Everyone is correct here. Shel is right that zoning each exposure and compensating in development can maximize the results. But Caveman is right in that you can't use a true zone exposure system when you're dealing with a roll of 36 different exposures. Something that Shel mentioned in passing has worked for me. That is, you overexpose by about one stop and underdevelop by about 20%. I have achieved very nice results using that techniqe, even when exposures on a roll vary considerably. This works great with TMax 400 exposed at ISO 200 and developed for 11 minutes at 68 degrees F in D-76 1:1. If you shoot this film rated at 200 and take it to a lab, just tell them to cut back on development time by 20%. Hopefully, they'll be intelligent enough to comprehend that. Another alternative is to get a small stainless steel tank and a reel and develop your own film. Then take it to a lab for printing.
In respect to the zone system, I have found that I can apply some of the technology even with roll film. I just consider what elements are most important to me and make sure that they fall somewhere between zone 3 and zone 7. Or in other words, two stops under or two stops over. that way you'll have them. However, if you have something in zone 2 that you want to feature and something in zone 9, it just ain't going to happen. You won't get that many stops of latitude with any film that I know of, regardless of development time or methodology.
Your photo, by the way, could be enhanced quite a bit with the shadows and highlights tool in PS CS. If I can find it again (your photo that is), I'll give it a try. By the way, I found it a good shot. However, the cars in the background troubled me more than the exposure. But that's just me. In any case, you're doing a lot of great work. You have a good eye and good instincts. Both are much more important than technical know how.
Paul On Oct 22, 2004, at 6:35 PM, frank theriault wrote:
On Fri, 22 Oct 2004 07:47:07 -0700, Shel Belinkoff <[EMAIL PROTECTED]> wrote:I'm an impatient person, and wasn't able to read all that Adams published
on the Zone System. For some, myself included, it can be daunting. But,
the basic premise is simple, and understanding the general principle is
really all that's needed to make a great improvement in our results,
especially when using roll film. Thinking is a Good Thing ;-))
Shel
Hi, Shel,
You e-mailed me off list, and I still haven't had a chance to answer that. But, since your e-mail was essentially what's being discussed here, I'll ask you directly what Caveman brought up, since it may be of interest to other list member still shooting black and white (all 6 of us <g>).
Since about 10 frames were of Ricky, and 26 were other, less challenging situations, how can I expose for the shadows and cut back developing time? Won't that affect the other 26 frames that may (note, I said ~may~ <vbg>) have been properly exposed?
I have to admit that, most likely, were I proficient with photoshop, I could fix up the background somewhat. Maybe I can fool around with it, and see what I can do, or maybe someone wants to try it as a WOW, then tell me what they did?
I know that doesn't really address the real problem, which is that I exposed more or less properly, but didn't follow it up by telling my lab how to deal with it.
Still, I await your advice re: the rest of the roll.
thanks, frank
Just curious...
-- "Sharpness is a bourgeois concept." -Henri Cartier-Bresson
