Thanks, Joseph. This is instructive. It's true color stock doesn't have the
contrast range--probably two stops less, but
the solution you offer, though expensive, has merit. I guess we're either
going to pay a price in numbers of 35's slung
around our necks or in a view camera/lenses. Or we could go with a 35 that has
the feature of leaving the leader out when
you rewind. Actyally, I never quite that much of a purist. I learned the
exposure/development techniques and relied on
the latitude of B&W darkroom techniques to make up the difference.
John
Joseph wrote:
> ==================
> >>The Zone System was pioneered by Minor White (I think) and codified by
> >>Ansel Adams.<<
>
> for a little history-
> http://www.cicada.com/pub/photo/zs/faq/q02.html
>
> "Fred Archer was an instructor at the Art Center College in Los Angeles. He
> formed the basis of the zone system in a
> series of articles in the old U.S.Camera magazine that were published in the
> late 30's. Adams noticed these contacted
> Archer and went on to more formally define the current language of the zone
> system."
> ==================
>
> Although Ansel Adams certainly didn't pull it all out of thin air, he did
> develop the Zone System to a much greater degree of precision, and
> contributed much in the way of incorporating precise darkroom controls
> into the method. Ansel's contributions were so large that he is very
> deserving of having his name associated with the Zone System for
> posterity. Nobody before him had anywhere near as complete a system.
>
> =================
> >>It really only works in all its aspects with large format view cameras,
> >>field cameras, etc. since each piece of film
> can be processed separately.<<
> =================
>
> Ansel himself used the Zone system with hasselblad medium format cameras
> as well as large format cameras. For this, you just need 5 film backs,
> 1 for straight development, and a +1, +2, -1, -2 back as well.
> alternatively, you can carry five 35mm SLR bodies and do the zone system
> in 35mm. You also can dispense with the +/-2 development controls and
> use a 3-back or 3-body outfit for a straight or +/-1 development control
> system.
>
> Although not many color negative films are amenable to push and pull
> processing (a few like Fuji 800 and Ektapress will push ok), you
> can get the spirit of the zone system by carrying 3 films, say Reala
> for long tonal scale negatives, Fuji Superia 100 for high contrast negatives,
> and Agfa Optima 100 for normal contrast negatives. But you have to
> calibrate your technique and meter if you plan to exercise the level
> of control of tonal range that Ansel was able to marshall, and there
> aren't as many printing controls on account of color shifts.
>
> Joseph
>
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