Introduction: Why I Wrote this Book
I wrote this book to teach the interested photographer to understand the simplified Zone System of light measurement. This book is intended as a platform to learn the more advanced concepts of photographic exposure.
This section needs to be read by all readers.

Chapter 1— Glossary and Explanation of Terms
In this chapter we review terms and techniques such as tone, incident light, reflected light, simple and complex subjects, the 18% gray card, concept of zones and so on.
This section needs to be read by all readers.

Chapter 2 — Assignments to “Normally Expose” Simple      Subjects with Different Tones
In this chapter we perform five assignments that will be the basis for the entire book. By photographing a black card and a white card, we will notice that the camera will erroneously produce a gray image tone from each of these subjects. The rest of the chapter is based on developing techniques to correct these image tones.
This chapter needs to be read by all readers and performing these assignments will help the reader to understand the practical concepts of the Zone System.

Chapter 3 — The Single Tone Metering Technique to Photograph a Complex Subject
In this chapter we learn the technique of breaking a subject down to its simple subject components. Once this is done, we can then determine the correct exposure for one of these tones and use this exposure to photograph the entire subject. The wisdom behind this simplified technique is that “if one part of a complex subject is properly exposed, then all other parts will be properly exposed.”
This chapter is ideal for those photographers who are interested in a quick and easy-to-understand method of photographing a complex subject by using their camera. For many photographers, this chapter is all you need to know to take correctly exposed pictures.

Chapter 4 — The Multiple Tone Metering Technique to      Photograph a Complex Subject
In this chapter, which is an extension of the previous chapter, we will learn how to determine the Subject Brightness Range (SBR) and explore different ways that the film accommodates a complex subject. You will also learn how to previsualize the final image tones.
is chapter is for those photographers who want to learn more advanced features of the Zone System of light measurement using a spotmeter.

Chapter 5 — Alternative Light Measurement Techniques     and Related Examples
This chapter covers odds and ends that include incident light measurement techniques, exposure without an exposure meter and many examples of "standard" and "not so standard" exposure situations such as scenics, portraits, fireworks, lightning, and moonlit landscapes.
This chapter covers other types of exposure with or without a meter. Reading of this chapter is highly recommended to the interested photographer.

Chapter 6 — What is the Zone System?
In this chapter we discuss the concept of zones as it applies to our everyday life. We then discuss the make-up of a time zone and its relationship with a “photographic” zone.
This chapter, although interesting, is for the curious photographer. If you are not curious, you can skip it.

Appendices
In this section I have provided you with a Neutral Density Filter table, a quick review of color theory and color correction, and some technical data for a few low-to-medium speed slide films.

Camera Cheat Sheets In this section I have provided you with operational cheat sheets for a few of today's cameras. These include the following:
Canon EOS 5D, Canon EOS 10D, Canon EOS 20D, Canon EOS 30D, Canon EOS A2/A2e, Canon EOS Rebel TI, Canon EOS Rebel XT, Canon EOS Rebel Xti, Canon PowerShot G5, FujiFilm FinePix S7000, Minolta Maxxum 5, Minolta Maxxum 7, Minolta Maxxum 9, Minolta Maxxum STSi, Nikon Coolpix 990, Nikon Coolpix 5700, Nikon Coolpix 8700, Nikon D50, Nikon D70, Nikon D80, Nikon D200, Nikon F4, Nikon F5, Nikon F100, Nikon N70, Nikon N90, Nikon N6006, Nikon N8008s, Pentax *ist-D, Pentax 645N, Pentax MZS, Pentax PZ1P, and Sony DSC-F717.

Index

Chapter 1 — Glossary and Explanation of Terms
Let’s review the terms that you need to know:
1.1.      The Camera.
1.2.      The Film.
1.3.      What do we mean by a tone?
1.4.      Incident and Reflected Light.
1.5.      What is a STOP?
1.6.      What is Film Speed?
1.7.      A Simple subject.
1.8.      A Complex Subject.
1.9.      The Standard 18% Gray Card.
1.10.    The “normal exposure” versus the “correct exposure” and the “desired exposure.”
1.11.    The Reference Tone.
1.12.    How does one choose a Reference Tone (or picks a subject up)?
1.13.    What is a Zone?
1.14.    Exposure consistency — the ultimate goal of the serious photographer.
1.15.    The Rule of Equivalent Exposures.

Chapter 2 — Assignments to Normally Expose Simple Subjects With Different Tones
2.1.     Assignment #1: Normally exposing a Standard 18% gray card.
2.2.     Assignment #2: Normally exposing a black mat board.
2.3.     Assignment #3: Normally exposing a white mat board.
2.4.     The Federal Express Story.
2.5.     Let’s relate the Federal Express process to the conclusions of our         assignments.
2.6.      The gray-making property of the meter; is it good or bad?
2.7.     Changing one shade of gray (tone) to another: The Standard Gray         Paint          Factory.
2.8.      The standard gray paint factory and how it relates to your camera.
2.9.     What does the term “middle” mean in photography?
2.10.    Creating other Standard Tones of Gray: Controlling the brightness of the image for a simple subject.
2.11.    A quick experiment to show that our standard tones are one stop away from one another.
2.12.    Changing (converting) one standard tone to another.
2.13.    Correcting the image tone in Assignment #2.
2.14.    Properly exposing a black mat board by manually overriding the normal exposure settings — Assignment #4.
2.15.    Correcting the image tone in Assignment #3.
2.16.    Properly exposing a white mat board by manually overriding the normal exposure settings — Assignment # 5.
2.17.    A self test to make sure you understand the gray making property of the  meter and how to compensate for it.
2.18.    Did you ever wonder where the similarity between the Federal Express operations and your camera’s 
            meter ends?

Chapter 3 — The Single Tone Metering Technique To Photograph a Complex Subject
3.1.        What is the single tone metering technique to photograph a complex subject?
3.2.        Let’s review simple and complex subjects.
3.3.        How do we select a “Reference Tone” in a complex subject?
3.4.        Single tone exposure determination for a complex subject, a simple example.
3.5.        A detailed procedure for the exposure determination of a complex subject.
3.6.        Let’s photograph our first complex subject: Summary of  the most important steps in the single 
              tone metering of   a complex subject.

Chapter 4 — The Multiple Tone Metering Technique To Photograph a Complex Subject
4.1.      What is the Multiple Tone Metering System all about?
4.2.      The angle of view and the angle of measure (acceptance).
4.3.      Equivalent exposures and the Law of Reciprocity in slide film.
4.4.      What is a spotmeter?
4.5.      What is the EV numbering system used in the spotmeters?
4.6.      Subject Brightness Range (SBR).
4.7.      What is a Film Contrast Range (FCR)?
4.8.      Using the Multiple Tone Metering Technique to photograph a complex subject.
4.9.      When Subject Brightness Range (SBR) exceeds the Film Contrast Range (FCR).
4.10.    Let’s expand our number of Standard Tones (Zones) to seven.
4.11.    Image detail.
4.12.    The black floor mat -- tone versus detail.
4.13.    The white floor mat -- tone versus detail

Chapter 5 — Alternative Light Measurement Techniques and Related Examples
5.1.      Other light measurement techniques with or without a meter.
5.2.      What is incident metering?
5.3.      What is an incident lightmeter?
5.4.      How to operate an incident lightmeter.
5.5.      What are the advantages of incident metering over reflective metering?
5.6.      What are the disadvantages of incident metering?
5.7.      What do incident and reflective meters have in common?
5.8.      Filters and off-camera meters.
5.9.      Exposure determination by substitution — using the gray card as a substitute.
5.10.    Exposing without a meter — The Sunny-16 exposure technique.
5.11.    Exposing without a meter — Sunny-16 for photographing the full moon.
5.12.    Exposing without a meter — Freezing-5.6 to freeze the action.
5.13.    Exposing without a meter — Moonlight-64 for moonlit landscapes and tracing the stars.
5.14.    Photographing backlit translucent subjects: flags, stained glass, and leaves.
5.15.    Silhouette photography.
5.16.    Photographing translucent subjects on the surface of a light box.
5.17.    Time exposure photography.
5.18.    Photographing in the fog.
5.19.    Photographing sunrises and sunsets.
5.20.    Photographing fireworks.
5.21.     Photographing lightning at night.
5.22.    Exposure determination by substitution — using the palm of your hand as a substitute.
5.23.    Close-up Photography.
5.24.    Using a Copy Stand.
5.25.    Photographing subjects with glare.
5.26.    Aerial Photography -- Single engine plane or a helicopter.
5.27.    Aerial Photography -- Commercial plane.
5.28.    Photographing a computer or TV screen.
5.29.    Photographing with Neutral Density Filters.
5.30.    Photographing with Graduated Neutral Density Filters (ND      Grads).
5.31.    Eliminating (minimizing) glare.
5.32.    Analysis of the blue sky.
5.33.    Photographing subjects that are too dark to be metered.
5.34.    How to photograph subjects whose Reference Tone is outside      the image area.
5.35.    Photographing indoors with available light.

Chapter 6 — What is the Zone System?
6.1.   What is the Zone System of light measurement?
6.2.    The glass thermometer as an example of the Zone System.
6.3.    The North American Time Zones as an example of the Zone System.
6.4.    A playground slide as an illustration of the Zone System.
6.5.    What makes a Photographic Subject Zone?
6.6.    What happens when the subject tone does not closely match the tones on the Tone Ruler?
6.7.     How does the zone representation affect the range of a system?
6.8.     Subject Brightness Ratio.
6.9.     Is a subject zone always one stop?
6.10.    Why do different Zone Systems have an odd number of zones?
6.11.    Incident metering versus the Zone System — which one is better?
6.12.    How does our Simplified Zone System compare with other classic systems?
6.13.    How to use this simplified system when using black and white negatives.