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Background information
In the out-of-print textbook 'Workshop. Schwarzweiß-Fotografie nach dem Zonensystem', Andreas WEIDNER, a representative of fine art photography in the tradition of the f/64 group around Ansel ADAMS, Edward WESTON and Imogen CUNNINGHAM, shows the consistent application of the system with the large format camera.
Content
The only-German-language volume 'Workshop. Schwarzweiß-Fotografie nach dem Zonensystem' by Andreas WEIDNER is a classic textbook in which the focus is on didactics and therefore accounts for 3/4 of the content. An introduction (10 pages) and a gallery section (25 pages) with personal notes on almost full-page black-and-white photographs are followed by the main section entitled 'Didactics' (around 150 pages). It concludes with a two-page index and an (outdated) list of sources for all material.The didactics section is divided into the following chapters:
- The negative process (of the three camera formats small, medium and large format)
- Image sharpness (sharpness reproduction, resolution, grain size, contrast reproduction, reproduction scale, contour sharpness, light diffraction, modulation transfer, coating, determining the critical aperture)
- Image formats and reproduction quality (the above-mentioned formats and the zone system, positive quality depending on the image format)
- A practical example (or: an all-too-familiar story, the transformation of colors and brightness into gray values)
- Exposure metering (measured value, light and object metering, the exposure meter, the grey card, partial metering and averaging, the spot exposure meter, spectral sensitization of black and white films, working with the spot meter)
- The zone system (zone scale, reciprocity behaviour, zone diagram and its characterization, zone system and the exposure meter, exposure method according to the zone system, different contrast situations, subject contrast, three variants: a) normal contrast, b) low contrast, the influence of color filters on contrast, filters and their effect, pre-exposure of negatives, calibration process, material requirements, determination of a) personal ISO number, b) normal development time, c) development time +1 zone = N+1 development, d) development time +2 zones = N+2 development, e) development time -1 zone = N-1 development, f) the N-2 development time, g) the N-3 development time, influence of the forced and reduced development methods on the shadow area, development data, film calibration with a densitometer)
- Sensitometry (blackening = density, blackening curve, curve foot, straight-line rise, gamma, curve shoulder, negative density values of the various zones, metrological determination of a) personal ISO number, b) standard development time and c) forced & reduced development times, calibration procedure with the spot exposure meter, contrast control limits)
- The negative technique (pushing the films, storing unexposed & exposed films, archiving negatives, film development, developer components, durability of developers, precautions for film development, spool and sheet film development, standstill development, 'density repairs' of negatives)
- The positive process (laboratory, enlarger and its alignment, the enlarger and its light characteristics, illuminating the negative format, choice of focal length, negative stage, laboratory lighting, focusing, enlarging lenses and frames, Laboratory and necessary accessories, the photographic paper, gradation changing papers and their light source, photographic papers and a) their image tone, b) their surface, c) their gradations and d) their storage, the positive developer, stop and fixing baths, toner treatment, watering-out aids)
- The printing technique (enlarging, post-exposure & dodging, pre-exposure of photographic paper, toning with sodium selenide, final watering, summary of contrast-influencing measures in the positive process, making a fine art print)
- The finish (presentation, storage and framing of exhibition pictures)The digitization of black and white negatives
- Disposal