RE: shadow density in zone III

Dennis, When making negatives for PT/PD printing you need to take into
consideration the totality of options that you are going to deal with in
making that print; PT/PD ratio, paper type, developer used and at what temp,
FO or AFO, humidity and light source/glass exposure.

Film base + fog subtracted - I shoot for a .45 to a high around 2.7 to 3.1.
Adding much more at the bottom will give you added exposure time and
depending on film and subject, I may bring the low end down to .3 but that
will depend greatly on what else is around it and on what paper.

If you haven't done it yet, get a Stouffers step tablet and make a series of
exposure test to chart your mixtures and times to produce the full range of
the step tablet. Different glass and lamp combinations will change subtly
the response that you will get.

Eric Neilsen Photography
4101 Commerce Street
Suite 9
Dallas, TX 75226
http://e.neilsen.home.att.net
http://ericneilsenphotography.com
 
> -----Original Message-----
> From: Dennis Purdy [mailto:dennispurdy@earthlink.net]
> Sent: Thursday, September 29, 2005 10:40 AM
> To: alt-photo-process-l@sask.usask.ca
> Subject: Re: shadow density in zone III
>
> Hello List, I am a lurker named Dennis and this is my first post,
>
> This zone system discussion has been interesting and my experience with
> it was being taught in 1974 by Glen Fishback who wrote the original
> handbook for the Pentax spot meter and modified the AA zone system by
> reducing the number of zones to be concerned with. It is the only
> system of exposure calculation I have ever used though it has become
> simplified to squinting my eyes to find the darks in previsualization
> and metering to make sure I get enough exposure there. Then reading
> the whites that I want detail in and considering how much of a problem
> it will be to print it.
>
> The thing that has frustrated me with silver paper is that since the
> improvement of AGFA in the early 80s I have never been satisfied with
> the quality or character of silver gel printing even with the
> chlorobromides. To this day I seem forced to make prints very
> contrasty with deep blacks to get the paper to look it's best and long
> scale prints are always rather flat and ugly.. I know there are people
> who have figured out how to make beautiful long scale silver prints but
> in general it is too frustrating for me. I think the thing that annoys
> me most is the brightened paper.
>
> Which brings me to my question. I notice that all the zone system talk
> here references silver paper. Considering this is an alt list, has
> anyone figured out what are the best low end densities to print with
> great detail on a platinum print? PL/PT is my printing method since
> the 80s and the precision of my metering/processing technique has bee
> reduced to "give it a hell of a lot of exposure and processing" so that
> I can print to black without using a lot of inhibiter. What is the
> ideal negative density for Zone 2 and zone 9 in pl/pd printing.
>
> thanks
>
>
>
> On Thursday, Sep 29, 2005, at 07:59 US/Pacific, Shannon Stoney wrote:
>
> > I just realized that I have another burning question about the zone
> > system and zone III: what density is zone III in your negatives?
> >
> > For a long time I have been following Dick Arentz's suggestion that
> > the density of zone III should be about .35-.4. But, as somebody
> > mentioned earlier, very dense negatives can also make good prints,
> > sometimes very good prints. If I raised the density of my shadows to,
> > say, .70, then the highlights would have to be about 1.7, and so on.
> > I have printed negatives like this and they look good. In fact it
> > seems that the roll films that I have tested, if you shoot them at
> > their rated speed and develop them at their recommended times, make
> > denser negatives like that. Maybe that's to prevent people from
> > underexposing their film. (But I normally shoot HP5+ in my old Rollei
> > at 1600, in order to get the shadow densities down to .35 or .4.)
> >
> > Just curious: those people on this list that use densitometers to
> > measure their shadow densities: what is your "goal" for your shadows?
> > And what is the rationale behind that? Does it really matter what
> > the density of the shadows is, as long as the highlights fall in the
> > right place relative to the shadows? Maybe that .35-.40 thing is
> > completely arbitrary? And if there was a reason behind it, what is >
> it?
> >
> > --shannon
> >
Received on Thu Sep 29 20:35:30 2005