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52 of 52 people found the following review helpful:
5.0 out of 5 stars
I don't often give 5 stars - Name is misleading, February 7, 2001
First of all, I rarely see a book to which I'd give five stars, but this certainly deserves them! Besides that, the greatest praise I can give to a book it to make it as stained and tattered as my copy is! This means I've carried it with me everywhere so I would have it to read every spare second I had.I think the name of the book is misleading. Had I known what this book was really about, I would have gotten it a long time ago. The Zone System (the seminal reference is probably THE NEGATIVE by Ansel Adams) is fairly straightforward, and some authors hash is to death and try to make it more complicated than it is. I thought this book was another "make something simple more complicated" books like that, but it's not. It might better be called "Sensitometry for Photographers." It is a technical book on sensitometry - characterizing how photographic film and paper respond to exposure and development - and how to use that information to your benefit. It answers questions I've been asking for a long time, such as, "How is the ISO speed determined for film," and, "Why do B&W photographers rate their film at a speed lower than ISO?" The book eventually does describe the Zone System and explains technically what it is doing, but doesn't try to complicate the system. The book discusses how the light meter determines exposure, and how to make a densitometer from a spot meter. It also introduces a simple and handy "incident zone system" using an incident meter that provides good exposure without a well-developed sense of visualization on the part of the photographer. Be warned: This book IS technical in nature and involves a lot of graphs. Even though the author attempts to allay your math fears, reviews math principles and even goes in gross detail on technical drawing and graphing techniques, if reconciling your checkbook sends shivers down your spine, you're probably not going to make it very far through this book. (However, it's a joy to engineer-photographers such as myself tired of physical principles being oversimplified in other sources.) Although the book is directed mainly toward large-format sheet-film photographers who can develop individual exposures independently, I think that any serious amateur or professional photographer would benefit from reading this book to understand the interaction of light, film and paper, and how to get the best from your materials. Many of the principles and procedures can be applied, at least in part, to roll films to ensure good exposure.
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by Ansel Adams
by Ansel Adams
by Steve Simmons
by Ansel Adams
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