How To Measure Exposure For Film Photography - The Zone System (Ansel Adams)
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- čas přidán 13. 07. 2024
- #thezonesystem #filmphotography #lightmetre
How To Measure Exposure For Film Photography - The Zone System (Ansel Adams). I knows that lots of people struggling with measuring correct exposure for film photography. So in today's video, I am sharing how I measure exposure for my film works. Hope you enjoy and comments below if you have any questions! Thanks - Zábava
The trouble with the Zone System is the way photographers explain it. This video clearly shows where to point the meter and the effect it all has on an EV value. Great video.
thanks Jamie! I tried my best to make it best out if it :)
Agreed! 🎉
I'm familiar with the zone system , but for newbies this video is by far the best explanation i've ever seen and doubt it could even be improved by anyone , you've done a great job .Thanks .
thanks for the comment and watching even you know what it is!! ❤️
When I began my film photography journey, I've watched a lot of videos and read a lot about the zone system. Your video explains it the best, and I really enjoyed that you provided a great visualization of the zone system and even challenged viewers to pause and decide what they would do. Thanks so much for this video!
Thanks Louis! As zone system helped me alot, I tried my best to explain 😁
Clear and concise with no fluff. Much appreciated.
You have made the first video on CZcams on the subject that is clear and understandable. Much better than the blabbering beard-wearing guys with their tattoos, that talk a lot but don't actually say anything.
thanks alot for watching! still try to make good videos..
After a couple hours listening to ptretentious semi-popular youtubers trying and failing to explain this (maybe because they don't really understand it themselves) I stumble upon this video.
Super easy explanation, some practical example and a little excercise so I can fix this newly learned information. Very well made vido that doesn't waste people's time with superflous informations.
thanks for watching 🥰 i tried my best :)
I’ve been using cameras for decades and was always intimidated by the zone system. Your explanation was very helpful, probably because you tapped into a magical secret: photographers are very visual people! Thank you!
Thanks for watching and glad to hear it helped! It has been helping me a lot, so I wanted to share!
G’day, Ryan, thanks for the chat today and your valuable information to get me started on my Medium Format Film Journey
G’day Sean, thanks for watching and hope you find some more useful info on my channel! if you do have any question, dont hesitate to message me!
Thank you for the most informational and helpful metering video I've watched. The zone system and placing the metered values on places along it creates a perfect understanding of how things will look in post, much better than my spray and pray with the in camera metering hoping it's what I want.
haha lots of people are hoping for the right exposure but it shouldnt be hoping, it should be able to pre-visualised 🥹 there are too many other things to consider rather than just exposure 🥹
Thank you. I think that I fundamentally now understand this.
Glad it was helpful!
Best video yet on zone system
thanks for watching! please share it to those who need it 🥹
I’ve been watching a ton of videos on spot metering to try to perfect my metering. I do landscape professionally, but just switched from digital to film. This video is the first one I watched that clicked with me! Thanks!
Thanks Dylan! and also feels great that this video is helpful for you. If you do have any other contents to see, feel free to let me know!
thanks
I got my first instruction in the Zone System at 10 years old. My father, a photographer and friend of Minor White (whos' use of the ZS was a little more simplified than Ansel's) We often forget that Uncle Edward (Weston) was the "Patriarch" with whom Ansel developed the Zone System to be used in still photography. My father gave me my first sheet film camera and a used Weston II light meter with the ZS card attached to it. I'm more intuitive in the use of the ZS today, however. There's a greater majority of photographers today who don't even know what the Zone System is. Back in my day and we're going back 50 years to when I started, there were a lot who claimed it didn't matter or it was just far more complicated than it was worth. They would take a reading and do what the meter told them. The ZS allows far greater control of every step of the way from exposure/negative/print and even in digital, the ZS is important as it reduces the amount of work you will need to do in post.
Your explanation was very simple and I commend you for your introducing the Zone System in this way that makes it less complicated or intimidating for today's photographers, professional or just hobbyist/amateur photographers.
thanks for watching! In my opinion, you don't necessary to know the zone system to take photos in digital world. But this helped me to understand light better and improve my photography in general. So hopefully this video can do to others as well!
@@RYANPARKPHOTOGRAPHY 👍 I agree, but I've noticed a lot of talk about using and referring to the histogram and that's Zone Sys baby!
As a commercial photographer, we always admired those who could use ZS to control their work. Instead of ZS, we relied on other techniques--incident meter reading, understanding types of lighting (soft, direct, backlighting, side lighting, etc) and how our film(s) would respond. Also, most of our work was done in a studio where we controlled and were familiar with our lights. On location, the same techniques applied but the light source was bigger and farther away. We developed our skill to see contrast and judge placement using incident readings. Oh yes, and we used a lot of Polaroid partly to satisfy art directors but also to check exposure, focus, etc. I understand that ZS extends into processing--N+1, N+2, N-1, etc. Could you produce a video on this part of the ZS? Thank you.
I liked the simple and clear explanation of zones in your vid too - mostly the fact that it was not interrupted by distracting (and often irrelevant or even random) thoughts from presenters who hardly consider what it's like for an audience or student to come to grips with sometimes complex or unfamiliar concepts and techniques. This fact alone puts your online work way above so many others. Can't get enough of this kind of technically developmental understanding, and I'm no novice!
Excellent video ! Makes things very easy to understand . Theory & Practice go together , keep on !!!
thanks for watching ❤️
This is an excellent illustration of the concept of pre-visualization, being the translation of scene brightness levels into tones of grey on B&W film. There are many other YT videos which do not do this as well. However, this video shares the same deficit with those other videos. The zone system operates on the certainty that the film/develop combination being used has a defined number of "zones" between black and white. (Here that is ten. Adams later in life modified to nine zones based on his evaluation of changes in modern films) So, do all films yield ten zones of film image density between black and white in all developers. Certainly not, as the slightest consideration of the question would conclude. Some films have very low contrast; other very high contrast. And those ranges will change with each change of developer. So what is missing from this video? The whole technical process of determining an ISO film speed which will anchor a detailed shadow on Zone II and a development time for a specific developer which will give that film so exposed a range of zones putting pure white on Zone X. Using just the pre-visualization concept without this calibration of film, developer, light meter, and camera, is useful to evaluate a scene and generally adjust exposure settings, but it's only half the equation. If you do not calibrate for a defined range of zones, you cannot accurately place those scene densities on planned film densities, i.e., zones, as represented here. Also, you do not see the zone system discussed with color films because (1) negative and positive films have substantially different ranges of potential zones, and neither are the same as B&W film, and (2) color films do not respond to light with an even spread of tone densities, particularly in the areas which might be called zones I to IV. Pre-visualization in concept can be applied to color films, but adjustments through change in development are not possible.
Excellent points. This is why, as an amateur photographer, I gave up on really using this system, because it seemed so complex and difficult to execute. You pre-visualize, but you need to keep diligent records of every shot, then make sure all shots in the roll will work as you push or pull the developing to achieve a better dynamic range. Generally I recall one would opt for underexposing the negative by a stop or two, then pushing the developing by 1 or 2 iso levels so that the darker zones would have better separation--because regular developing often resulted in little separation from say zones ii-iv. On super high contrast images like a bright beach day, maybe you'd pull back the developing to reduce the severe contrast. I just found this excessively difficult, so that's why I marvel at the amazing attention Ansel Adams and others paid to the "craft" part of photography---their results are the product of much more than just composition and DOF choice. Good job Ryan on explaining the idea, and yes it will help make sure you reduce the number of over/underexposures per roll. But in practice I think most pros would still bracket one or two stops either way for safety, so there is still some amount of "waste" in the process, on top of limitation of pushing/pulling all shots the same amount when developing.
Randall pointed out a very important consideration. To get a good negative, it starts with pre-visulalisation and appropriate exposure but that's not enough then the film stock, developer, agitation method, time, and temperature all have impacts on the final result. Finding the accurate ISO, dev time, film sensitivity etc for a Film-Developer combo is very important in this process.
All that said, the aim of the game is to get a good "dense" negative to be able to easily print it in darkroom. Producing a good negative is only 1/3 of the battle and then printing from that negative is the more important part. So, if you're final goal is to scan the negative and digitise it then going through all that effort seems to be a bit unnecessary, in my view, but absolutely crucial if printing in a darkroom.
Great contributions from everyone. @Randall I have not gotten into development yet, but from my perspective the vid is very useful to apply the zone system. I have some friends that could not care less learning about the zone system as they just "machine gun" any scene with digital. When they don't like the result, a simple touch to that "delete" button and it's done. The modern nihilistic approach to life!!!
Thank you for the comment.
MERCI POUR TES EXPLICATIONS CA M'A AIDE BEAUCOUP
Great result to make sure you get what you want. Those of us who shoot film know it’s not getting any cheaper and to be able to nail the exposure every time is great.
True.. every frame count :) it is getting expensive and it will get more expensive…
Even with my Hasselblad digital back, I am still using my Minolta V to collect 8 readings and just use the average for my final setting!!!
I've been watching a lot of YT videos on the zone system, but yours is the one that got me to finally understand it. Thank you! :D
glad to hear that! thanks for watching!
Just saw your video when I did a search for light metering. Very informative and great examples.
Awesome, thank you!
very useful, tnx! the examples are precious!
thanks for watching!
Wow you’ve just made it really easy ! Thanks
thanks for watching!
Finally, understood how to place exposure values over the Zone System scale then decide where my focus is. Great visual!!
Really glad that it helped!! Thanks for watching and if you do have any other contents what to know more about, let me know 😁
By far the best explanation of the zone system I've watched. Well done, great video
thanks for watching!
Very nice production for us to learn and understand the ZONE system. Much appreciated for all your hard work, nice work!!!
Thanks for the awesome explanation! As someone who is starting with film, this helped me a lot to understand exposures~!! Thanks!
Glad it was helpful!
I loved to practice with your 2 exercises. I think I got it and it feels great to learn this as I am waiting for my first personal fil camera.
hope you enjoy your film photographt !
finally someone who explains the Zone systems very simple and well!! I got it!! Thanksss
Thanks for watching!
The BEST video explanation on CZcams - thank you
The way you explained this and the examples along the way helped me to be able to wrap my head around this. I’ve watched a lot of “how to” videos here at CZcams University and your teaching on this subject was hands down the most comprehendible I’ve encountered. Thank you!
Thank you very much! appreciate!
Wow, been trying to find a clear example of how to use the zone system and this is the best by far. Thanks, and great work.
Finally ! Long anticipated episode - great job man!
Thanks Alex! Finally released .. maybe I think too much..
This is a very clear and logical explanation of the zone system. The assigning of which area to zone 5 according to the effect one wants is the best part. Whether to sacrifice the details in the dim or in the bright is another good part. I have learned a lot from your video. Thanks Ryan. P
Thanks for watching! glad to hear that it helped!
The best explanation on how to use the zone system that I’ve ever seen (and I’ve seen many). Great video.
Thanks for watching John! really appreciate!
Thanks for the explanation, I understand it now. It's like having a film version of a histogram you get on digital cameras.
after watching many but many videos about the zone system... i finally got it thanks to you, yours is the clearest explanation i have seen or heard. i have a incident meter and i just take a single reading of light falling in general. my pictures are dull. i will get the spot meter and start practicing
Great job Ryan. You explained at a great pace and so clearly!!! And thanks for capturing our pixels.grain adventure!!!
Thanks Alan!! thanks for showing a large format camera 🤑
Ok so to get this straight:
You take your exposure based on four spots: your highlight, bright mid-tones, dark mid-tones and shadows. Then, you put their shutter speeds on the zone system chart, knowing each space between the numbers are stops. To take your shot, you need to shoot with what speed is on the 5 (so, the bright mid-tones for film and the dark mid-tones for digital*). Is that correct?
By the way, great video! It's well explained and straightforward.
*I have heard that you could use the zone system with digital by being aware that it's easier to recover dark tones than bright ones
Thanks for watching! Also, sometimes with zone system you need to give up some of highlight or shadow, and you can choose which one. I am not sure for digital as you can actually see the result as soon as you shoot the scene.
@@RYANPARKPHOTOGRAPHY With my D5, I have 15 stops dynamic range but I am still using my Minolta V for readings before pressing the shutter.
Great. Thank you for the Short lesson.
thanks for watching!
I’ve been searching CZcams for an explanation of the zone system for a while, and even tho I kind of started to understand it, there was something that wasn’t clicking for me.
This video is what clicked for me, and made me understand it perfectly. Was practicing by doing it myself on the first examples, and on the last one, I managed to nail your exposure. Only thing, by now I find it difficult to visualize it, so I’ll get it printed and first start to do it like that and in the future, by practicing I’m guessing it will get second nature.
But for sure thank you so much, I now understand it!
Thanks for watching! It is hard to learn at the first stage but i found it very useful to understand light bit more!
I've been watching videos like yours, but I couldn't understand them so after watching this video I can understand it now thank you for explaining it simply.
hope your photography has been better after this video!
This is the best video about the zone system. Thanks!
Thanks for watching! If you have any other contents idea, please let me know :)
this has been the best explanation i've seen for the zone system. thank you very much!
thank you so much for watching!
One of the better metering videos out there. Thanks
Thanks alot!
Brilliant explanation and tutorial and no fancy nonsense like in other videos here. Straight to the point and with the ‘pause the video and work out the zone” exercise was genius.
thanks for watching and commenting! I tried my beat and this kind of comments are so rewarding!
I have watched many videos about the Adams zone system, but it was never clear to me. I finally got it. thank you. Greetings from Peru.
Thanks for watching! and glad it is helpful!!
The best explanation about zone system. Great material.
Thanks for watching!
I found this from English but there’s Korean Sub OMG that’s really helpful to me to understand film photography thanks a lot!!
감사합니다 🥹
I think i understand exposure and the zone system after much reading and practice and thought I would watch this just to see what mistakes you made. Actually you not only got it right, but your examples showed your points perfectly and I could have saved many hours by watching this years ago.
Thanks for watching mate! It is so useful system to have better understanding about light and films!
DUDE THANK YOU, i watched so many videos before this one and u explained it sooo well. god bless u
thanks for watching and so glad that it helped!!
Very helpful video! Thank you.
that last scenario was really helpful in helping me understand the zone system, thank you!
Thanks for watching! Hope this is helpful in this crazy expensive film period... :)
Best video I have seen on the zone system. I have a better understanding now. Thanks for your help! Jim from Georgia
Thanks James! It’s really glad that it helped. Thanks for watching again!
Great video ! understood it on the first try im so excited to use this my next time shooting thank you!
Thanks for watching and glad to hear it helped 😀
Nice simple application of the zone system. I think the next tutorial should be on dynamic range and altering development times accordingly.
Hello, I have seen many videos and tutorials to try to learn the zone system well and I can say that it is the clearest thing I have found to assimilate, it is an excellent explanation and video, you explain it very well with examples with each point in its place on your scale. congratulations for the explanation save the video in favorites because I thought it was great thanks
thanks for watching! happy to hear that it is helpful!
fantastic, thank you. subscribed! i thought the zone system was going to be hard, but you demonstrated it in a way that made it easy to understand, glad i found this video first!
Thanks alot! very pleased that it is helpful! Measuring correct exposure can be done in many different way but in my opinion understanding zone system helps to understand light better 😀
Great explanation, thank you! Last picture is amazing!
Thanks for watching! hope it helps!
Thank you Ryan. This helped me understand the zone system.
Thanks for watching! really appriciate!
Excellent video Ryan. Thanks.
thanks for watching :)
Your video is the one that makes the most sense.
thanks!
I learned the Zone System from Adams’ book then a few years later worked as a lab technician at National Geographic. What isn’t understood here is that Adam System was based around the strategy of printing all scenes, regardless of lighting contrast, on a #2 grade print paper because Adams felt it had the best tonality. To do this it is necessary to adjust negative DEVELOPMENT to match the range of the scene from darkest shadow detail to brightest non-specular highlight.
Exposure with Adams System was always based on the minimum exposure needed to produce density above film base _ fog in any Zone 1 (shadows with texture) areas of the scene. Back when he developed the system the only metering tools he had were a Weston reflective meter and an 18% Kodak Gray card. Exposing per a meter reading off the card would, based on testing of true ISO speed, expose the shadows correctly because the Weston meter was calibrated on 18% gray.
The true ISO speed was determined with a simple test. For Tri-X with a nominal ASA / ISO of 400 you would set the meter at 400 ISO, meter the card then set shutter and aperture based on that card reading. After developing the negative you would evaluate the negative density in the Zone 1 areas of the scene. Typically a meter setting of 400 would not correctly expose the Zone 1 shadows - they would be clear with no density - and a meter setting of 300 - 320 would be needed to correctly expose the negative in the shadows so when printing the clear border areas and any Zone 0 voids in the scene would be reproduced as max. black with Zone 1 areas with slight negative density reproduced as a dark gray.
The needs to be understood about developing B&W negative film is that the shadows areas with very little exposure to light develop into metallic silver very quickly and then do not change regardless of how much longer the film is developed. What does change with development is the silver density in the highlights. The second test series with the Zone System was determining the development time needed to match the highlight density in specular and non-specular scene highlights to the range of the #2 paper on a CLEAR SUNNY DAY - what Adams called “Normal” development.
The test was done by putting a subject wearing black and white clothing is direct sun and shooting 4-5 sheets or rolls of film at the true ISO speed (from test one) based on the meter reading in the gray card. Each sheet or roll would be developed for a different time. The resulting negatives would have identical shadow densities but increasing highlight densities. When the negatives were printed on #2 paper so the borders were max black those with the shorter development times with lighter highlight densities would have dark muddy highlights on the print. Those with the longest development times would had too much negative highlight density and have washed out highlights on the print. But a print made from one of the film development times in the middle would fit the range of #2 perfectly and like magic have the same full range as Adams prints did!
It wasn’t magic, just a systematic approach to controlling the variables of exposure and development of B&W film and paper.
After doing those two tests and setting the meter at the actual ISO needed for proper Zone 1 shadow exposure all film shot on clear sunny days would be developed of the time determined in test 2 and produce full range prints on #2 paper without any trial and error.
The same development time test then needed to be repeated with the same subject under lighting with more or less contrast: partly cloudy, overcast, foggy, snowy, etc. to find the ideal negative development time. Shadow exposure was always metered the same way off the 18% card with development changed based on the contrast of the lighting.
What the creation of spot meter allowing starting in the late 1960s was DIRECT MEASUREMENT if scene range. It was no longer necessary to base exposure off a metered 18% gray card, one could aim the meter at the scene were Zone 1 detail above black void was needed, then meter the brightest non-specular white highlight and know with greater precision exactly what the scene range and negative development time needed FOR PRINTING ON #2 GRADE paper would be (based on previous testing of different range scenes.
Again understand this was all based Adams desire to make all of his prints on #2 contrast paper. That differs from what a consumer lab does with B&W roll film.
A roll of film might be shot under different lighting conditions - some sunny, some open shade, some overcast - and when developed the highlight densities for Zone 9 whites and Zone 10 specular (paper base) will vary. What the lab does is read the density range of the negative and then adjust the contrast of the “Polycontast” print paper using color filtration to alter the contrast range of the paper to match the negative; the opposite of what Adams did.
So unless you meter and develop your own film the way Adams did match scene contrast, as described above, you aren’t really using his Zone System. It is still possible to use his system with roll film but it requires having different film backs or bodies for each scene contrast or shooting an entire roll under the same lighting conditions then developing per the scene range as measured with the spot meter.
Really good explanation because the key to the zone system is to adjust the development time. What books can you recommend to me so that I can go deeper into the subject. Thanks.
Roberto Brito
@@robertobrito9598 There is no better source than Adams’ Basic Photo Series books The Negative and The Print but with the caveat that Adams made the process far more complicated that it needs to be today if one has a 1° spot meter to directly read the reflectance values in the Zone 1 shadow areas above max. black voids for setting negative exposure and the actual range between those scene shadow zones and smooth white Zone 9 non-specular highlights. With a spot meter there is no need at all for a gray card and with the first step of exposing and developing the film to fit the range of the #2 print paper will cause all the values between black and white to be recorded more or less how a human scanning the scene with adaptive vision would perceive it.
The pupils in our eyes react to expose the brightest objects correctly and in very contrasty light as they constrict we actually lose our ability to see the shadow detail. But a photographic print with lower overall contrast allows us to see detail everywhere from dark to light. That is the magic of a carefully crafted Zone System print, being able to see more detail in the shadows in a photo of Half Dome on a clear sunny day than you would be able to do in person unless you stare at the shadows long enough for the eyes to adapt to the lower brightness.
The other important thing to understand perceptually is that in addition to the shape and tone of the shadow clues 3D objects cast the SPECULAR REFLECTIONS from the light source(s) are critical for creating the illusion of 3D shape on a 2D rendering in using any artistic media. This is especially true on shiny white objects like a car hood or chrome bumper or a black cat sitting on a black bacground. If you don’t create tonal separation between the solid objects and the specular reflections from the light source in the shadows and the highlights you lose the perceptual clues to their 3D shape.
My first job after dropping out of college was apprenticing and assisting Washington DC area wedding photographer Monte Zucker who introduced the use of dual flash for shooting wedding receptions to solve the problem of reproducing detail in both the dark folds of the men’s clothing and the delicate details in the satin and bead work of the bride dress on color prints, which have a much shorter range than B&W. He used a flash on a bracket 16” above the lens of the camera so the shadows it cast would fall behind the subjects and also so the specular highlights the flash created would fall higher and more thus be more natural in appearance than when flash isn’t raised above the lens.
With a single flash shot on negative film exposed for the shadow detail in the black suits the white bride’s dress would be rendered as gray not white. The same is true with digital sensors which have dynamic range similar to a photographic color print. The highlights were exposed optimally by adding a second flash on a rolling stand which overlapped the fill which lifted the areas it hit raising their tonal values (without affecting the shadows it didn’t hit). Optimal exposure was of the highlights with dual flash is controlled by setting exposure for the shadows with aperture and fill flash power, then overlapping the key light until you reach the point where on the print there is still tonal separation in the white highlights between the 3D objects and the specular reflections of the light source. Again making the lighting seem natural or not was a function of its height and angle relative to subject and camera matching the clues to 3D shape the shadows and specular highlights the sun as key light and sky as fill create.
When taking portraits outdoors I always use put the back of the subject to the sun as rim light then used dual flash in a the same key over fill arrangement in front of the subject. Aperture / shutter / ISO are adjusted so any sunlit white clothing is recorded with a 0 - 255 histogram value of around 245-250, with only the specular highlights on clipping. I don’t use a meter for this, I just use the “blinkies” in the playback until only the specular highlights from the sun are blinking. At that point in the process the front of the subject is way underexposed.
The next step to correct that is to add fill flash on a bracket or stand on the camera axis above the lens (raised to create natural looking specular highlights from the fill source) and raise its power until detail is seen in the darkest shadows. I don’t make the subject stand there to make these adjustments I just drape black and white towels on a light stand where their face will be. After adding the flash fill in front for the shadows the shaded side of the sunlit white clothing will still be rendered as gray. As indoors with flash to raise their tonal reproduction to “white” the second key light is added with power raised until three different shades of “white” are seen on the print: the 255 specular highlights from the sunny rim light, the 245-250 highlights on the white towel towel created by the sun and adjusted via shutter/aperture/is, and the “white” highlights on the front of the white towel exposed to a value of around 240. On the screen or print the only thing which wind up being “pure” white 255,255,255 RGB values or white paper base are the specular highlights. To preserve those clues to 3D shape it is necessary to actually reproduce the “white” towel as two slightly different shades of gray, the one in the areas the sun hits slightly darker those exposed by the key flash.
When you wrap your head around needing to reproduce the white objects in photos as tones of gray so as to preserve the clues to 3D shape the specular highlights create on white objects you will understand how to optimally control exposure in photography to reproduce “seen by eye” (with adaptive vision) detail over the entire tonal range with shadow and specular highlight clues to 3D shape which match those created by sun and sky fill and overhead light sources indoors.
So would bracketing be also another method? @@TeddyCavachon
Man you know your stuff. Thanks for sharing.@@TeddyCavachon
Covering more of the dynamic range?
Great video, I like the method you use and will probably include the concept in how I shoot.
In my teens, with a Pentax Spotmatic (still have it) and TriX400, I relied mostly on developing/printing and I nerver use a meter (too expensive for me). Now it’s a Nikon, manual settings, sekonic meter and postprocessing. Nothing has changed except for the meter!
nice :)
I love how you get right to it! 🎉🎉🎉 I wish more people did the same!
thanks for watching!
I got nothing but it was very interesting.
UPD. Watched the video again, not it clearly visible. Thank you for awesome guide!
Perfect explanation
thanks!!
Reading about the zone system sounded nice but I didn't quite understood how I would apply it in the field. The visualization with the scale and your measuring points did the trick for me to understand it. Thank you for the explanation!
Glad it helped!!
Beautifully explained! I seen a few other videos and kinda understood but they were measuring ev values. You measured for fstops. Now I understand, now I gotta master lol cheers mayne!
thanks for watching and really happy that it helped! Enjoy film life!
Thank you. This was a very helpful video. Please keep making videos.
Thanks for watching! more film photography contents are coming.
Great explanation, thanks!
Thanks for watching!
Excellent video. A quite complex subject well explained and illustrated. Great job. 👍
Thanks for watching Russell!
Very good information. Your examples were excellent. While I have moderate skills with exposure, it is ALWAYS useful to good examples paired with straightforward explanations. Thank you.
thanks for watching!
Nice explanation Ryan,…!! Thank you so much for sharing ❤️❤️
Thank you so much for watching!
Great tutorial, excellent explanation, thanks!!!!
Thanks for watching! Cheers!
Merci pour cette vidéo sur le "zone system". Les explications et les exemples sont parfaits pour moi :)
Thanks for watching!
Thank you for this amazing video!
Thanks Greg!!
Love this video, very informative, thank you
Thanks! hope you enjoy next roll of film 😀
@@RYANPARKPHOTOGRAPHY I can't wait to apply zone system to my tool kit.
Really great explanation, well done
thanks for watching!
Great video man, Thanks
thanks for watching!
Thanks! 😉👍
You told it very well, great photo examples
Thanks for watching! hope this video helps!
Great explanation. Thank you so much 😅
Thanks for watching 😍
Thanks so much for this video!
Thanks for watching! Hope itnwas helpful!
Fantastic video…!
Thanks for watching!
Excellent video 📸
Thanks alot for watching! hope it was helpful!
안녕하세요. 알고리즘 따라 들어왔다가 존시스템에 관해 제가 본 영상 중 간단하면서도 가장 명쾌한 설명에 구독하고 갑니다. 대형포맷에 대해 올리신 영상도 재밌게 보고 있습니다.
감사합니다! 중형과 대형을 메인으로 사진생활 잘 하고있습니다 :)
Excellent explanation of zone system man!! You simplified it really well :)
Thanks Nathan! Tried my best 😍
@@RYANPARKPHOTOGRAPHY you did it really well man, I understood it perfectly! 😁😁
Excellent... Thnaks
Thanks!
very clear
Thanks for watching!
Thank you, great explanantion.
Thanks for watching Peter!
awesome video
Thanks!
Great video say no more 👍👍
thanks
Great video
Thanks for watching!
Great video and a clear explanation of the Zone System using N development. Hope you will expand this with N+ and N- development. As with you, I have a Pentax Digital Spot meter and a Hasselblad so I work in EV’s. Much simpler but will add another layer of difficulty to the novice or cameras without this feature.
I am using a Minolta V meter to collect 8 readings and just get an average setting.I have been getting good results and I hope I am doing the right thing???
Great Video. Learned a Lot. Thx :)
Subbed.
Thanks for watching!!
Great video! Worth sub!👌🏻👌🏻
Thanks for watching and also subs! ❤️
Hi Ryan, fantastic video mate, for negative film you may want to mention exposure for shadow and for slide film exposure for highlights, in your light house example, the shadow reading is 1/2 and you want to place it in zone 2 (i.e. underexposed by 3 stops), therefore your camera setting is 1/15. For digital camera, often meter for highlights then place in zone 8. Best regards James
Thanks James! yes, it is generally said exposure for the shadow and play with highlight!
Good job...Now do a video on how you develop your film for the zone.
Thank You
Thanks for watching!
That was a good explanation Ryan, and I like the way you demonstrated the examples. Get a 4x5 camera. You’ll love it. My 4x5 is possibly the best purchase I ever made.
Thanks Matt! I still not confident to start yet. Actually, I was about to buy few weeks ago as I wanna shoot slide film with large format. But fujifilm discontinued now.. so..
@@RYANPARKPHOTOGRAPHY I just shoot black and white for now. That way I can develop at home.
@@MattWeddis I love bnw but @BenHorne inspired me to shoot slide film so much!
@@RYANPARKPHOTOGRAPHY He's very good. I'll try colour one day but will keep with B&W for now.
@@MattWeddis Looking forward to seeing!!