. Why? Because it will generally be optimized for printing.

 

Greater ranges of adjustment (N+2, N-2, etc.) are used for more extreme conditions although there is a limit to what can be done. Other side effects like changes in grain size become more pronounced too.

 

As noted above, there are many variables in the process: film, exposure, developer, temperature, agitation, time, and definition of �normal�. Most of these things are affected by the idiosyncrasies of your own equipment and methods, thus the usual path to finding what constitutes N+1, etc. exposure and development adjustment is to do a series of tests using your own equipment and personal touch. There several good books on the subject and several good sites on the web.

 

You might also have gathered by now that Zone System practice lends itself most easily to large format photography where each sheet of film can be treated individually. Even if you don�t shoot with large format film, knowing about the Zone System can deepen your understanding of the process.

 

To address your original question, if N+1 treatment also happened to be the same as pushing one stop, it would simply be a coincidence for that film, developer, your equipment, and your methods.

[donald_miller1]

In the venacular of those who "push or pull" the film speed is ongoingly derated in some fashion, either by increasing or decreasing the ISO of the film. In Zone System venacular the film speed is established by the photographer (usually by testing with his/her equipment) The established ISO, in the practice of the Zone System is only varied by very small increments from that established ISO. (an example would be in the case of a reduced development/N-, which would be indicated by a higher then normal contrast situation in which the exposure would be increased to support shadow detail). The normal development is determined by the degree of contrast which will render a given tonal range on a given contrast grade of paper.(normally grade two in the case of sheet and medium format negatives and grade three with 35 mm negatives.)The reason that the ISO is established in the Zone System is that there is no black magic to film speed. It takes a given quantity of light to expose a given emulsion of film and unless the laws of sensitometry are repealed sometime soon it will remain thus.

 

I disagree with those who would indicate to you that the zone system is best suited to sheet film users. I, and others as well, have used it very successfully with medium and even 35 mm film. The only requirement being that the testing be done and a system be adhered to.

[larry_lambert1]

N+1 is only refering to expanding the contrast of the range one full zone. N-1 refers to contracting the contrast range down one full zone. The zones should be based on at least some basic tests of your choice of film and paper, under your enlarger. Adams idea was to have very discreet control over how to get what you see in front of the camera to translate into a very specifc tone of gray of your choice. Push 1 just means that you shoot the film one full stop faster, and then try to develop so that the highlights remain under control, usually at the expense of shadow detail.

[mike_scarpitti]

What is your film format? If it's 35mm, you should NEVER, EVER extend development beyond 15-25% LESS than recommended by the manufacturer, whether for 'zone' or for 'pushing', if you care about quality images. You should simply expose generaously and develop gently, and forget you ever heard of the zombie system.

[jim kerr]

Man, someone ask a simple direct question, to get a simple answer,and what do they get. No wonder so few people ever really understand the zone system...The answer is YES!....Jim

[jim kerr]

P.S. Sorry I didn't find this question months ago...Jim