The specifics methods used by the Zone System have less application for my
usage of transparency film. The Zone System is still valuable
philosophically as its underlying goals are:
* controlling everything
* calibrating everything to determine precise cause->effect, and
* providing a precision strategy for setting an exposure to create
the desired densities of various luminance levels on film.
The latitude of transparency films is quite narrow compared to color
negative. Expousre and is nearly always set for midtones to create
"medium" density on the transparency. For me, the hurdle in making a
decision to do otherwise is higher than with negative film; it requires a
more compelling reason to do so. But it does leave me thinking about
desired highlight and shadow detail, and how much density on film is
desired (if I can do that within the film's latitude) and evaluating
beforehand whether or not both highlight and shadow detail *can* be
captured (if not, then deciding which is to be abandoned).
-- John
At 00:38 5/15/03, Richard wrote:
Zone system generally has less application on 35mm because you cannot
control development time of EACH frame. However, with digital workflow,
you can get some of the advantages back. See here:
http://www.normankoren.com/zonesystem.html
At 12:25 PM 5/15/2003 +0800, you wrote:
I figure I should actually do it, and so I did. I learned all about the
Zone system. Seems actually pretty logical.
My question is; it looks like it works beautifully for B+W, but I'm a
little bit skeptical about it's use in color photography... Ask colors
screw things up quite a bit.
Comments?
Albert
...
< This message was delivered via the Olympus Mailing List >
< For questions, mailto:owner-olympus@xxxxxxxxxxxxxxx >
< Web Page: http://Zuiko.sls.bc.ca/swright/olympuslist.html >
|