I've been applying my knowledge of the zone system to digital tools as long as I've been shooting digital so I'm not sure this book is right for me, but it never hurts to review. I still reread Ansel Adams "The Negative" every few years because it's still applicable.
Most darkroom photographers didn't use the complete zone system because it all but required an MS in chemistry- not to mention an expensive spot meter in many cases- but understanding the zone system lead to better negatives and ultimately better prints. For many of us, the zone system could be reduced to "Expose for the shadows, and develop for the highlights."
Now there's no reason not to use the zone system in post because there's no chemistry required, and one can more easily hit the exact zones one wants especially with all the latitude that a RAW image provides. Just knowing how to identify the zones and how to "speak the language" of the zone system will make one's work better.
Humberto_Yaakov: all photographers should boycot such demand by any band and let them rotten in ther own sheet!!!!
Let's not forget that photojournalists are rapidly being replaced by "iReporters" to use CNN's term for the people who provide them with free content as they hand out pink slips to photojournalists.
Les Kamens: Stand Strong!!!!!!! The music industry is notorious for poor deals regarding images and their usage. When i was a Kid and went to shoot Santana and wanted to get paid from the management...His response was," there are 10's of thousands of people out there with cameras willing to give me photo's for passes to the next show. Why would I want to pay you?" Was an eye opener and decided to move specialties to still life and table top. What did I learn? Agency's pay and rock and roll not so much.
Next we should turn our efforts on FaceBook that blatantly say all images posted are theirs no if, ands, or buts.
Actually, the Facebook TOS says that you retain the rights to your images, but that you grant them permission to use them in any way they wish. It's a subtle difference, I admit.Like Dave, I post nothing larger than 1024 on the longest side, but that's all they really need for their uses so I watermark everything I put on FB. If they use my work, it's going to have my logo right in the middle where it can't be cropped off.
Even if I thought a book on the develop module was necessary, I'd have to chime in to say that I agree with those who say it's overpriced for an eBook and with those who say that it's not even a real eBook.
tjbates: It's funny to me that one of the main critisisms of Canon was that they didn't have auto focus lenses optimized for video. The thing is that anyone who has a clue about focussing for video with a DSLR doesn't use auto focus even if it is available.Now we have a lens that apparently can't easily be manually focussed. OOoopps.Which market is this for?
This is why DSLR video is useless in many situations. How do you focus- and stay in focus- with the camera on a jib?
Since the lens is "video-optimized", one would expect some video testing. How well does it hold the focus? How quickly does it auto focus when the camera to subject distance changes dramatically? Does the audio "hear" the auto focus? etcetera
J Parker: As photographers, we tend to have very strong views concerning the tools of our craft.
But consider the following: in the music profession, you could buy a Yamaha digital piano for $2,000 that can stunningly recreate the sound of the most expensive grand piano -- and over 1000 additional instruments as well. It is a technological wonder in every sense of the word. On the other hand, a Steinway grand piano costs $100,000. It only plays a single sound (piano). The technology is basically unchanged from the way they were built 100 years ago. It is tempermental and unlike the Yamaha, must be meticulously tuned and maintained.
Both have their place. The existence of one does not detract from the excellence of the other or the artists who choose either.
Whether it's photography or other artistic fields, all of us have a wonderful array of personal creative choices in terms of how we practice our craft. That's a reality worth embracing and not attacking each other over.
You don't really create B&W images by simply desaturating, do you? I, for one, don't want my camera to decide how B&W "sees" color. With a RAW color image, I can put the zone system to work in post by mixing it down exactly the way I want it. A good deal of the zone system always happened in the darkroom anyway. I'm betting that I can match the tonality that this camera delivers, and yes I'm an old school B&W darkroom guy.