[rollei_list] Re: Plus X -PX 125- and Microdol X discontinued Alan
- From: "Marvin" <marvin0@xxxxxxxxxxxxxx>
- To: <rollei_list@xxxxxxxxxxxxx>
- Date: Fri, 19 Feb 2010 05:43:22 +0800
Greetings Richard, I did not express myself well but the idea was correct.
A normal zone system negative should have the correct development which
means printed on normal paper a zone 5 in the neg should be a zone 5 on
paper. If you increase the development N+1 a zone 5 on the neg becomes a 4
on the neg and so on. Now a process which requires a denser negative such as
the platinum print, should now have information recorded in the areas of the
neg which record the important textual information on the print. Increasing
the development increases contrast right across the tonal range of the
print-this is the desired outcome of the process.
Zone system photographers understand the limitations of the system, the idea
is generally to translate as much of the textural scene viewed in the
camera, to information(range of greys) in the print.
Marvin.
-----Original Message-----
From: rollei_list-bounce@xxxxxxxxxxxxx
[mailto:rollei_list-bounce@xxxxxxxxxxxxx] On Behalf Of Richard Knoppow
Sent: 19 February 2010 05:21
To: rollei_list@xxxxxxxxxxxxx
Subject: [rollei_list] Re: Plus X -PX 125- and Microdol X discontinued Alan
----- Original Message -----
From: "Marvin" <marvin0@xxxxxxxxxxxxxx>
To: <rollei_list@xxxxxxxxxxxxx>
Sent: Thursday, February 18, 2010 1:03 PM
Subject: [rollei_list] Re: Plus X -PX 125- and Microdol X
discontinued Alan
> Eric, Mark is spot on. N+1 is zone system speak, it means
> increasing the
> overall contrast in the negative by 10%. Each zone should
> have 10% more
> density so when its printed on a grade 1 paper or say
> becomes a platinum
> print it should represent a normal scence, which zone
> values placed in the
> correct value. i.e skin zone 6 which was zone 7 in the N+1
> negative.
> Adams was not changing the ISO in any way shape or form,
> which would have
> defeated the whole purpose of the zone system.
I am not sure you are saying what you intend. If all
densities are increased by the same percentage the contrast
remains the same. The idea of the Zone System is to adjust
contrast to match the requirements of the scene and adjust
exposure to maintain the density range of the film. That is
exactly what one gets from conventional sensitometric
principles, i.e., increasing contrast required decreasing
exposure and vice-versa. '
I have serious questions about the Zone System because
I think it ignors the characteristics of human vision. It
seems to be concerned with the ability of the system to
record the full range of brightness of the original scene on
the print. Since reflection prints have a very much shorter
range of reproducible densities than either the original
scene or film, or than the eye, some compression has to be
done for high contrast scenes. Converseley, low contrast
scenes are stretched. Either will result in tone rendition
which is seen by the eye as un-natural despite having good
detail in both shadows and highlights. The eye judges scene
contrast mosly by the mid-tones. If those are reproduced
linearly the overall image will be acceptable. Some
compression of highlights and shadows by local control,
i.e., burning and dodging, will bring out details in both
that are beyond the normal range of the paper. As long as
the mid tones are OK the eye will accept the image as being
natural looking. I am quite sure Adams and the other
founders of the Zone System knew this. It is interesting to
compare the approach of the Zone System to that of Kodak
researcher Loyd Jones, who did extensive work on tone
reproduction over a thirty year period. Jones was
responsible for the speed measuring method originally
adopted by the ASA. While that system is no longer in use
the DIN system, adopted about 1958, and which is the basis
for the current ISO speed method, was modified to take into
account Jones findings about minimum exposure for good
shadow detail.
--
Richard Knoppow
Los Angeles, CA, USA
dickburk@xxxxxxxxxxxxx
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