Never found any evidence of this in Kodak or Ilford published literature. Besides, where are they going? There is a hard ceiling of density, or you're saying that curves are cropped on the y-axis too?
Putting hypothetical scenarios aside, I am yet to scan a negative which saturates the width of a 14-bit ADC of a DSLR. If there were 14 stops, I'd see them on the linear profile histogram. I don't because there aren't.
True, but rarely do we have that much printing control. I do with carbon printing, but a negative with a 10-stop range is not easy to print with silver gelatin paper...a bit easier using some of that contrast control in the creation of the negative.
Cool. As long as the print looks the way one wants.I disagree. Lots of control with VC paper. I don't think contrast control in the negative helps much, and can even make it worse. The problem with Zone System "controls" is that you cannot arbitrarily decide where to compress or expand contrast when developing a negative. If you apply "minus development", you lose contrast everywhere. Not usually good for printing if you value tone reproduction. All it really does is make it easier to make a straight print (ie fitting the negative to the paper). That's great if you don't care about print quality and are solely concerned with making straight prints, but otherwise not.
Maybe.. I’m by no means an expert and while I have used azo and made my own silver chloride paper from scratch I am no expert at that either. I would have imagined if the same tonal scale could have been easily reached with conventional paper michael smith would not have fought for years for its continued production and formulated his own lodima paper….Nothing to do with formats. Just the "longer scale" contact print. While it is true Azo has (had) a shorter toe and shoulder than typical enlarging papers, the density range is not longer.
The important thing is not how may stops a film can record, but how to get it to record the light in front of the camera in a way that the material (or method of reproduction) can reproduce those stops in a satisfactory manner. Why expose and develop for 10 stops if your process can only render 6 of them.
True, and compressing the highlight values in the print will differ visually from doing it all the way, or partway, in the negative. I have come to preferred the look of using the platinum process at its 'native' contrast (no contrast-increasing agents), and giving more development (usually) to the film to expand the negative's contrast to match the printing material. Carbon printing is a little more complex, but I approach it the same way.Because I can burn and dodge to get the rest in. Something that Ansel did too.
I really didn't know him well enough to form an opinion of him. All I can say is that he found a paper / developer, film/developer combination with a bigly-tonal curveMAS was a classic seeing-what-you-want-to-see guy when it came to developers and materials.
To answer The OP, AFAICS the Zone System only really makes sense if you use spot metering (not necessarily a spot meter though) and print yourself.Hi, I am an experienced digital photog making an excursion into medium format analogue, and due to the cost of film and processing over here, am hoping to use the zone system to get myself shooting okayish photos pretty quickly and consistently.
Today I was given Kodak's 120 Tmax to try out, and when I Googled I found that the dynamic range is 19 stops!
How the heck do you use the zone system on that?
Does one:
or:
- Continue (generally) using three stops in either direction off middle grey (and assume the rest is just latitude for when you want to push the film, which I understand to mean shooting e.g. at 800iso even though it is 100iso)
Much appreciated!
- Do I need to convert the zone system for a 19 stop range, i.e. a zone now is the equivalent of just under two stops, and I now have a range of approx. 5 stops either side of middle grey?
Thanks michael_r,
The Zone System was just a way of AA's to explain how it all works. One does not need the Zone System -- it is just handy knowing how it all basically works...one system or another, or no system at all.
All Hail the Holy Histogram!
A friend just took his black lab to the vet to get tutored....
I can't explain any of this in relation to Histograms. The vet did that to my cat, and she never had kittens again.
Of course it does. Measuring stops is often like measuring rubber bands.Lot's of discussion,, but does any body really think ANY film has a 19 stop range????
that's a great question beemermark.Lot's of discussion,, but does any body really think ANY film has a 19 stop range????
No, nothing is wrong. It's just how it is. They behave similarly until "extreme" highlight exposure levels where the curves are quite different. TMX and Delta 100 start to gradually roll off earlier (similar to FP4 but they are more S-shaped), whereas TMY-2 and especially Acros have much higher highlight contrast.
In the literature (and my own graphs), TMX and Delta 100 are very close. The curves are the same for all practical purposes in the various developers I've done this with. I know you have always found Delta to have less speed and/or a longer toe or something. If that is indeed what your own tests have revealed I can only guess it is because you are using a developer that doesn't agree with Delta 100 or something like that.
I
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