After reading this manual, and perhaps several of the suggested books listed near its end (APPENDIX C), it would still be a good idea to take a Zone System workshop with a good instructor. The insight and knowledge gained from this experience cannot be overstated. It is fun, not terribly expensive, and you will leave with so much information that your head might burst.

My goal in writing this manual is to force you to question everything that you do, so that your understanding will be just that much deeper. Further, a question may occur that is answered with another question. Occasionally, an answer will be provided for you in the "NOTES" section (see APPENDIX D). But don't count on it! You are going to have to burn some brain synapses on your own.

The "NOTES" section should be quite useful, and contains much information that is very important. Do not overlook the items in this section. The number of tests are very limited; however, there are a few that MUST be performed. Failure to do them will result in a large gap in your understanding of the Zone System with results that you will find disappointing.

This manual will teach you how to:

STEP 1...Meter the scene you wish to photograph.

STEP 2...Place shadow detail on Zone III.

STEP 3...Meter highlight detail.

STEP 4...Determine number of zones in scene based on STEPS 2 and 3.

STEP 5...Determine development based on STEP 4.

You will also determine:

1. The film speed (ASA) for your equipment.

2. The proper development time for normal contrast scenes.

3. The proper development time(s) for high or low contrast scenes.

FIRST EXPOSURE...An introduction	1
SECOND EXPOSURE...Why do you need a system?	3
THIRD EXPOSURE...Control	7
REVIEW	13
FOURTH EXPOSURE.....Time to take some photographs	14
FINAL EXPOSURE	18
APPENDIX A
PROPER PROOFS - Printing for maximum black	19
APPENDIX B
Review Questions	21
APPENDIX C
Suggested further reading	22
APPENDIX D
Notes, and answers to (some) questions	23
EXPOSURE TEST TABLE	25
ZONE PLACEMENT INFORMATION	26

Barbara Morgan

It is a tremendous day. The skies are clear; it is the perfect definition of a "SUNNY 16" 1 day.

You are driving on a beautiful backcountry road, heading for photographic adventure, your camera bag on the seat next to you.

You come upon a white car that is traveling in your direction, but is going a bit slower then you would like. You are about to pass when you suddenly have a startling thought...."How could I get a photograph of this white car, maintaining both the detail in the white metal of the trunk and the detail in the shadowed road beneath the car?"

1. You could just use your in-camera meter and take the picture.

2. You could try to use an exposure that is half-way between the light and the dark.

3. You could use all of your previous experience to guess at a proper exposure.

4. You could study the Zone System and know exactly what to do and what to expect as a final result.

This quiz might be loaded...we know what the answer is. Actually, any of the above MAY work (emphasis on the word MAY), but only number 4, after much practice, will yield some type of consistency.

The purpose of this manual, then, is to allow you to study the Zone System and to customize it for your particular artistic needs.

Those photographers who use roll film cameras will find that to properly use the Zone System, a bit of extra work will be required 2. However, the basic theory and teachings can be applied to all formats. Access to a darkroom will be very important to properly utilize the system; even a custom lab will not, in all likelihood, provide you with what you need. Nor will they teach you what you need to know.

It is important to realize that it is only the combination of technical expertise and the heartfelt desire to capture an image important to you that will create a photograph with meaning. This manual can supply the technical. You will have to do the rest.

EQUIPMENT YOU WILL NEED

MUST HAVES:

1. A camera that allows complete manual exposure control.

2. Film. Choose your favorite continuous-tone black and white emulsion. Do not use Kodak Tech-Pan or any infra-red film.

3. A meter, preferably a 1° spot meter. Many newer 35mm cameras have built-in spotmeters that have a very narrow field-of-view with a telephoto lens. A handheld reflective meter will do, but will not be as useful.

4. A good 18% gray card.