Re: Polaroid Pos/Neg film/Zone System

Jeffrey D. Mathias (Jeffrey.D.Mathias@worldnet.att.net)
Mon, 03 Feb 1997 18:27:48 -0800

Cor Breukel wrote:
>
> Verry recently I moved into 4*5 inch in order to produce in-camera neg's
> for Alt. Photo processes (Cyanotype, VDB and hopefully in the future
> Pt/Pd). Has anybody experience with the Polaroid Pos/Neg film for
> producing good dense neg's for the processes.
>
> A bit related question: I know the Zone system only by theory, and now
> have the change to start experimenting with it..can it also be applied in
> the process of making good neg's for the mentioned alt. processes?
> (I guess so, but what are the special points?)

Cor,

Some friendly advice:
Try a film like Tri-X, I believe you will get to what you want faster.
Or, if you really want control build new negatives from your original.
(this is a bit time consuming and a bit more costly though, but can be
done from 35mm or whatever size film you wish to use.) Also, it is
highly recommended that you use a temperature compensating timer such as
Zone-VI sells. Accuacy is important.

Since you know the Zone System by theory try this:
But, befor you start make sure that your film holders can indicate
numbers onto the film. A good way to do this is to make notches in the
edge of the film holders so the a small wedge is exposed on the edge of
the film. You will need 25 film holders and 30 sheets on 4x5 film.

1) set up a subject with large ares of uniform value, in both light and
shadow (full range of values), under conditions of non-changing light
(middle of the day works fine), and so that all the zones are present.
2) draw a scetch of the subject.
3) carefully spot meter the subject finding examples of every zone and
write this information down and indicate on the scetch were each
occures. It is also a good idea to write down any impressions or
feelings you may have of various values.
4) Calculate what your typical exposure and development time would be.
[If you don't know guess, you can always repeat this matrix to better
tune.]
5) Make 25 exposures: 5 at -2 stops; 5 at -1 stop; 5 at typical; 5 at +1
stops; 5 at +2 stops.
6) Take one piece of film from each exposure set pluss an unexposed
sheet, and develop for the typical time. Then do the same for
development times of 50%, 75%, 150%%, and 200% af the typical time.
[NOTE: cut notches on th unexposed films so that you can tell wich was
developed how long.]
7) After all negatives are dry, prepare whatever material you are
planning to print on. Then contact expose from each unexposed film
making steps of exposure. And leave some of the material uncovered by
the negative for refference. This will tell you the exposure time for
each development time. Find the time that just gives black. [NOTE:
Remember that this black will not be the blackest that this material can
achieve. If the step next to the black is also black, then use the
least amount of time.]
8) Prepare a piece of material large enough to print 5 negatives and
contact expose the 5 negatives from a development time for the time
determined above. Do this for all five sets. [It is most likely that
the exposure times will vary.]
9) At this point you should have: scetch with meter info and notes to
remind you of what you saw; 25 negatives; 25 prints; and 5 blank
negatives and exposure time prints.
10) Lay the 25 negatives on a light table as a two dimentional matrix
with increasing exposuer one direction and increasing development time
the other direction. Arrange the prints in the same positions as their
corresponding negatives.
11) Evaluate

For this printing process, this will tell you: film speed, and film
development time, (you already know printing exposure). Simply pick the
print that looks typical. If this is not the center print, then you now
know an approximate change to make in exposure or development time.

But, most important, study the values in the negatives and in the print
and your notes. Take time and learn what values in the print come from
what values in the negative come from what values in you metering come
from what values in your seeing.

If you need more refinement, repeat the whole process. Try a matrix on
a real subject instead of the setup.

Here's a plus: After you have the matrix, if you change anything in you
printing process (chemistry, paper, whatever), you can make one print
from the center negative, compair this print to the print matrix, and
where ever the print fits in the matrix will tell of any changes needed
in negative exposure or development.

One last thought: This is a lot of work. However, this exersize will
provide years of experience. Hope this has been helpful.

Jeff

P.S. I write this off the top of my head. I got this written down. So
if you find this incomplete, feel free to contact me.