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THE PRACTICAL
Z S
ONE YSTEM
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THE PRACTICAL
Z S
ONE YSTEM
for Film and Digital Photography
Fourth Edition
A Simple Guide
to Photographic Control
CHRIS JOHNSON
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CONTENTS
Preface to the Fourth Edition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .ix
How to Read this Book . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .xiii
Acknowledgements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .xv
Chapter 1 “Will It Come Out?” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1
Chapter 2 Print Quality and Negative Contrast . . . . . . . . . . . . . . . . . .6
Subject Contrast and Photographic Papers . . . . . . . . . . . . . . . . . . . . . . . .6
The Procrustean Bed of Modern Photographic Papers . . . . . . . . . . . . . . .7
Working with Problem Negatives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12
Chapter 3 The Control of Negative Contrast . . . . . . . . . . . . . . . . . . . .13
Expose for the Shadows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13
Develop for the Highlights . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13
Normal Development . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19
Chapter 4 The Zone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20
Print Values . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20
Texture and Detail . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23
The Zones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23
Previsualization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28
Measuring Zones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33
Chapter 5 Exposure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35
Light Measurement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37
Exposure Recommendations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38
The Meter’s Dilemma . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38
Exercise: How Light Meters Really Work . . . . . . . . . . . . . . . . . . . . . . . . .39
Exposure Plan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40
Exposure Placement Demonstration with Polaroid Films . . . . . . . . . . . .41
Exposure Detailed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43
Place and Fall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45
v
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vi Contents
Chapter 6 Development . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Measuring Subject Contrast with In-Camera Meters . . . . . . . . . . . . . . . .52
Normal Plus Development . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55
Normal Minus Development . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .59
Chapter 7 An Overview of the Zone System . . . . . . . . . . . . . . . . . . . . .64
Expose for the Shadows and Develop for the Highlights . . . . . . . . . . . . .67
Zone System Frequently Asked Questions . . . . . . . . . . . . . . . . . . . . . . .69
Chapter 8 Zone System Testing: Method 1 . . . . . . . . . . . . . . . . . . . . . . .78
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78
Choosing a Photographic Paper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .79
The Use of Equivalent ASA Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . .80
Zone System Testing: Method 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .83
Exposure Plan A For Roll Film . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .90
Exposure Plan B for Sheet Film . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .90
Expansion and Contraction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .96
Chapter 9 Zone System Testing: Method 2 . . . . . . . . . . . . . . . . . . . . . .98
About the Development Time Charts . . . . . . . . . . . . . . . . . . . . . . . . . .100
Development Time Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .102
Film and Developer: Questions and Answers . . . . . . . . . . . . . . . . . . . .107
Chapter 10 The Zone System and Digital Photography . . . . . . . .108
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .108
A Word about Structure and Understanding . . . . . . . . . . . . . . . . . . . .109
Digital and Film Photography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .112
Pixels: Size, Quality, Resolution and Bit Depth . . . . . . . . . . . . . . . . . . .116
The Scanning Process . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .123
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .127
Bit Depth and Digital Exposure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .127
The Zone System of Digital Exposure:
Exposing for the Highlights . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .138
A Summary of Digital Exposure Effects . . . . . . . . . . . . . . . . . . . . . . . .148
The Zone System and Digital Contrast Control . . . . . . . . . . . . . . . . . . .148
Summary of Digital Photography Cardinal Rules . . . . . . . . . . . . . . . . .172
Appendix A Color Management, Profiles and Color Spaces . . .173
Appendix B What is a Pixel? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .189
Appendix C Bit Depth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .191
Appendix D Exposure and the Digital Linear Effect . . . . . . . . .193
Appendix E Films, Developers, and Processing . . . . . . . . . . . . .200
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Contents vii
Appendix F The Practical Zone System Film/Developer
Testing Method . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .207
Appendix G Film and Developer Commentary by Iris Davis . . .211
Appendix H Alternative Methods for Extreme Expansion and
Contraction Development . . . . . . . . . . . . . . . . . . . . .214
Appendix I Contrast Control with Paper Grades . . . . . . . . . . . .216
Appendix J Developer Dilution . . . . . . . . . . . . . . . . . . . . . . . . . . .218
Appendix K Compensating Developers . . . . . . . . . . . . . . . . . . . . .219
Appendix L Inspection Development . . . . . . . . . . . . . . . . . . . . . .221
Appendix M Condenser and Diffusion Enlargers . . . . . . . . . . . . .222
Appendix N ASA/ISO Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . .223
Appendix O Filter Factors, The Reciprocity Effect,
and Bellows Extension Factors . . . . . . . . . . . . . . . .224
Appendix P A Compensation Method for Inaccurate Meters . . .226
Appendix Q Zone System Metering Form . . . . . . . . . . . . . . . . . . .227
Appendix R Exposure Record and Checklist For
Zone System Testing . . . . . . . . . . . . . . . . . . . . . . . . . .230
Appendix S Suggested Reading . . . . . . . . . . . . . . . . . . . . . . . . . . .233
Appendix T A Brief Directory of On-Line Digital and
Photography-Related Resources . . . . . . . . . . . . . . . .235
Appendix U Examples: Zone System Applications . . . . . . . . . . .243
A Primer on Basic Film Photography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .258
A Brief Glossary of Zone System and Digital Terminology . . . . . . . . . . . . . . . . . . . . . . . . .271
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .277
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P F E
REFACE TO THE OURTH DITION
I began the Preface of the third edition of this book by writing “Much has changed in the years
since 1986 when this book was first published.”
Back then the arrival of a few new films and developers seemed extremely important because
the essential nature of photography had remained the same for a very long time.Given the state
of things now,those words seem almost comically understated.Digital technology is revolution-
izing photography in ways that are so fundamental and at a pace this is so rapid that most photo-
graphers are either alarmed,or feel as if they are witnessing a remarkable dream.
Some photographers are reluctant to make the transition to digital methods because they
instinctively dislike working with computers and monitors and love the process of darkroom print-
ing.But of course photography has always had highly technical aspects and other photographers
are attracted by the opportunity to explore the precision and control that digital processes offer.
The point is we now have choices that were unimaginable not very long ago.Those of us who
knew and worked with Ansel Adams know that he would most likely have been at the forefront
of this revolution, just as he was when Polaroid materials became available. In fact he was
quoted in 1980 as saying that “I actually feel that in the next few years — it won’t be very
long — the electronic image is really going to be the medium in photography.”
The reason all of this matters is that the beauty and quality of digital prints can be astonishing!
But one of the ironies of photography’s digital revolution is that many people assume that
working with Adobe Photoshop and digital printers necessarily means leaving behind many of
traditional photography’s fundamental methods, skills, and even some of its values.This new
edition was written to demonstrate that this is definitely not true;especially when it comes to
the Zone System.
Another myth of digital photography is that it instantly makes the process of shooting and
printing effortless and almost automatic.
The truth is that the ability to control the process in such exquisite detail sometimes encour-
ages us to settle for nothing less that absolute perfection;this can consume huge amounts of
time! Also,every step in the process requires careful attention and enough understanding of the
concepts and principles involved to avoid time-consuming and frustrating mistakes. This is
where the Zone System can become an essential tool.
It’s customary to think of the Zone System as being strictly related to film exposure and devel-
opment.In fact,although this may sound grandiose,the Zone System can actually be a way of
seeing the world with applications in every form of photography,including digital.
A good example of this is the way I work with students learning studio lighting.In general,
studio-based photographers rely on incident light meters and Polaroid (and now digital video feeds)
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