Digital BW, The Print

The best histograms are the ones that show, seperately, R,G,and B.

On a histogram that just shows all three together, it's possible to 
have a good looking histogram, but actually have one 
channel "clipped".

Unfortunatly, not many cameras have that type of histogram.
My Fuji S1 has it, but I don't use that camera anymore.

Scott

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Paul Roark" 
<paul.roark@v...> wrote:
> Johnny,
> 
> >... I still think you are using the Zone System basically; ...
> 
> Yes, you and the others are correct.  I just prefer language that 
is more
> directly related to current technology.  Part of my post was 
intentionally
> non-PC (for traditional B&W types) and a reaction to what I think 
is an
> excessive deification of certain past masters in our niche.  But, 
of course,
> I have virtually every book AA wrote.  Even though I never met the 
man, I
> consider him one of my primary mentors.
> 
> >for how is the histogram produced but by exposure. Proper exposure 
> >is the exposure that produces the desired tones (histogram values).
> >...an initial exposure must be made that will contain 
> >the values for you to manipulate in Photoshop or another program.
> 
> Exactly.  I call this my "information capture" stage.  One must 
capture
> enough of it -- which includes the highlights to shadows.  I'm a 
fan of the
> 1 degree spot meter, but the modern cameras virtually do this 
automatically,
> and if people have good digital cameras (I don't), I think they can 
examine
> the histograms right on the spot to be sure they have not clipped 
the ends
> of the range.
> 
> >Another feature of learning the basics of the Zone System is that 
you 
> >can previsualize the final print,
> 
> This is where I think the Zone System never helped me much.  It 
reminds me
> of some of the composition talks I give and the relevance of 
the "rules of
> composition."  I love Weston's comments on them: "To consult the 
rules of
> composition before making a picture is a little like consulting the 
law of
> gravitation before going for a walk."
> 
> 
> >...All of us must develop 
> >some kind of discipline to enable us to relate to the scene before 
us 
> >to produce the final print.
> 
> Yes, I agree.  It is a very personal and individual thing.  If the 
ZS helps
> one, that's great.  I find a necklace with orange and polarizing 
filters
> hanging on to be my most valuable tool.  I used to also have small 
framing
> masks on that necklace to block out the context that will not be 
seen in the
> final photo.  But if the camera viewfinder is handy, that works, 
and that
> plus fingers is what I now use to do an initial "framing" of the 
scene.
> 
> Some think the Zone System is also an aid to communication.  It 
helps us
> talk about the different levels of brightness in the scene or 
print.  Here,
> however, we already have conflicting language -- for example, the 
100%
> (black) to 0% (white) ink load versus the 8-bit 0 (black) to 255 
(white)
> scale.  The "Zones" are yet another system, and one that is less 
directly
> related to the current technology.  I see it as a potential source 
of
> confusion for new B&W printers.
> 
> True, next week a new technology may come along and make what we 
are doing
> this week obsolete, but I think I'll worry about that next week.
> 
> Paul
> www.PaulRoark.com