| Preface |
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xii | |
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2 | (12) |
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4 | (1) |
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Getting Your Camera Ready |
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5 | (1) |
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Focusing and Setting the Exposure |
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6 | (2) |
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8 | (1) |
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What Will You Photograph? |
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9 | (1) |
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Some Basic Guidelines to Get You Started |
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9 | (1) |
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10 | (2) |
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12 | (2) |
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14 | (24) |
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16 | (2) |
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18 | (1) |
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18 | (2) |
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20 | (2) |
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Conveying Motion in a Still Photograph |
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22 | (2) |
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24 | (1) |
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24 | (2) |
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The Aperture and Depth of Field |
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26 | (2) |
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Using Shutter and Aperture Together |
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28 | (2) |
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30 | (1) |
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31 | (1) |
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32 | (2) |
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Keeping the Camera Steady |
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34 | (2) |
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Photojournalist Lynsey Addario |
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36 | (2) |
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38 | (30) |
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40 | (2) |
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42 | (2) |
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44 | (2) |
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46 | (2) |
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48 | (2) |
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50 | (1) |
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51 | (1) |
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52 | (1) |
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52 | (2) |
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54 | (2) |
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56 | (2) |
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Controlling Depth of Field |
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58 | (2) |
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60 | (1) |
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Focusing on the Hyperfocal Distance |
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61 | (1) |
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62 | (2) |
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Guidelines for Buying a Lens |
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64 | (1) |
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Getting the Most from Your Camera and Lens |
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65 | (1) |
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Fine-Art Photographer Alec Soth |
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66 | (2) |
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4 Exposure, Sensors, and Film |
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68 | (26) |
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70 | (1) |
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70 | (1) |
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71 | (1) |
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In-Camera Exposure Meters |
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72 | (1) |
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73 | (1) |
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74 | (1) |
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An Overall Reading of a Scene with Average Tones |
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74 | (1) |
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Using Different Types of Meters |
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75 | (1) |
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Metering High-Contrast Scenes |
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76 | (2) |
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Exposing for Specific Tones and Bracketing |
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78 | (1) |
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79 | (1) |
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80 | (1) |
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Measures a Digital Photograph |
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80 | (1) |
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Three Histograms for Color |
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81 | (1) |
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Exposure Latitude and Dynamic Range |
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82 | (1) |
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How Much Can Exposures Vary? |
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82 | (2) |
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84 | (1) |
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84 | (1) |
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85 | (1) |
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86 | (1) |
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86 | (1) |
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87 | (1) |
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88 | (2) |
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Extending Beyond Visible Light |
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90 | (1) |
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90 | (1) |
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91 | (1) |
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Advertising Photographer Clint Clemens |
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92 | (2) |
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94 | (16) |
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Color: Additive or Subtractive |
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96 | (1) |
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Color Photographs: Three Image Layers |
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97 | (1) |
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98 | (2) |
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100 | (1) |
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Color Changes throughout the Day |
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100 | (1) |
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101 | (1) |
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102 | (1) |
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103 | (1) |
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104 | (1) |
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105 | (1) |
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Adjusting Color with Film |
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106 | (1) |
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106 | (2) |
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Another Angle on Sports ---Walter Iooss, Jr |
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108 | (2) |
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6 Developing a Film Negative |
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110 | (16) |
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How to Process Black-and-White Roll Film |
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112 | (1) |
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Equipment and Supplies You'll Need |
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112 | (1) |
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Processing Chemicals and How to Handle Them |
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113 | (1) |
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114 | (2) |
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Processing Black-and-White Roll Film Step by Step |
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116 | (6) |
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How Film Processing Affects Your Picture |
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122 | (2) |
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Exposure and Development: Under, Normal, Over |
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124 | (2) |
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126 | (32) |
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128 | (1) |
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Equipment and Supplies for Printing |
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128 | (2) |
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130 | (2) |
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132 | (2) |
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Making a Black-and-White Print Step by Step |
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134 | (1) |
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A Contact Sheet: A Whole Roll at Once |
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134 | (2) |
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Setting Up an Enlargement |
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136 | (2) |
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A Test Strip for Your Print |
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138 | (1) |
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A Trial Print--and Then a Final Print |
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139 | (1) |
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Processing a Black-and-White Print |
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140 | (4) |
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Evaluating Density and Contrast in a Print |
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144 | (2) |
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146 | (1) |
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Graded-Contrast and Variable-Contrast Papers |
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146 | (2) |
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148 | (2) |
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Spotting to Remove Minor Flaws |
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150 | (1) |
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Archival Processing for Maximum Permanence |
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151 | (1) |
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Toning for Color and Other Effects |
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152 | (2) |
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Making a Color Print from a Negative |
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154 | (1) |
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Equipment and Materials You'll Need |
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154 | (1) |
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155 | (1) |
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Judging Color Balance in a Print Made from a Negative |
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156 | (2) |
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8 Basics of Digital Pictures |
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158 | (14) |
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160 | (1) |
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160 | (1) |
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161 | (1) |
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161 | (1) |
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162 | (1) |
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162 | (2) |
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164 | (1) |
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Color or Black and White? |
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164 | (2) |
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166 | (1) |
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Downloading from a Camera/Scanning |
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166 | (1) |
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167 | (1) |
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168 | (1) |
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169 | (1) |
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Online Impresario Jim Casper |
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170 | (2) |
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172 | (22) |
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Digital Post-Processing: Getting Started |
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174 | (1) |
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174 | (1) |
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175 | (1) |
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An Image-Editing Workflow |
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176 | (1) |
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176 | (2) |
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178 | (1) |
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178 | (2) |
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Adjusting Color and Value |
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180 | (1) |
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180 | (1) |
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181 | (1) |
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182 | (2) |
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Adjusting All or Part of an Image |
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184 | (1) |
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184 | (1) |
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185 | (1) |
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186 | (1) |
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186 | (1) |
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Filters for Special Effects |
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187 | (1) |
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188 | (1) |
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189 | (1) |
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190 | (2) |
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RetouchShoppe---Scalese and Villarreal |
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192 | (2) |
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194 | (12) |
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196 | (1) |
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196 | (1) |
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197 | (1) |
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Profiles and Soft Proofing |
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198 | (1) |
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199 | (1) |
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200 | (1) |
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200 | (2) |
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Printing in Black and White |
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202 | (2) |
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204 | (1) |
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The Internet---Gallery and Resource |
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204 | (1) |
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Ethics: How Far Can You Go? |
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205 | (1) |
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11 Organizing, Storing, and Presenting Work |
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206 | (14) |
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208 | (1) |
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208 | (1) |
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Metadata: Data About Your Files |
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209 | (1) |
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Software to Keep You Organized |
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210 | (1) |
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211 | (1) |
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Archiving Film and Prints |
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212 | (2) |
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214 | (1) |
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Equipment and Supplies You'll Need |
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215 | (1) |
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216 | (2) |
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218 | (1) |
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219 | (1) |
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220 | (34) |
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222 | (2) |
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Degree of Diffusion: From Hard to Soft Light |
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224 | (2) |
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Available Light---Outdoors |
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226 | (1) |
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Available Light---Indoors |
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227 | (1) |
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228 | (1) |
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Lights and Other Lighting Equipment |
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228 | (1) |
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Qualities of Artificial Light |
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229 | (1) |
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The Main Light: The Dominant Source |
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230 | (2) |
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The Fill Light: To Lighten Shadows |
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232 | (2) |
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234 | (1) |
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235 | (1) |
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236 | (2) |
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238 | (1) |
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Automatic Flash Exposures |
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239 | (1) |
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Fill Flash: To Lighten Shadows |
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240 | (2) |
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Controlling Background Brightness |
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242 | (2) |
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244 | (2) |
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Multiple-Light Portrait Setups |
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246 | (2) |
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Lighting Textured Objects |
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248 | (1) |
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Lighting Reflective Objects |
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249 | (1) |
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Lighting Translucent Objects |
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250 | (1) |
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251 | (1) |
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Dance Photographer Lois Greenfield |
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252 | (2) |
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254 | (26) |
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256 | (1) |
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Pictures Very Large and Very Small |
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256 | (2) |
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258 | (1) |
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258 | (2) |
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Fabricated to be Photographed |
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260 | (2) |
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262 | (2) |
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264 | (2) |
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266 | (1) |
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267 | (1) |
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268 | (1) |
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268 | (1) |
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Platinum and Palladium Printing |
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269 | (1) |
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270 | (1) |
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271 | (1) |
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A Photogram: A Cameraless Picture |
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272 | (2) |
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274 | (2) |
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How to Make a Close-Up Photograph |
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276 | (1) |
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277 | (1) |
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278 | (2) |
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280 | (20) |
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282 | (1) |
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283 | (1) |
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284 | (1) |
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284 | (2) |
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286 | (2) |
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288 | (2) |
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290 | (2) |
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Using a View Camera to Control the Image |
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292 | (1) |
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Controlling the Plane of Focus |
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293 | (1) |
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294 | (2) |
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296 | (1) |
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What to Do First---and Next |
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297 | (1) |
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Loading and Processing Sheet Film |
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298 | (2) |
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300 | (2) |
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302 | (1) |
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302 | (2) |
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304 | (2) |
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306 | (2) |
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308 | (1) |
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308 | (2) |
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310 | (2) |
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312 | (2) |
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314 | (1) |
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Using Contrasts of Sharpness |
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314 | (2) |
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Using Contrasts of Light and Dark |
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316 | (2) |
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Placing the Subject within the Frame |
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318 | (2) |
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Perspective and Point of View |
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320 | (2) |
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Looking at---and Talking About---Photographs |
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322 | (2) |
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Showing Your Work to Editors and Others |
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324 | (2) |
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16 History of Photography |
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326 | (60) |
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The Invention of Photography |
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328 | (1) |
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Daguerreotype: "Designs on Silver Bright" |
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329 | (1) |
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Calotype: Pictures on Paper |
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330 | (1) |
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Collodion Wet-Plate: Sharp and Reproducible |
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331 | (1) |
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Gelatin Emulsion/Roll-Film Base: Photography for Everyone |
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332 | (1) |
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333 | (1) |
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334 | (2) |
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336 | (1) |
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337 | (1) |
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Time and Motion in Early Photographs |
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338 | (1) |
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The Photograph as Document |
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339 | (1) |
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Photography and Social Change |
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340 | (2) |
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342 | (4) |
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Photography as Art in the 19th Century |
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346 | (1) |
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Pictorial Photography and the Photo-Secession |
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347 | (1) |
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348 | (2) |
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The Quest for a New Vision |
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350 | (2) |
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Photography as Art in the 1950s and 1960s |
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352 | (2) |
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Photography as Art in the 1970s and 1980s |
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354 | (2) |
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Color Photography Arrives---Again |
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356 | (2) |
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Digital Photography Becomes Mainstream |
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358 | (2) |
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A Gallery of Contemporary Photography |
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360 | (26) |
| Troubleshooting |
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386 | (11) |
| Glossary |
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397 | (5) |
| Bibliography |
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402 | (5) |
| Credits |
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407 | (1) |
| Index |
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408 | |
