For introductory and advanced courses in Photography. Why is this the #1 photography text year after year? Because no other source teaches students the skills they need to use the medium confidently and effectively, emphasizing both technique and visual awareness.

This best-selling introductory photography text teaches students how to use the medium confidently and effectively by emphasizing both technique and visual awareness. Comprehensive in scope, this book features superb instructional illustrations and examples in its clear presentation of both black and white and color photography. London offers extensive coverage of digital imaging and the latest technological developments, such as Web page design and formatting photos on CD-ROMs.

Preface viii
1
Getting Started

2
Camera and Film




4
Getting Your Camera Ready

5
Focusing and Setting the Exposure



6
Taking Your Picture


8
What Will You Photograph?

9
Some Basic Guidelines to Get You Started



9
Photographing People
10
Photographing Places

12
2 Camera

14
Basic Camera Controls 16
The Shutter


18
The Shutter and Light

18
The Shutter and Motion





20
Conveying Motion in a Still Photograph 22
The Aperture

24
The Aperture and Light 24
The Aperture and Depth of Field




26
Using Shutter and Aperture Together

28
Choosing a Camera


30
Keeping the Camera Steady

33
photographer at work: Photojournalist James Nachtwey


34
3
Lens

36
From Pinhole to Lens

38
Lens Focal Length



40
Normal Focal Length

42
Long Focal Length



44
Short Focal Length


46
Zoom Lenses

48
Special-Purpose Lenses





49
Focusing Your Lens


50
Manual Focus
50
Automatic Focus




52
Focus and Depth of Field




54
Controlling Depth of Field



56
Zone Focusing
58
Focusing on the Hyperfocal Distance

59
Perspective


60
Guidelines for Buying a Lens

62
Getting the Most from Your Camera and Lens
63
photographer at work: Mary Ellen Mark




64
4
Exposure, Sensors, and Film

66
Exposure Basics




68




Equivalent Exposures

68




How Exposure Meters Work

69




In-Camera Exposure Meters

70




Automatic Exposure

71
How to Meter
72




An Overall Reading of a Scene with Average Tones


72
Using Different Types of Meters





73
Metering High-Contrast Scenes





74




Exposing for Specific Tones and Bracketing


76
Hard-to-Meter Scenes 77
Responding to Light


78
Silver and Pixels




78
Selecting and Using Film




79
Exposure Latitude and Dynamic Range 80
How Much Can Exposures Vary?



80
Film and Sensor Speed 82
Speed and ISO





82
Grain and Noise




83
Extending Beyond Visible Light 84
Infrared Photographs

84
Special Purpose Films
86
Instant and Chromogenic Films 86
Polarizing Filters




87
Using Filters

88
Using Exposure





90
photographer at work: Advertising Photographer Clint Clemens

92
5
Developing the Negative

94
How to Process Black-and-White Roll Film


96
Equipment and Supplies You'll Need

96
Processing Chemicals and How to Handle Them




97
Chemical Safety





98
Processing Black-and-White Roll Film Step by Step

100
How Film Processing Affects Your Picture


106
Exposure and Development:
Under, Normal, Over


108
6
Printing in a Darkroom

110
Black-and-White Printing




112
Equipment and Supplies for Printing


112
The Enlarger

114
Printing Papers 116
Making a Black-and-White Print Step by Step
118
A Contact Sheet: A Whole Roll at Once




118



Setting Up an Enlargement



120
A Test Strip for Your Print



122
A Trial Print-and Then a Final Print

123



Processing a Black-and-White Print


124



Evaluating Density and Contrast in a Print




128
Controlling Contrast


130
Graded- and Variable-Contrast Papers 130
Dodging and Burning

132
Cropping




134
Archival Processing for Maximum Permanence
135
Toning for Color and Other Effects


136
7
Color

138
Color: Additive or Subtractive
140
Color Photographs: Three Image Layers




141
Color Characteristics

142
Color Balance
144
Color Changes through the Day





144
Color Casts


146
Color Temperature


147
Filters to Balance Color





148
Developing Color Film
150
Making a Color Print From a Negative
151
Equipment and Materials You'll Need
151
Exposing a Test Print

152
Judging Density in a Print Made from a Negative




154
Judging Color Balance in a Print Made from a Negative 155
More About Color Balance and Print Finishing
157
Making a Color Print from a Transparency



158
Judging a Print Made from a Transparency



159
photographer at work: Another Angle on Sports-Walter Iooss, Jr.


160
8 Setting up a Digital Darkroom

162
Hardware and Software





164



An Overview

164
Capturing Detail: Resolution and Bit Depth



165
Photographs Are Files
166
File Formats

166
Importing Your Images 168
Downloading and Scanning


168
Making a Scan 169
Color Management


170
Histograms


172
Anatomy of a Digital Image


172
Three Histograms for Color


173
Setting Up a Workflow 174
photographer at work: Digital Storyteller-Pedro Meyer




176
9 Image Editing

178
Digital Post-Processing and Editing: Getting Started


180
Choosing Software


180
Your Work Area and Tools


181
Setting Up an Image to Edit


182
Channels




183
Color or Black and White?


183
Adjusting Color and Value



184
Different Approaches

184
Using Levels

185
Curves 186
Adjusting All or Part of an Image




188
Selection Tools 188
Using Layers

189
Other Editing Commands




190
High Dynamic Range

190
Filters for Special Effects




191
Retouching and Sharpening


192
Compositing

194
An Image-Editing Workflow

196
10 Digital Printing

198
Printers and Printing


200
Printer Choices 200
Drivers and RIPs




201
Profiles and Soft Proofing



202
Papers and Inks





203
Printing Options





204
Panoramic Photographs





204
Printing in Black and White


206
Displaying Your Work
208
The Internet-Gallery and Resource

208
Ethics: How Far Can You Go? 209
11 Organizing and Storing Your Work

210
Image Storage
212
Size Matters

212



Metadata: Data About Your Files



213
Software to Keep You Organized



214
Archiving Digital Images





215
Archiving Film and Prints




216
12 Print Finishing and Display

218
Spotting to Remove Minor Flaws




220
Mounting a Print




221
Equipment and Supplies You'll Need







221
Dry Mounting
222
Cutting an Overmat


224
Framing and Glazing

225
13
Lighting

226
Direction of Light




228
Degree of Diffusion: From Hard to Soft Light

230
Available Light-Outdoors


232
Available Light-Indoors




233
Artificial Light
234
Lights and Other Lighting Equipment

234
Qualities of Artificial Light



235
The Main Light: The Dominant Source
236
The Fill Light: To Lighten Shadows


238
Lighting with Flash



240
Flash Equipment




241
Basic Flash Techniques 242
Manual Flash Exposures




244
Automatic Flash Exposures


245
Fill Flash: To Lighten Shadows
246
Controlling Background Brightness



248
Simple Portrait Lighting 250
Multiple-Light Portrait Setups
252
Lighting Textured Objects



254
Lighting Reflective Objects



255
Lighting Translucent Objects

256
Using Lighting
257
photographer at work: Dance Photographer Lois Greenfield


258
14
Extending the Image

260
Using Scale


262
Pictures Very Large and Very Small


262
Multiple Images





264
More is Better
264
Fabricated to be Photographed 266
The Photograph as Object



268
Using Projections




270
Making a Book





271
Alternative Processes

272
Cyanotype Printing


272
Platinum and Palladium Printing 273
Gum Bichromate Printing




274
Image Transfer 275
A Photogram: A Cameraless Picture

276
Cross Processing




278
A Sabattier Image: Part Positive, Part Negative 279
Pinhole Photography

280
How to Make a Close-Up Photograph 282
Close-Up Exposures

283
Copying Techniques

284
15 View Camera

286
Inside a View Camera
288
View Camera Movements



290
Rise and Fall

290
Shift

292
Tilt


294
Swing
296
Using a View Camera to Control the Image


298



Controlling the Plane of Focus
299
Controlling Perspective 300
Equipment You'll Need





302
What to Do First-and Next

303
Loading and Processing Sheet Film


304
16
The Zone System

306
The Zone System Scales




308
Using the Zone Scale While Metering

310
Placing a Tone, Seeing Where Other Tones Fall





310
How Development Controls Contrast

312
Putting It All Together
314
Roll Film and Color Film




315
photographer at work: Using the Zone System-John Sexton

316
17
Seeing Photographs

318
Basic Choices
320
Content





320
Framing the Subject


322
Backgrounds

324
Basic Design

326
Spot/Line



326
Shape/Pattern
328
Emphasis/Balance



330
More Choices
332



Using Contrasts of Sharpness

332
Using Contrasts of Light and Dark



334
Placing the Subject within the Frame

336
Perspective and Point of View
338
Looking at-and Talking About- Photographs





340

Showing Your Work to Editors and Others


342
18 History of Photography

344
The Invention of Photography
346
Daguerreotype: "Designs on Silver Bright"



347
Calotype: Pictures on Paper


348
Collodion Wet-Plate:
Sharp and Reproducible 349
Gelatin Emulsion/Roll-Film Base:
Photography for Everyone

350
Color Photography


351
Early Portraits
352
Early Travel Photography




354
Early Images of War

355
Time and Motion in Early Photographs
356
The Photograph as Document
357
Photography and Social Change





358
Photojournalism





360
Photography as Art in the 19th Century 364
Pictorial Photography and the Photo-Secession 365
The Direct Image in Art





366
The Quest for a New Vision

367
Photography as Art in the 1950s and 1960s


368
Photography as Art in the 1970s and 1980s


370
A Gallery of Contemporary Photography




372
Troubleshooting





388
Glossary










399
Bibliography

404
Credits





408
Index







410