Frequently Asked Questions

What is the Zone System?

Creating a fine print encompasses many steps. One of the most important for producing the best possible negative is for the photographer to pre-visualized the final print. Once mastered, the Zone System gives the photographer a language to visualize the intent of the negative and relate that negative to the pre-visualized image, and eventually through to the final print. The Zone System allows photographers to achieve consistency in controlling the tonal range in the negative. Formulated by Ansel Adams and Fred Archer in the 40's, the Zone System is a set of techniques and terms that allow photographers the greatest possible control over the exposure characteristics of black-and-white film.  The system works best with sheet film, which can be exposed and developed one sheet at a time. This film becomes the negative, or as Ansel Adams observed, the "score" used in "the performance" printing the photograph. Zone system processed negatives usually contain all the important information, as interpreted by the photographer of the subject being photographed. The developing process expands or contracts that information into a range that can successfully be printed with on a specific paper and processing combination.

A digital version of the Zone System is emerging in which each one of the CCD imaging pixels is adjusted during the image capture process to a target sensitivity. This is called adaptive exposure, and promises to increase the effective range of digital images well beyond film.

With digital 48 bit processing in applications such as Adobe Photoshop, Zone System like adjustments can be made after the exposure to digital images, or to images that have scanned using 48 bit capture. These tools allow the photographer to select the highlight points, levels and and shadow endpoints and levels, as well as the giving the artist the ability to apply adjustment curves to any or all of the [red, green, blue, cyan, yellow, magenta, or luminance] channels of an image. 48 Bit processing retains much more of the original image's detail than 256 level scans.

Zone 0 Total black

Zone I Black without any texture

Zone II Black with slight suggestion of tonality

Zone III Darkest areas that still retail some visible detail

Zone IV Average shadows in landscapes or portraits

Zone V Middle Gray - 18% gray card

Zone VI Average Caucasian skin - Shadows on snow in sunlit snowscapes

Zone VII Lightest areas in any scene that still retain some visible detail

Zone VIII White areas with slightly visible textures - Highlights on Caucasian skin

Zone IX Glaring white surfaces - Highlights without any texture

Zone X A light source (records only as the maximum white value of paper surface)

What is meant by "archival framing?"

 Basically, the framer is assuring you that everything that comes in contact with the print is pH neutral, or acid-free. Nothing in the framing materials will alter or destroy the paper or inks of the lithograph.

Why is it necessary that all of my framing materials be acid-free?

Framing materials such as mat board, which is not chemically inert and free of acid, transfers its acidity to the paper. Over time this acid transfer causes the paper to oxidize and stain as well as become brittle, The mat board, and the artwork attached to it may even disintegrate when removed from the frame. Museums recommend that mats are used that are made from 100-percent cotton rag mat board, two-ply to four-ply in thickness. We use archival papers, storage, transport and matting materials through the photographic printing process.

Do I need to have a mat around my print?

No. A window mat is a matter of personal taste. Often a print with a large border is simply hinged to a backing-this is called "floating the print". This technique utilizes an archival spacer board that is obscured by the edges of the frame. This spacer keeps the print from touching the glass in the same way that a window mat does. A window mat may cover the edges of the paper if you prefer (although the edges are considered to be an integral part of the print) or the print may float within the window. Sometimes the edges of the print are deckled for a thicker paper, or three dimensional effect. You may request special custom edge treatments, or extra margins for float mounting prints. [Contact us] with your requests for a quote.

What are hinges?

Prints are never glued or taped directly to a backing with pressure-sensitive tapes; hinges made of linen, special archival tape, or fine Japanese paper and archival paste to hold the print to the backing. All methods use non-acidic, non-staining, reversible adhesives.

Why shouldn't my print touch the glass?

Both glass and acrylic sheeting (plexiglas) condense moisture from the air; if your print touches either, it may actually cause the pigment on the surface of the print to stick to the glass or acrylic and be ruined.

Which is better: glass, or Acrylic?

Both will protect your print and filter some of the harmful rays of light. Glass is cheaper, but it breaks easily. Since glass is heavier than plastic, it may be impractical for very large prints. Ultraviolet filtering is available at a higher cost.

Acrylic is lighter and more expensive than glass, it scratches easily, and carries an electrostatic charge which causes it to attract dust. Acrylic can have an ultraviolet coating to reduce the harmful effects of fluorescent, halogen lights and other UV sources. Acrylic can also be special ordered with a scratch resistant coating on the front side.

Can light hurt my print?

Although pigment prints exhibit excellent lightfastness, bright daylight and even bright artificial light can cause fading and papers will eventually discolor and become more brittle. Too much light is harmful even when ultraviolet rays are filtered out, so make sure your print is exposed to moderate light levels. - See Technical Information on Lightfastness

What if I want to store my prints?

When handling unframed prints, make sure you work with gloves or very clean hands. Finger smudges, dirt, or dents and tears caused by carelessness will affect the value of your print. If you must handle your print, lift it by diagonally opposite corners to avoid creasing. Do not touch the surface of the print as oils and slight abrasions will damage the printed surface. This will be especially noticeable in the black areas, as the reflectance can be changed with smudges, and oils from un-gloved hands.

Prints should be stored flat, either in or out of mats, layered between sheets of non-acidic interleaving tissue. Never put your prints on surfaces like corrugated board, newsprint, kraft paper, or wood; not only are the materials acidic, they also may have textures that can can imprint themselves on your artwork.

Your storage area should be clean, dry, and protected from insects and vermin. Roaches, silverfish, and mice are common despoilers of paper. Simple, relatively inexpensive non-acidic boxes will protect your prints from environmental damage; they are available from art and preservation suppliers. An excellent supplier of archival materials is Light Impressions. We use Light Impressions Westminster™ museum quality mat boards for matting Digital Pigment Edition prints. Matting is available for your digital pigment print [contact us] for a quote.

© 2003 DigitalPigment. All rights reserved. All photographs herein are the property of the photographers noted. All materials are protected under the United States and international copyright laws and treaties which provide substantial penalties for infringement. The use of any images or other materials included herein, in whole or part, for any purpose, including, but not limited to, reproduction, storage, manipulation, digital or otherwise, is expressly prohibited without the written permission of the photographer.