- Browse
- » The art of photography: an approach to personal expression
The art of photography: an approach to personal expression
Average Rating
Author
Publisher
Rocky Nook
Publication Date
[2010]
Language
English
Description
Loading Description...
Table of Contents
From the Book - 1st ed.
Acknowledgements
Chapter 1: Communication Through Photography
1-1: Enthusiasm
1-2: Judging your own personal response
Chapter 2: What Is Composition?
2-1: How the human eye sees
2-2: Unified thought
2-3: Simplicity
2-4: Expressing your own point of view
2-5: Simplicity vs- complexity
Chapter 3: Elements Of Composition
3-1: Contrast and tone
3-2: Line
3-3: Form
3-4: Line, form, contrast, and emotion
3-5: Pattern
3-6: Balance
3-7: Movement
3-8: Positive/negative space
3-9: Texture
3-10: Camera position
3-1: 1 Focal length of lens and cropping
3-12: Depth of field
3-13: Shutter speed
3-14: Relationships
3-15: Involvement with the scene
3-16: Rules, formulas, and other problems and pitfalls
Chapter 4: Visualization
4-1: Step 1: Photographic looking and seeing
4-2: Step 2: Composing an image
4-3: Step 3: Envisioning the final print
4-4: Step 4: Planning a strategy for a final print
4-5: How your eye differs from your camera
4-6: Alternative approaches
Chapter 5: Light
5-1: Looking at light
5-2: Exercises in learning to see light more accurately
5-3: Light determines form
5-4: Types of lighting/quality of Light
5-5: Light as seen by the eye and by film or sensors, and the inverse square law
Chapter 6: Color
6-1: Color wheel and color sphere
6-2: Color composition
6-3: Color and emotion
6-4: Color contrast and tone
6-5: Choosing a color film
6-6: Color digital methods
6-7: Light and color control
6-8: Subjectivity and mood of color
6-9: In Summary
Chapter 7: Filters
7-1: Black-and-white filters
7-2: Examples with a hypothetical landscape
7-3: Contrast control with filters
7-4: Digital filtration for black-and-white
7-5: Infrared film and filters
7-6: Filters for color images
7-7: Neutral density and polarizing filters
7-8: Problems associated with polarizers
Chapter 8: Zone System Of Exposure For Film
8-1: Brief overview
8-2: Film's response to light: building the zone system
8-3: Translating negative densities to print tonalities
8-4: Light meter - how it works
8-5: Review of negative exposure procedure
8-6: Using the zone system to depart from reality
8-7: Zone system for color
8-8: Zone system and the inverse square law
8-9: In summary
Chapter 9: Black-And-White Negative And Contrast Control - The Extended Zone System
9-1: Chapter 9 overview
9-2: Negative during development
9-3: Bellows analogy
9-4: Putting higher zones to work
9-5: Reciprocity failure
9-6: Examples of decreasing and increasing contrast
9-7: Exposure/density curve and zone 4 shadow placement
9-8: Differences between photography and sensitometry: texture vs- tone and zone 4 shadow placement
9-9: Pre-exposure
9-10: Developing the exposed negative
9-11: Explanation of compensating development
9-12: Two-solution compensating development for negatives
9-13: Development procedures for sheet film and roll film
9-14: Zone system and roll film
9-15: Negative materials and developers
Chapter 10: Print
10-1: Black-and-white enlarging papers
10-2: Variable contrast vs- graded papers
10-3: Fiber base papers vs- resin coated (rc) papers
10-4: Black-and-white paper developers
10-5: Making contact proof prints
10-6: Preliminary work toward a final print
10-7: Make test prints, not test strips
10-8: Two-solution development for graded and variable contrast papers
10-9: Dodging and burning
10-10: Integrating the entire process: visualization, exposure, development, and printing
10-11: Burning with variable contrast papers
10-12: Advanced darkroom techniques
10-13: Inspection, evaluation, and the myth of "dry-down"
10-14: Potassium ferricyanide reducing (bleaching)
10-15: Final fixing of the image
10-16: Local vs- overall contrast control
10-1: Scale
10-18: Selenium toning prints
10-19: Other toners
10-20: Chemical coloration
10-21: Full archival processing of prints
10-22: Toning, intensifying, and reducing negatives
10-23: Cold, neutral, and warm tone papers
10-24: Review of contrast controls
10-25: Color printing
10-26: Color contrast reduction masking
10-27: Masking to alter color intensities
10-28: Shadow mask
10-29: Spotting and rebalancing color for color prints
10-30: Washing and drying color prints
10-31: Achieving proper color balance
Chapter 11: Digital Zone System
11-1: Basics of digital capture
11-2: Sensor's useful brightness range
11-3: Histogram
11-4: RAW converter - processing the RAW capture
11-5: High dynamic range images
11-6: Practical considerations, cautions, and recommendations
Chapter 12: Presentation
12-1: Dry mounting prints
12-2: Making positioning guides for print placement
12-3: Spotting, etching, and correction of defects
12-4: Print finishing
Chapter 13: Exploding Photographic Myths
13-1: 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
13-2: Myth 2: There are 10 zones in the zone system
13-3: Myth 3: Shadows should be placed at Zone 3 in the zone system
13-4: Myth 4: Negative densities should be within a fixed density range, and negatives that don't fit into that range are useless
13-5: Myth 5: All contact proof prints of negatives should be made at the same exposure
13-6: Myth 6: The best landscape photographs are made within an hour and a half of sunrise or sunset
13-7: Myth 7: All black-and-white photographs need a good black, a good white, and tones in between
13-8: Myth 8 two more persistent myths
Chapter 14: Photographic Techniques and Artistic Integrity
14-1: Art, communication, and personal integrity
Chapter 15: Photographic Realism, Abstraction, And Art
15-1: Photography as fine art
15-2: Photography and painting - their mutual influence
15-3: Strength of abstraction
15-4: Inwardly and outwardly directed questions
15-5: Power of photography
Chapter 16: Thoughts On Creativity
16-1: Obstacles to creativity
16-2: Prerequisites for creativity
16-3: Producing something new - its real importance
16-4: Be prepared for imagination, innovation, and creativity
Chapter 17: Approaching Creativity Intuitively
17-1: Intuition in science
17-2: Avoiding intuition
17-3: Understanding and misunderstanding intuition
17-4: Examples of the intuitive approach
17-5: Applying intuition to your photography
17-6: Conclusion
Chapter 18: Toward A Personal Philosophy
18-1: Flexibility
18-2: Visual arts
18-3: Nonvisual arts
18-4: Expanding and defining your interests
18-5: Limitations of photography
18-6: Developing a personal style
18-7: 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.
Excerpt
Loading Excerpt...
Author Notes
Loading Author Notes...
Subjects
LC Subjects
More Details
ISBN
9781933952680
Reviews from GoodReads
Loading GoodReads Reviews.
Staff View
Loading Staff View.