The Art of Photography · A Personal Approach to Artistic Expression by Barnbaum, Bruce -- Read -- Imperial Library of Trantor

Index

Acknowledgements 1 Communication Through Photography

Enthusiasm Judging Your Own Personal Response

2 What Is Composition?

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

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

4 Visualization

Step 1: Photographic Looking and Seeing Step 2: Composing an Image Step 3: Envisioning the Final Image Step 4: Suggested Procedures for Those Having Trouble Envisioning a Final Image Step 5: Planning a Strategy for a Final Image How Your Eye Differs from Your Camera Alternative Approaches

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

6 Color

The Color Wheel and Color Sphere Color Composition Color Families, Color Contrast, and Their Emotional Effects Subjectivity and Mood of Color Working with Color Digitally Working with Color Traditionally In Summary

7 Filters

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

8 The Zone System of Exposure for Black-and-White 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 Negatives The Zone System and the Inverse Square Law In Summary

9 Contrast Control and the Extended Zone System for Black-and-White Negatives

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 Developing the Exposed Negative Explanation of Compensating Development Two-Solution Compensating Development for Negatives Development Procedures for Sheet Film and Roll Film The Zone System and Roll Film Negative Materials and Developers

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 Dodging and Burning Integrating the Entire Process: Visualization, Exposure, Development, and Printing Burning with Variable Contrast Papers Advanced Darkroom Techniques 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 Infinite Contrast Control for Black-and-White after Negative Development Color Printing The Final Product Is What Matters Scanning from Film

11 The Digital Zone System

12 Image Adjustments—Using the Digital Tools

The ACR Tool Chest ACR Summary The Photoshop Tool Chest Returning to ACR from Photoshop Closing Thoughts

13 Traditional, Digital, Art and Technique

Art, Technique, and Their Importance Choosing Digital or Traditional Some Closing Thoughts

14 Exploding Photographic Myths

Myth #1 Myth #2 Myth #3 Myth #4 Myth #5 Myth #6 Myth #7 Myth #8 Myth #9 Myth #10

15 Presentation

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

16 Photographic Realism, Abstraction, and Art

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

17 Approaching Creativity Intuitively

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

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 Appendix 2 Enlarger Light Sources