Quick Exposure Records

These forms allow all variables to be worked out and calculated: Key stop, lens extension, filter factors, reciprocity law departure, and boxes for adjusting the exposure. Boxes for C/ft² go up to Zone XI.

With the advent of FA-1027 film developer, it is once again possible to achieve excellent Zone System results with Plus and Minus Development; consequently the Exposure Records have been redesigned.

Normal Development

The example shown above is a landscape at Durand Lake here in Rochester. Artworks 4x5 Camera, Fine Art Pan 125 Film tray developed in FA-1027 for 6 minutes at the 1:14 dilution. The print was made on Perfecta Paper, developed in Perfecta-D developer for 2 minutes.

C/ft² Exposure Formula Method - Example 1. The pine boughs overhanging read 1 C/ft² and was placed on Zone III. The distant water reflection reading 50 C/ft²  fell on Zone VIII, with 5 C/ft² falling on Zone V (about the same value as the near bank). The exposure was 1/5 second at f11. Adjusting the f-stop to f22 required a 1 second exposure. This is the best way to meter a subject since it insures the low values will have full detail - because you meter them and place them first.

Gray Card Method - Example 2. If you're confused about all this Zone System stuff, simply read a gray card value in the primary illumination of the subject (in this case, the open skylight - not the light under the pine boughs). Write the exposure indicated in the box above Zone V. Adjust the exposure if necessary and you're done. In even light or with short scale subjects, this method usually works well. If you're in doubt about underexposing dark low values with this method, give more exposure. This is fine as long as you don't overdevelop the film.

MPD Method - Example 3. This is Fred Picker's old idea, and is essentially the gray card method, except that you always place the high value on Zone VIII. The Tri-X/HC-110 combination would then yield the same high contrast negative. In this case you write the high value meter reading in the box above Zone VIII, then interpolate the exposure and write that in the box above Zone V. This MPD idea can work well in even light with predictable subject matter, but can cause low value underexposure in backlight,  interior existing light, or other non-standard lighting conditions. For that reason I don't recommend it.

Be aware there are many ways to use these Quick Exposure Records. You can use the gray card method and still write the C/ft² value in below it. You can also meter the important low value, write that meter reading in the box above Zone III, then interpolate the exposure and write that in the box above Zone V.

 You can also write the EV values in the boxes rather than C/ft² values, but it's easier to convert EV numbers to C/ft², since C/ft² values are known values, and can be directly related to shutter speeds (see Ansel Adams; The Negative; Little, Brown and Co; p 66.).

Normal Development

 Example 1

Example 2

Example 3

Normal Plus 1 Development

Foliage, Durand Eastman Park, Rochester.

For this picture,  the thin dark branches were found to have a luminance value of 1/2 C/ft²  (EV 6 on the calibrated Polaris Spot Meter). With the branches placed to show a trace of tone (Zone II), the distant center foliage, reflecting 50 C/ft²  fell on Zone VI. Although the brightnesses of the white sky and sky reflections  would fall higher, from experience I knew the resulting print would be dull.

Higher contrast printing filters might solve the problem, but with FA-1027 developer it's easy to use plus development and usually the results are better. I indicated on the Quick Exposure Record the plus development and drew the arrow from Zone VI to Zone VII to remind me which value I was concerned with "boosting."

The Plus-1 negative printed easily on number 2 paper, straight, with some simple edge burning. The white areas of sky and sky reflection were too small to be of any consequence. However, if either sky or sky reflection brightnesses were larger in size, portions of them would print as large areas of unacceptable pure white, and the print would be harsh and contrasty. Also, if the dark value areas of the branches was larger in size, say as large as a tree trunk, the Zone II placement would have been too low. In either case, plus development would be a mistake and another solution would have had to be found for this situation.

Artworks 4x5 camera, Fine Art Pan 125 film, tray developed 5 minutes at the 1:9 dilution. Print was made on Perfecta Paper developed in VersaPrint for 2 minutes.

Normal Minus 1 Development

Bloodroot Plant and Curtain, Rochester NY.

Subjects of this type need to be full of light and "buoyancy." Middle and low value print tones are often inappropriate and impart a deceided "heaviness" to a subject like this. What is required is a very fully exposed negative with well separated tones; therefore subject brightnesses need to be placed very high. I am not concerned with any blacks in subjects of this type.

Bright sunlight on the left of the curtain read 100 C/ft² and was placed on Zone X. Less bright curtain areas fell on Zones VII - VIII, and the bloodroot plant values ( 5 C/ft² ) fell on Zone V. Minus development was indicated and I drew an arrow to remind myself where the primary value should eventually be. The brightest curtain areas are the primary values, since the picture is about "light."

The negative printed straight with simple edge burning, and the feeling of brilliant light through the sheer curtain material is quite evident. If the negative had been given normal development, and printed on low contrast paper, the separation within the tones would not be as crisp and distinct. The print would have lacked substance; and would have looked gray and lifeless. This disagreeable low contrast paper effect always occurs, regardless of whether or not there are any substantial blacks in the picture.

Plaubel Profia 4x5 camera, Fine Art Pan 125 film, developed 7 minutes in FA-1027 at the 1:19 dilution. Print was made on Perfecta Paper and developed 2 minutes in Perfecta-D developer at the 1:7 dilution.