The Art of Photography by Barnbaum, Bruce -- Read -- Imperial Library of Trantor

Index

Cover Page Title Page Copyright Page Dedication Table of Contents Acknowledgements CHAPTER 1 Communication Through Photography

Enthusiasm Judging Your Own Personal Response

CHAPTER 2 What is Composition?

How the Human Eye Sees Unified Thought Simplicity Expressing Your Own Point of View Simplicity vs. Complexity

CHAPTER 3 Elements of Composition

Contrast and Tone Line Form Line, Form, Contrast, and Emotion Pattern Balance Movement Positive/Negative Space Texture Camera Position Focal Length of Lens and Cropping Depth of Field Shutter Speed Relationships Involvement with the Scene Rules, Formulas, and Other Problems and Pitfalls

CHAPTER 4 Visualization

Step 1: Photographic Looking and Seeing Step 2: Composing an Image Step 3: Envisioning the Final Print Step 4: Planning a Strategy for a Final Print How Your Eye Differs from Your Camera Alternative Approaches

CHAPTER 5 Light

Looking at Light Exercises in Learning to See Light More Accurately Light Determines Form Types of Lighting/Quality of Light Light as Seen by the Eye and by Film or Sensors, and the Inverse Square Law

CHAPTER 6 Color

The Color Wheel and Color Sphere Color Composition Color and Emotion Color Contrast and Tone Choosing A Color Film Color Digital Methods Light and Color Control Subjectivity and Mood of Color In Summary

CHAPTER 7 Filters

Black-and-White Filters Examples with a Hypothetical Landscape Contrast Control with Filters Digital Filtration for Black-and-White Infrared Film and Filters Filters for Color Images Neutral Density and Polarizing Filters Problems Associated with Polarizers

CHAPTER 8 The Zone System of Exposure for Film

A Brief Overview Film’s Response to Light: Building the Zone System Translating Negative Densities to Print Tonalities The Light Meter—How it Works Review of Negative Exposure Procedure Using the Zone System to Depart from Reality The Zone System for Color The Zone System and the Inverse Square Law In Summary

CHAPTER 9 The Black-and-White Negative and Contrast Control—The Extended Zone System

Chapter 9 Overview The Negative During Development The Bellows Analogy Putting Higher Zones to Work Reciprocity Failure Examples of Decreasing and Increasing Contrast The Exposure/Density Curve and Zone 4 Shadow Placement Differences Between Photography and Sensitometry: Texture vs. Tone and Zone 4 Shadow Placement Pre-Exposure—What It Is, Where It Works, Where It Fails Developing the Exposed Negative

Some Additional Comments on Diagrams 9.6 and 9.7

Explanation of Compensating Development Two-Solution Compensating Development for Negatives Development Procedures for Sheet Film and Roll Film

Hanger Development Tray Development Mechanical Drum Development Completing Development with a Stop Bath and Fixer

The Zone System and Roll Film Negative Materials and Developers

CHAPTER 10 The Print

Black-and-White Enlarging Papers Variable Contrast vs. Graded Papers Fiber Base Papers vs. Resin Coated (RC) Papers Black-and-White Paper Developers Making Contact Proof Prints Preliminary Work Toward a Final Print Make Test Prints, Not Test Strips Two-Solution Development for Graded and Variable Contrast Papers Dodging and Burning Integrating the Entire Process: Visualization, Exposure, Development, and Printing Burning with Variable Contrast Papers Advanced Darkroom Techniques

Flashing Flashing with Variable Contrast Papers Masking #1 – Contrast Reduction Masking (Unsharp Masking) #2 – Highlight Masking

Inspection, Evaluation, and the Myth of “Dry-Down” Potassium Ferricyanide Reducing (Bleaching) Final Fixing of the Image Local vs. Overall Contrast Control Scale Selenium Toning Prints Other Toners Chemical Coloration Full Archival Processing of Prints Toning, Intensifying, and Reducing Negatives Cold, Neutral, and Warm Tone Papers Review of Contrast Controls

How to Increase Contrast How to Decrease Contrast Infinite Contrast Control after Negative Development

Color Printing Option 1: Printing Traditionally from an Internegative Option 2: Printing Digitally from a Scan Selecting the Paper The Final Product is what Matters Scanning from Film

Recommended Scanning Curves for Transparencies

Altering Curves for Off-Balance Color Transparencies Learning to Use Scanning Curves

CHAPTER 11 The Digital Zone System

Basics of Digital Capture The Sensor’s Useful Brightness Range The Histogram—The Heart of the Digital Zone System The RAW Converter—Processing the RAW Capture

Demosaicing White Balance and Camera Profiles Adjusting the Black Point, White Point, and Contrast Correcting Aberrations Sharpening the Capture Converting the Image to Black-and-White Output Formats and Bit Depth Batch Processing

High Dynamic Range Images—The Extended Zone System for Digital Photography

1. Using the Merge to High Dynamic Range Function In Photoshop 2. Using Two Captures and a Luminosity Selection In Photoshop 3. Using Layers In Photoshop 4. Third Party Software

Practical Considerations, Cautions, and Recommendations

CHAPTER 12 Presentation

Dry Mounting Prints Making Positioning Guides for Print Placement Spotting, Etching, and Correction of Defects Print Finishing

CHAPTER 13 Exploding Photographic Myths

Myth #1: The zone system gives you a negative that yields a straight print of exactly what you saw in the field, with no burning or dodging required. Myth #2: There are 10 zones in the zone system. Myth #3: Shadows should be placed at Zone 3 in the zone system. Myth #4: Negative densities should be within a fixed density range, and negatives that don’t fit into that range are useless.

Examples #1 and #2 Example #3 Example #4

Myth #5: All contact proof prints of negatives should be made at the same exposure.

My method of making contact proofs

Myth #6: The best landscape photographs are made within an hour and a half of sunrise or sunset. Myth #7: All black-and-white photographs need a good black, a good white, and tones in between. Myth #8: Two More Persistent Myths.

#8-A: The center of interest should be one-third of the way up and one-third of the way into the photograph. #8-B: The horizon line should never divide a photograph in half.

CHAPTER 14 Photographic Techniques and Artistic Integrity

Art, Communication, and Personal Integrity

CHAPTER 15 Photographic Realism, Abstraction, and Art

Photography as Fine Art Photography and Painting—Their Mutual Influence The Strength of Abstraction Inwardly and Outwardly Directed Questions The Power of Photography

CHAPTER 16 Thoughts on Creativity

Obstacles to Creativity Prerequisites for Creativity Producing Something New—Its Real Importance Be Prepared for Imagination, Innovation, and Creativity

CHAPTER 17 Approaching Creativity Intuitively

Intuition in Science Avoiding Intuition Understanding and Misunderstanding Intuition Examples of the Intuitive Approach Applying Intuition to Your Photography Conclusion

CHAPTER 18 Toward A Personal Philosophy

Flexibility Visual Arts Nonvisual Arts Expanding and Defining Your Interests Limitations of Photography Developing a Personal Style Self-Critique, Interaction, and Study

APPENDIX 1 Testing Materials and Equipment for Traditional Photography

ASA (ISO) Test Contrast Development Test Lens Sharpness and Coverage Test Bellows Test Safelight Test Enlarger Light Uniformity Test Enlarger Lens Sharpness Test

APPENDIX 2 Enlarger Light Sources Index

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