Photography

Preface...................................................viiiChapter 1: Getting Started...........................2Introducing the Camera . . . . . . . . . . . . . . . . . . . . .4Getting Your Camera Ready . . . . . . . . . . . . . . . . . 5Focusing and Setting the Exposure . . . . . . . . . . .6Taking Your Picture . . . . . . . . . . . . . . . . . . . . . . . .8What Will You Photograph? . . . . . . . . . . . . . . . . . 9Some Basic Guidelines to Get You Started . . . . . . . . .9Photographing People . . . . . . . . . . . . . . . . . . . . . . .10Photographing Places . . . . . . . . . . . . . . . . . . . . . . .12Chapter 2: Camera.....................................14Basic Camera Controls . . . . . . . . . . . . . . . . . . . . .16The Shutter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18The Shutter and Light . . . . . . . . . . . . . . . . . . . . . . .18The Shutter and Motion . . . . . . . . . . . . . . . . . . . . . .20Conveying Motion in a Still Photograph . . . . . . . . . .22The Aperture . . . . . . . . . . . . . . . . . . . . . . . . . . . .24The Aperture and Light . . . . . . . . . . . . . . . . . . . . . .24The Aperture and Depth of Field . . . . . . . . . . . . . .26Using Shutter and Aperture Together . . . . . . . .28Choosing a Camera . . . . . . . . . . . . . . . . . . . . . . . .30Keeping the Camera Steady . . . . . . . . . . . . . . . .33Photographer at WorkPhotojournalist James Nachtwey . . . . . . . . .34Chapter 3: Lens........................................36From Pinhole to Lens . . . . . . . . . . . . . . . . . . . . .38Lens Focal Length . . . . . . . . . . . . . . . . . . . . . . . .40Normal Focal Length . . . . . . . . . . . . . . . . . . . . . . . .42Long Focal Length . . . . . . . . . . . . . . . . . . . . . . . . . .44Short Focal Length . . . . . . . . . . . . . . . . . . . . . . . . .46Zoom Lenses . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48Special-Purpose Lenses . . . . . . . . . . . . . . . . . . . .49Focusing Your Lens . . . . . . . . . . . . . . . . . . . . . . .50Manual Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50Automatic Focus . . . . . . . . . . . . . . . . . . . . . . . . . . .52Focus and Depth of Field . . . . . . . . . . . . . . . . . .54Controlling Depth of Field . . . . . . . . . . . . . . . . . . . .56Zone Focusing . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58Focusing on the Hyperfocal Distance . . . . . . . . . . . .59Perspective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60Guidelines for Buying a Lens . . . . . . . . . . . . . . .62Getting the Most from Your Cameraand Lens . . . . . . . . . . . . . . . . . . . . . . . . . . . . .63Photographer at Work:Documentary PhotographerMary Ellen Mark . . . . . . . . . . . . . . . . . . . . .64Chapter 4: Exposure, Sensors, and Film....66Exposure Basics . . . . . . . . . . . . . . . . . . . . . . . . . .68Equivalent Exposures . . . . . . . . . . . . . . . . . . . . . . .68How Exposure Meters Work . . . . . . . . . . . . . . . . . . .69In-Camera Exposure Meters . . . . . . . . . . . . . . . . . .70Automatic Exposure . . . . . . . . . . . . . . . . . . . . . . . .71How to Meter . . . . . . . . . . . . . . . . . . . . . . . . . . . .72An Overall Reading of a Scene with Average Tones . . . . . . . . . . . . . . . . .72Using Different Types of Meters . . . . . . . . . . . . . . .73Metering High-Contrast Scenes . . . . . . . . . . . . . . . .74Exposing for Specific Tones and Bracketing . . . . . . . . . . . . . . . . . . . . .76Hard-to-Meter Scenes . . . . . . . . . . . . . . . . . . . . . . .77Responding to Light . . . . . . . . . . . . . . . . . . . . . .78Silver and Pixels . . . . . . . . . . . . . . . . . . . . . . . . . . .78Selecting and Using Film . . . . . . . . . . . . . . . . . . .79Exposure Latitude and Dynamic Range . . . . . . .80How Much Can Exposures Vary? . . . . . . . . . . . . . . .80Film and Sensor Speed . . . . . . . . . . . . . . . . . . . .82Speed and ISO . . . . . . . . . . . . . . . . . . . . . . . . . . . .82Grain and Noise . . . . . . . . . . . . . . . . . . . . . . . . . . .83Using Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . .84Polarizing Filters . . . . . . . . . . . . . . . . . . . . . . . . . . .86Extending Beyond Visible Light . . . . . . . . . . . . .87Infrared Photographs . . . . . . . . . . . . . . . . . . . . . . .87Using Exposure . . . . . . . . . . . . . . . . . . . . . . . . . . .88Photographer at Work:Advertising PhotographerClint Clemens . . . . . . . . . . . . . . . . . . . . . . . .90Chapter 5: Developing a Negative.....................92How to Process Black-and-White Roll Film . . . . . . . . . .. . . .94Equipment and Supplies You’ll Need . . . . . . . . . . . .94Processing Chemicalsand How to Handle Them . . . . . . . . . . . . . . . . . . .95Chemical Safety . . . . . . . . . . . . . . . . . . . . . . . . . . . .96Processing Black-and-White Roll Film Step by Step . . . . . . . . . . . . . . .98How Film Processing Affects Your Picture . . . . . . . . . . . . . . . . . . .104Exposure and Development: Under, Normal, Over . . . . . . . . . . . . . . . . . . .106Chapter 6: Printing in a Darkroom......................108Black-and-White Printing . . . . . . . . . . . . . . . . .110Equipment and Supplies for Printing . . . . . . . . . . .110The Enlarger . . . . . . . . . . . . . . . . . . . . . . . . . . . . .112Printing Papers . . . . . . . . . . . . . . . . . . . . . . . . . . .114Making a Black-and-White Print Step by Step . . . . . . . . . . .. . . . . . .116A Contact Sheet: A Whole Roll at Once . . . . . . . . . .116Setting Up an Enlargement . . . . . . . . . . . . . . . . . .118A Test Strip for Your Print . . . . . . . . . . . . . . . . . . .120A Trial Print–and Then a Final Print . . . . . . . . . .121Processing a Black-and-White Print . . . . . . . . . . . .122Evaluating Density and Contrast in a Print . . . . . . . . . . . . . . . . .126Controlling Contrast . . . . . . . . . . . . . . . . . . . . . .128Graded- and Variable-Contrast Papers . . . . . . . . .128Dodging and Burning . . . . . . . . . . . . . . . . . . . . .130Cropping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .132Archival Processing for MaximumPermanence . . . . . . . . . . . . . . . . . . . . . . . . . .133Toning for Color and Other Effects . . . . . . . . . .134Chapter 7: Color.........................................136Color: Additive or Subtractive . . . . . . . . . . . . .138Color Photographs: Three Image Layers . . . . .139Color Characteristics . . . . . . . . . . . . . . . . . . . . .140Color Balance . . . . . . . . . . . . . . . . . . . . . . . . . . .142Color Changes throughout the Day . . . . . . . . . . . .142Color Casts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .144Color Temperature . . . . . . . . . . . . . . . . . . . . . . . .145Filters to Balance Color with Film . . . . . . . . . . . . .146Making a Color Print From a Negative . . . . . . .148Equipment and Materials You’ll Need . . . . . . . . . . .148Exposing a Test Print . . . . . . . . . . . . . . . . . . . . . .149Judging Color Balance in a Print Made from a Negative . . . . . . . . . . . . . . . . . .150Photographer at Work:Another Angle on Sports—Walter Iooss, Jr. . . . . . . . . . . . . . . . . . . . . .152Chapter 8: Setting up a Digital Darkroom.........154Hardware and Software . . . . . . . . . . . . . . . . . . .156An Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . .156Capturing Detail: Resolution and Bit Depth . . . . . .157Photographs Are Files . . . . . . . . . . . . . . . . . . . .158File Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . .158Color Management . . . . . . . . . . . . . . . . . . . . . . .160Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .162Color or Black and White? . . . . . . . . . . . . . . . . . . .162Histograms . . . . . . . . . . . . . . . . . . . . . . . . . . . . .164Anatomy of a Digital Image . . . . . . . . . . . . . . . . . .164Three Histograms for Color . . . . . . . . . . . . . . . . . .165Importing Your Images . . . . . . . . . . . . . . . . . . .166Downloading from a Camera . . . . . . . . . . . . . . . . .166Making a Scan . . . . . . . . . . . . . . . . . . . . . . . . . . . .167Setting Up a Workflow . . . . . . . . . . . . . . . . . . . .168Workflow Applications . . . . . . . . . . . . . . .169Photographer at Work:Digital Storyteller Pedro Meyer . . . . . . . . .170Chapter 9: Image Editing.............................172Digital Post-Processing: Getting Started . . . . . . . . . . . . . . . . . . . . . .174Choosing Software . . . . . . . . . . . . . . . . . . . . . . . .174Your Work Area and Tools . . . . . . . . . . . . . . . . . . .175An Image-Editing Workflow . . . . . . . . . . . . . . . 176A Step-by-Step Process . . . . . . . . . . . . . . . . . . . . .176Adjusting Color and Value . . . . . . . . . . . . . . . . .178Different Approaches . . . . . . . . . . . . . . . . . . . . . .178Using Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . .179Curves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .180Adjusting All or Part of an Image . . . . . . . . . .182Selection Tools . . . . . . . . . . . . . . . . . . . . . . . . . . .182Using Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . .183Other Editing Commands . . . . . . . . . . . . . . . . . .184High Dynamic Range . . . . . . . . . . . . . . . . . . . . . . .184Filters for Special Effects . . . . . . . . . . . . . . . . . . . .185Sharpening . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .186Retouching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .187Compositing . . . . . . . . . . . . . . . . . . . . . . . . . . . 188Photographer at Work:RetouchShoppe—Scalese and Villarreal . . . . . . . . . . . . . . .190Chapter 10: Digital Printing......................192Printers and Printing . . . . . . . . . . . . . . . . . . . . .194Printer Choices . . . . . . . . . . . . . . . . . . . . . . . . . . .194Drivers and RIPs . . . . . . . . . . . . . . . . . . . . . . . . . .195Profiles and Soft Proofing . . . . . . . . . . . . . . . . . . .196Papers and Inks . . . . . . . . . . . . . . . . . . . . . . . . . .197Printing Options . . . . . . . . . . . . . . . . . . . . . . . . .198Panoramic Photographs . . . . . . . . . . . . . . . . . . . .198Printing in Black and White . . . . . . . . . . . . . . . . . .200Displaying Your Work . . . . . . . . . . . . . . . . . . . . .202The Internet–Gallery and Resource . . . . . . . . . . .202Ethics: How Far Can You Go? . . . . . . . . . . . . . .203Chapter 11: Organizing and Storing Your Work.....204Image Storage . . . . . . . . . . . . . . . . . . . . . . . . . .206Size Matters . . . . . . . . . . . . . . . . . . . . . . . . . . . . .206Metadata: Data About Your Files . . . . . . . . . . .207Software to Keep You Organized . . . . . . . . . . .208Archiving Digital Images . . . . . . . . . . . . . . . . . .209Archiving Film and Prints . . . . . . . . . . . . . . . . .210Chapter 12: Print Finishing and Display.........212Spotting to Remove Minor Flaws . . . . . . . . . . .214Mounting a Print . . . . . . . . . . . . . . . . . . . . . . . .215Equipment and Supplies You’ll Need . . . . . . . . . . .215Dry Mounting . . . . . . . . . . . . . . . . . . . . . . . . . . . .216Cutting an Overmat . . . . . . . . . . . . . . . . . . . . . . . .218Framing and Glazing . . . . . . . . . . . . . . . . . . . . . . .219Chapter 13: Lighting.................................220Direction of Light . . . . . . . . . . . . . . . . . . . . . . . .222Degree of Diffusion:From Hard to Soft Light . . . . . . . . . . . . . . . .224Available Light—Outdoors . . . . . . . . . . . . . . . .226Available Light—Indoors . . . . . . . . . . . . . . . . .227Artificial Light . . . . . . . . . . . . . . . . . . . . . . . . . .228Lights and Other Lighting Equipment . . . . . . . . . .228Qualities of Artificial Light . . . . . . . . . . . . . . . . . . .229The Main Light: The Dominant Source . . . . . . .230The Fill Light: To Lighten Shadows . . . . . . . . .232Lighting with Flash . . . . . . . . . . . . . . . . . . . . . .234Flash Equipment . . . . . . . . . . . . . . . . . . . . . . . . . .235Basic Flash Techniques . . . . . . . . . . . . . . . . . . . . .236Manual Flash Exposures . . . . . . . . . . . . . . . . . . . .238Automatic Flash Exposures . . . . . . . . . . . . . . . . . .239Fill Flash: To Lighten Shadows . . . . . . . . . . . . . . . .240Controlling Background Brightness . . . . . . . . . . . .242Simple Portrait Lighting . . . . . . . . . . . . . . . . . .244Multiple-Light Portrait Setups . . . . . . . . . . . . .246Lighting Textured Objects . . . . . . . . . . . . . . . . .248Lighting Reflective Objects . . . . . . . . . . . . . . . .249Lighting Translucent Objects . . . . . . . . . . . . . .250Using Lighting . . . . . . . . . . . . . . . . . . . . . . . . . .251Photographer at WorkDance Photographer Lois Greenfield . . . .252Chapter 14: Extending the Image..........254Using Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . .256Pictures Very Large and Very Small . . . . . . . . . . . .256Multiple Images . . . . . . . . . . . . . . . . . . . . . . . .258More is Better . . . . . . . . . . . . . . . . . . . . . . . . . . . .258Fabricated to be Photographed . . . . . . . . . . . .260The Photograph as Object . . . . . . . . . . . . . . . .262Using Projections . . . . . . . . . . . . . . . . . . . . . . . .264Making a Book . . . . . . . . . . . . . . . . . . . . . . . . . .265Alternative Processes . . . . . . . . . . . . . . . . . . . .266Cyanotype Printing . . . . . . . . . . . . . . . . . . . . . . . .266Platinum and Palladium Printing . . . . . . . . . . . . . .267Gum Bichromate Printing . . . . . . . . . . . . . . . . . . . .268A Sabattier Image: Part Positive, Part Negative . . . . . .269A Photogram: A Cameraless Picture . . . . . . . . . . .270Pinhole Photography . . . . . . . . . . . . . . . . . . . . .272How to Make a Close-Up Photograph . . . . . . .274Close-Up Exposures . . . . . . . . . . . . . . . . . . . . . . .275Copying Techniques . . . . . . . . . . . . . . . . . . . . . .276Chapter 15: View Camera........................278Inside a View Camera . . . . . . . . . . . . . . . . . . . .280View Camera Movements . . . . . . . . . . . . . . . . .282Rise and Fall . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282Shift . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .284Tilt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .286Swing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .288Using a View Camera to Control the Image . . .290Controlling the Plane of Focus . . . . . . . . . . . . . . .291Controlling Perspective . . . . . . . . . . . . . . . . . . . . .292Equipment You’ll Need . . . . . . . . . . . . . . . . . . .294What to Do First—and Next . . . . . . . . . . . . . . .295Loading and Processing Sheet Film . . . . . . . . .296Chapter 16: The Zone System.................298The Zone System Scales . . . . . . . . . . . . . . . . . .300Using the Zone Scale While Metering . . . . . . .302Placing a Tone, Seeing Where Other Tones Fall . . .302How Development Controls Contrast . . . . . . . .304Putting It All Together . . . . . . . . . . . . . . . . . . .306Roll Film and Color Film . . . . . . . . . . . . . . . . . . . . .307Chapter 17: Seeing Photographs.............308Basic Choices . . . . . . . . . . . . . . . . . . . . . . . . . . .310Content . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .310Framing the Subject . . . . . . . . . . . . . . . . . . . . . . .312Backgrounds . . . . . . . . . . . . . . . . . . . . . . . . . . . . .314Basic Design . . . . . . . . . . . . . . . . . . . . . . . . . . . .316Spot/Line . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .316Shape/Pattern . . . . . . . . . . . . . . . . . . . . . . . . . . . .318Emphasis/Balance . . . . . . . . . . . . . . . . . . . . . . . . .320More Choices . . . . . . . . . . . . . . . . . . . . . . . . . . .322Using Contrasts of Sharpness . . . . . . . . . . . . . . . .322Using Contrasts of Light and Dark . . . . . . . . . . . .324Placing the Subject within the Frame . . . . . . . . . . .326Perspective and Point of View . . . . . . . . . . . . . . . .328Looking at—and Talking About— Photographs . . . . . . . . . . .330Showing Your Work to Editors and Others . . . . . . . . . . . . . . . .332Chapter 18: History of Photography...............334The Invention of Photography . . . . . . . . . . . . .336Daguerreotype: “Designs on Silver Bright” . . . . . . . . . . . . .337Calotype: Pictures on Paper . . . . . . . . . . . . . . .338Collodion Wet-Plate: Sharp and Reproducible . . . . . . . . . . . . . . . .339Gelatin Emulsion/Roll-Film Base: Photography for Everyone . . . . . . . . . . . . . .340Color Photography . . . . . . . . . . . . . . . . . . . . . . .341Early Portraits . . . . . . . . . . . . . . . . . . . . . . . . . .342Early Travel Photography . . . . . . . . . . . . . . . . .344Early Images of War . . . . . . . . . . . . . . . . . . . . .345Time and Motion in Early Photographs . . . . . .346The Photograph as Document . . . . . . . . . . . . .347Photography and Social Change . . . . . . . . . . . .348Photojournalism . . . . . . . . . . . . . . . . . . . . . . . . .350Photography as Art in the 19th Century . . . . . . . . . . . . . . . . . . .354Pictorial Photography and the Photo-Secession . . . . . . . . . . . . . . .355The Direct Image in Art . . . . . . . . . . . . . . . . . . .356The Quest for a New Vision . . . . . . . . . . . . . . .357Photography as Art in the 1950s and 1960s . . . . . . . . . . . . . . .358Photography as Art in the 1970s and 1980s . . . . . . . . . . . . . . .360Digital Photography Becomes Mainstream . . . . . . . . . . . . . . . . . .362A Gallery of Contemporary Photography . . . . . . . . . . . . . . . . . . . . . . . . .364Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . .380Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .391Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . .396Credits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .400Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .402

\ From Barnes & NobleThis venerable volume, now in its sixth edition, is uniquely suited to aide beginners and professionals alike. This edition has been updated to include a chapter on digital photography and internet-ready imaging. The insights of professional photographers are included throughout, in the form of images and interviews. When an instructional work has lasted through this many editions, you know it offers the advice and information photography buffs require.\ \