Highest Quality Capture: Workflow Phase I - Black and White in Photoshop CS4 and Photoshop Lightroom - page 37

For the purposes of this text and its focus on the application of processes
in the digital domain, we will look more at a “simplii ed” Zone system rather
than addressing the “full” Zone system. The simplii ed Zone system deals with
controlling exposure alone, while the full Zone system additionally controls
development and processing in combination with exposure. Since we have
moved beyond the days of a single contrast grade paper, and we now have
total control over print contrast in the digital darkroom, the focus now is to
expose i lm, or sensors, for optimum image quality - ensuring all the critical
information is present.
As with most of the fundamental concepts of this topic, the Zone system
theory applies as much to color and digital photography as it does to
traditional black and white. Although color i lm and digital capture
tend to have fewer zones, this technicality is less pertinent than actually
understanding the global application of the system, how these zones relate
to one another and how they change throughout the photographic process.
Therefore, the principles of the system's theory will function exactly the same
in the digital format as in traditional i lm; however, the method, tools and
application have changed. Whether you already have a i rm grasp on the Zone
system and need to apply the concepts to the digital domain, or this is your
i rst introduction to the concept, this Zone system overview will get you well
on your way to producing i ne digital prints.
Although there are many ways, or possible systems one may utilize to evaluate
the outcome of the i nal print or display as you photograph, the concept of
having a system in and of itself allows you to understand and be in control of
your image capture. This is a much more skillful approach than being forced
to work with whatever you happen to get with the camera in automatic mode
alone. The Zone system is one very ef ective method of getting a real and
working sense of the process - from capture to print. It allows you to get the
right exposure every time without guessing, does not require any special i lm
development, and you never have to waste time with bracketing.
When you know what you're going to get on i lm or sensor, you can make
changes in the i eld as you are photographing that will ultimately serve to
improve and optimize your i nal prints. You will be able to concentrate more
on making great images than worrying about the technicalities of technique
and exposure, which can ultimately stil e the creative process.
Proper exposure
Shadow and highlight detail are extremely important in tonally rich, satisfying
i ne prints. With traditional i lm, achieving a great print with an underexposed
negative has typically been incredibly dii cult. Lost shadow detail, resulting in
clear areas on the negative, left a i lm photographer with nothing to print in
the areas where detail was absent. Though negative i lm can capture a huge
tonal range, an overexposed negative would exhibit the opposite as dense