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EDITION:9th Edition
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ISBN:0131752014
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ISBN-13:9780131752016
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PUB. DATE:March 2007
- PUBLISHER:Prentice Hall
Photography / Edition 9 by Barbara London
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Customer Reviews
- Customer Rating:
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Good Toolby Anonymous
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I found it very helpful for my B&W Photgraphy class.
great bookby Anonymous
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this is a pretty good introduction to photography. the book covers just about everything, including digital photography. for the beginner or anyone who wants to learn how to make images, this book is a great choice.
Highly Recommended for Preparing for PPA CPP Examby Anonymous
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This book is invaluable to professionals seeking the title of Certified Professional Photographer through the Professional Photographers of American Certification Program. This book assisted me in preparing for the exam and also to refresh my memory on things that are no longer in use due to technology like film. If you are wanting something to study prior to taking any exam related to photography,...
Overview -
Photography
Product Details
- Pub. Date: March 2007
- Publisher: Prentice Hall
- Series: MyPhotographyKit Series
- ISBN-13: 9780131752016
- ISBN: 0131752014
- Edition Description: Older Edition
Synopsis
For introductory and advanced courses in Photography.
The London, Upton, Stone series has helped over 1,000,000 photography students capture their potential. And Photography, 10e is the most comprehensive, up-to-date resource for today's photography students. No other text teaches students the skills they need to use the medium confidently and effectively, while emphasizing both technique, visual awareness, and the latest technologies. This is the text that students will want to keep for years to come.
More Reviews and RecommendationsBiography
Jim Stone turned to photography while studying engineering at MIT. His photographs have been exhibited and published internationally, and collected by the Museum of Modern Art, Boston’s Museum of Fine Arts, the Smithsonian American Art Museum, and the Los Angeles County Museum of Art, among many others. Six of his books, A User’s Guide to the View Camera, Darkroom Dynamics, A Short Course in Photography and A Short Course in Digital Photography (both with Barbara London), Photography 9th Edition, and Photography: The Essential Way (both books with Barbara London and John Upton), are in wide and continued use for university-level courses, and there have been three artist’s books published of his photographs, Stranger Than Fiction (Light Work, 1993), Historiostomy (Piltdown Press, 2001), and Why My Pictures are Good (Nazraeli Press, 2005).
Stone has received awards from the Massachusetts Arts Council, The New England Foundation for the Arts, The San Francisco Foundation, and the National Endowment for the Arts. He was the editor of Polaroid’s Newsletter for Photographic Education, and taught formerly at the Rhode Island School of Design. Currently he is Associate Professor of Photography at the University of New Mexico.
Editorial Reviews -
Photography
From Barnes & Noble - bn.com editor
This 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.
Loading...Features -
Photography
Table of Contents
Preface...................................................viii
Chapter 1: Getting Started...........................2
Introducing the Camera . . . . . . . . . . . . . . . . . . . . .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
Chapter 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
Chapter 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:
Documentary Photographer
Mary Ellen Mark . . . . . . . . . . . . . . . . . . . . .64
Chapter 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
Using Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . .84
Polarizing Filters . . . . . . . . . . . . . . . . . . . . . . . . . . .86
Extending Beyond Visible Light . . . . . . . . . . . . .87
Infrared Photographs . . . . . . . . . . . . . . . . . . . . . . .87
Using Exposure . . . . . . . . . . . . . . . . . . . . . . . . . . .88
Photographer at Work:
Advertising Photographer
Clint Clemens . . . . . . . . . . . . . . . . . . . . . . . .90
Chapter 5: Developing a Negative.....................92
How to Process Black-and-White Roll Film . . . . . . . . . .. . . .94
Equipment and Supplies You’ll Need . . . . . . . . . . . .94
Processing Chemicals
and How to Handle Them . . . . . . . . . . . . . . . . . . .95
Chemical Safety . . . . . . . . . . . . . . . . . . . . . . . . . . . .96
Processing Black-and-White Roll Film Step by Step . . . . . . . . . . . . . . .98
How Film Processing Affects Your Picture . . . . . . . . . . . . . . . . . . .104
Exposure and Development: Under, Normal, Over . . . . . . . . . . . . . . . . . . .106
Chapter 6: Printing in a Darkroom......................108
Black-and-White Printing . . . . . . . . . . . . . . . . .110
Equipment and Supplies for Printing . . . . . . . . . . .110
The Enlarger . . . . . . . . . . . . . . . . . . . . . . . . . . . . .112
Printing Papers . . . . . . . . . . . . . . . . . . . . . . . . . . .114
Making a Black-and-White Print Step by Step . . . . . . . . . . .. . . . . . .116
A Contact Sheet: A Whole Roll at Once . . . . . . . . . .116
Setting Up an Enlargement . . . . . . . . . . . . . . . . . .118
A Test Strip for Your Print . . . . . . . . . . . . . . . . . . .120
A Trial Print–and Then a Final Print . . . . . . . . . .121
Processing a Black-and-White Print . . . . . . . . . . . .122
Evaluating Density and Contrast in a Print . . . . . . . . . . . . . . . . .126
Controlling Contrast . . . . . . . . . . . . . . . . . . . . . .128
Graded- and Variable-Contrast Papers . . . . . . . . .128
Dodging and Burning . . . . . . . . . . . . . . . . . . . . .130
Cropping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .132
Archival Processing for Maximum
Permanence . . . . . . . . . . . . . . . . . . . . . . . . . .133
Toning for Color and Other Effects . . . . . . . . . .134
Chapter 7: Color.........................................136
Color: Additive or Subtractive . . . . . . . . . . . . .138
Color Photographs: Three Image Layers . . . . .139
Color Characteristics . . . . . . . . . . . . . . . . . . . . .140
Color Balance . . . . . . . . . . . . . . . . . . . . . . . . . . .142
Color Changes throughout the Day . . . . . . . . . . . .142
Color Casts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .144
Color Temperature . . . . . . . . . . . . . . . . . . . . . . . .145
Filters to Balance Color with Film . . . . . . . . . . . . .146
Making a Color Print From a Negative . . . . . . .148
Equipment and Materials You’ll Need . . . . . . . . . . .148
Exposing a Test Print . . . . . . . . . . . . . . . . . . . . . .149
Judging Color Balance in a Print Made from a Negative . . . . . . . . . . . . . . . . . .150
Photographer at Work:
Another Angle on Sports—
Walter Iooss, Jr. . . . . . . . . . . . . . . . . . . . . .152
Chapter 8: Setting up a Digital Darkroom.........154
Hardware and Software . . . . . . . . . . . . . . . . . . .156
An Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . .156
Capturing Detail: Resolution and Bit Depth . . . . . .157
Photographs Are Files . . . . . . . . . . . . . . . . . . . .158
File Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . .158
Color Management . . . . . . . . . . . . . . . . . . . . . . .160
Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .162
Color or Black and White? . . . . . . . . . . . . . . . . . . .162
Histograms . . . . . . . . . . . . . . . . . . . . . . . . . . . . .164
Anatomy of a Digital Image . . . . . . . . . . . . . . . . . .164
Three Histograms for Color . . . . . . . . . . . . . . . . . .165
Importing Your Images . . . . . . . . . . . . . . . . . . .166
Downloading from a Camera . . . . . . . . . . . . . . . . .166
Making a Scan . . . . . . . . . . . . . . . . . . . . . . . . . . . .167
Setting Up a Workflow . . . . . . . . . . . . . . . . . . . .168
Workflow Applications . . . . . . . . . . . . . . .169
Photographer at Work:
Digital Storyteller Pedro Meyer . . . . . . . . .170
Chapter 9: Image Editing.............................172
Digital Post-Processing: Getting Started . . . . . . . . . . . . . . . . . . . . . .174
Choosing Software . . . . . . . . . . . . . . . . . . . . . . . .174
Your Work Area and Tools . . . . . . . . . . . . . . . . . . .175
An Image-Editing Workflow . . . . . . . . . . . . . . . 176
A Step-by-Step Process . . . . . . . . . . . . . . . . . . . . .176
Adjusting Color and Value . . . . . . . . . . . . . . . . .178
Different Approaches . . . . . . . . . . . . . . . . . . . . . .178
Using Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . .179
Curves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .180
Adjusting All or Part of an Image . . . . . . . . . .182
Selection Tools . . . . . . . . . . . . . . . . . . . . . . . . . . .182
Using Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . .183
Other Editing Commands . . . . . . . . . . . . . . . . . .184
High Dynamic Range . . . . . . . . . . . . . . . . . . . . . . .184
Filters for Special Effects . . . . . . . . . . . . . . . . . . . .185
Sharpening . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .186
Retouching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .187
Compositing . . . . . . . . . . . . . . . . . . . . . . . . . . . 188
Photographer at Work:
RetouchShoppe—
Scalese and Villarreal . . . . . . . . . . . . . . .190
Chapter 10: Digital Printing......................192
Printers and Printing . . . . . . . . . . . . . . . . . . . . .194
Printer Choices . . . . . . . . . . . . . . . . . . . . . . . . . . .194
Drivers and RIPs . . . . . . . . . . . . . . . . . . . . . . . . . .195
Profiles and Soft Proofing . . . . . . . . . . . . . . . . . . .196
Papers and Inks . . . . . . . . . . . . . . . . . . . . . . . . . .197
Printing Options . . . . . . . . . . . . . . . . . . . . . . . . .198
Panoramic Photographs . . . . . . . . . . . . . . . . . . . .198
Printing in Black and White . . . . . . . . . . . . . . . . . .200
Displaying Your Work . . . . . . . . . . . . . . . . . . . . .202
The Internet–Gallery and Resource . . . . . . . . . . .202
Ethics: How Far Can You Go? . . . . . . . . . . . . . .203
Chapter 11: Organizing and Storing Your Work.....204
Image Storage . . . . . . . . . . . . . . . . . . . . . . . . . .206
Size Matters . . . . . . . . . . . . . . . . . . . . . . . . . . . . .206
Metadata: Data About Your Files . . . . . . . . . . .207
Software to Keep You Organized . . . . . . . . . . .208
Archiving Digital Images . . . . . . . . . . . . . . . . . .209
Archiving Film and Prints . . . . . . . . . . . . . . . . .210
Chapter 12: Print Finishing and Display.........212
Spotting to Remove Minor Flaws . . . . . . . . . . .214
Mounting a Print . . . . . . . . . . . . . . . . . . . . . . . .215
Equipment and Supplies You’ll Need . . . . . . . . . . .215
Dry Mounting . . . . . . . . . . . . . . . . . . . . . . . . . . . .216
Cutting an Overmat . . . . . . . . . . . . . . . . . . . . . . . .218
Framing and Glazing . . . . . . . . . . . . . . . . . . . . . . .219
Chapter 13: Lighting.................................220
Direction of Light . . . . . . . . . . . . . . . . . . . . . . . .222
Degree of Diffusion:
From Hard to Soft Light . . . . . . . . . . . . . . . .224
Available Light—Outdoors . . . . . . . . . . . . . . . .226
Available Light—Indoors . . . . . . . . . . . . . . . . .227
Artificial Light . . . . . . . . . . . . . . . . . . . . . . . . . .228
Lights and Other Lighting Equipment . . . . . . . . . .228
Qualities of Artificial Light . . . . . . . . . . . . . . . . . . .229
The Main Light: The Dominant Source . . . . . . .230
The Fill Light: To Lighten Shadows . . . . . . . . .232
Lighting with Flash . . . . . . . . . . . . . . . . . . . . . .234
Flash Equipment . . . . . . . . . . . . . . . . . . . . . . . . . .235
Basic Flash Techniques . . . . . . . . . . . . . . . . . . . . .236
Manual Flash Exposures . . . . . . . . . . . . . . . . . . . .238
Automatic Flash Exposures . . . . . . . . . . . . . . . . . .239
Fill Flash: To Lighten Shadows . . . . . . . . . . . . . . . .240
Controlling Background Brightness . . . . . . . . . . . .242
Simple Portrait Lighting . . . . . . . . . . . . . . . . . .244
Multiple-Light Portrait Setups . . . . . . . . . . . . .246
Lighting Textured Objects . . . . . . . . . . . . . . . . .248
Lighting Reflective Objects . . . . . . . . . . . . . . . .249
Lighting Translucent Objects . . . . . . . . . . . . . .250
Using Lighting . . . . . . . . . . . . . . . . . . . . . . . . . .251
Photographer at Work
Dance Photographer Lois Greenfield . . . .252
Chapter 14: Extending the Image..........254
Using Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . .256
Pictures Very Large and Very Small . . . . . . . . . . . .256
Multiple Images . . . . . . . . . . . . . . . . . . . . . . . .258
More is Better . . . . . . . . . . . . . . . . . . . . . . . . . . . .258
Fabricated to be Photographed . . . . . . . . . . . .260
The Photograph as Object . . . . . . . . . . . . . . . .262
Using Projections . . . . . . . . . . . . . . . . . . . . . . . .264
Making a Book . . . . . . . . . . . . . . . . . . . . . . . . . .265
Alternative Processes . . . . . . . . . . . . . . . . . . . .266
Cyanotype Printing . . . . . . . . . . . . . . . . . . . . . . . .266
Platinum and Palladium Printing . . . . . . . . . . . . . .267
Gum Bichromate Printing . . . . . . . . . . . . . . . . . . . .268
A Sabattier Image: Part Positive, Part Negative . . . . . .269
A Photogram: A Cameraless Picture . . . . . . . . . . .270
Pinhole Photography . . . . . . . . . . . . . . . . . . . . .272
How to Make a Close-Up Photograph . . . . . . .274
Close-Up Exposures . . . . . . . . . . . . . . . . . . . . . . .275
Copying Techniques . . . . . . . . . . . . . . . . . . . . . .276
Chapter 15: View Camera........................278
Inside a View Camera . . . . . . . . . . . . . . . . . . . .280
View Camera Movements . . . . . . . . . . . . . . . . .282
Rise and Fall . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282
Shift . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .284
Tilt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .286
Swing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .288
Using a View Camera to Control the Image . . .290
Controlling the Plane of Focus . . . . . . . . . . . . . . .291
Controlling Perspective . . . . . . . . . . . . . . . . . . . . .292
Equipment You’ll Need . . . . . . . . . . . . . . . . . . .294
What to Do First—and Next . . . . . . . . . . . . . . .295
Loading and Processing Sheet Film . . . . . . . . .296
Chapter 16: The Zone System.................298
The Zone System Scales . . . . . . . . . . . . . . . . . .300
Using the Zone Scale While Metering . . . . . . .302
Placing a Tone, Seeing Where Other Tones Fall . . .302
How Development Controls Contrast . . . . . . . .304
Putting It All Together . . . . . . . . . . . . . . . . . . .306
Roll Film and Color Film . . . . . . . . . . . . . . . . . . . . .307
Chapter 17: Seeing Photographs.............308
Basic Choices . . . . . . . . . . . . . . . . . . . . . . . . . . .310
Content . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .310
Framing the Subject . . . . . . . . . . . . . . . . . . . . . . .312
Backgrounds . . . . . . . . . . . . . . . . . . . . . . . . . . . . .314
Basic Design . . . . . . . . . . . . . . . . . . . . . . . . . . . .316
Spot/Line . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .316
Shape/Pattern . . . . . . . . . . . . . . . . . . . . . . . . . . . .318
Emphasis/Balance . . . . . . . . . . . . . . . . . . . . . . . . .320
More Choices . . . . . . . . . . . . . . . . . . . . . . . . . . .322
Using Contrasts of Sharpness . . . . . . . . . . . . . . . .322
Using Contrasts of Light and Dark . . . . . . . . . . . .324
Placing the Subject within the Frame . . . . . . . . . . .326
Perspective and Point of View . . . . . . . . . . . . . . . .328
Looking at—and Talking About— Photographs . . . . . . . . . . .330
Showing Your Work to Editors and Others . . . . . . . . . . . . . . . .332
Chapter 18: History of Photography...............334
The Invention of Photography . . . . . . . . . . . . .336
Daguerreotype: “Designs on Silver Bright” . . . . . . . . . . . . .337
Calotype: Pictures on Paper . . . . . . . . . . . . . . .338
Collodion Wet-Plate: Sharp and Reproducible . . . . . . . . . . . . . . . .339
Gelatin Emulsion/Roll-Film Base: Photography for Everyone . . . . . . . . . . . . . .340
Color Photography . . . . . . . . . . . . . . . . . . . . . . .341
Early Portraits . . . . . . . . . . . . . . . . . . . . . . . . . .342
Early Travel Photography . . . . . . . . . . . . . . . . .344
Early Images of War . . . . . . . . . . . . . . . . . . . . .345
Time and Motion in Early Photographs . . . . . .346
The Photograph as Document . . . . . . . . . . . . .347
Photography and Social Change . . . . . . . . . . . .348
Photojournalism . . . . . . . . . . . . . . . . . . . . . . . . .350
Photography as Art in the 19th Century . . . . . . . . . . . . . . . . . . .354
Pictorial Photography and the Photo-Secession . . . . . . . . . . . . . . .355
The Direct Image in Art . . . . . . . . . . . . . . . . . . .356
The Quest for a New Vision . . . . . . . . . . . . . . .357
Photography as Art in the 1950s and 1960s . . . . . . . . . . . . . . .358
Photography as Art in the 1970s and 1980s . . . . . . . . . . . . . . .360
Digital Photography Becomes Mainstream . . . . . . . . . . . . . . . . . .362
A Gallery of Contemporary Photography . . . . . . . . . . . . . . . . . . . . . . . . .364
Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . .380
Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .391
Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . .396
Credits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .400
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .402
Forewords & Introductions
More than a million copies of Photography are now in print. Many people who have used this book have become professional photographers or photography instructors, or are continuing to pursue their personal interest in photography. Whatever your interest in photography is, this book is designed to teach the skills that you will need to use the medium confidently and effectively.
The emphasis of this edition continues to be in two major areas—technique and visual awareness. The technical material helps you learn how to control the photographic process, or as Ansel Adams put it, to "understand the way that the lens 'sees' and the film 'sees.'" Equally important, this book can help you see by showing you the choices that other photographers have made and that you can make when you raise a camera to your eye.
Clarity and convenience have always been a focus of this book. In this edition even more effort has been made to organize and format information into an easy guide for beginning photographers and a quick reference for those with experience.
- The easy-to-use format has been maintained, with each two facing pages completing a single idea, skill, or technique.
- Boldfaced topic sentences outline the text on every page.
- "More About . . ." boxes on many pages cross-reference related topics in other parts of the book.
- Computer icons call attention to related information about digital imaging or to information in the digital imaging chapters.
The general organization of technical information has been maintained, with the addition of a technical update.
- Generalphotographic techniques are covered completely in Chapters 1-8: camera, lens, film, exposure, developing and printing black-and-white film, and mounting.
- Chapters 10 and 11 expand and update information on digital imaging.
- Chapters 9, 12, 13, 14, and 15 cover color photography, lighting, special techniques (such as cyanotyping ), view camera use, and a specialized method of exposure and development—the Zone System.
- A fully illustrated "Troubleshooting Appendix," beginning on page 400, groups together technical problems, their causes, and ways to prevent them.
Improving visual awareness is a major emphasis of the book. Many new demonstration photographs have been added to make topics easy to understand. Throughout the book you will find hundreds of illustrations by the best photographers showing how they have put to use various technical concepts. See for example:
- The photographs illustrating lens focal length on pages 45, 47, and 49, or how one photographer uses electronic flash plus available light on page 289.
- "Photographer at Work" pages throughout the book feature interviews with photographers who have developed successful careers in everything from dance photography (pages 290 291) to digital illustration (pages 256-257).
- Chapter 16, "Seeing Photographs" (pages 340-365), deals with composition, tonality, sharpness, and other visual elements that will help you make better pictures yourself, and see other people's photographs with a more sophisticated eye.
- Chapter 17 (pages 366-399) surveys the history of photography so that you can place today's photography—and your own—in an historical context.
We are pleased to announce an expanded and interactive Website. You can visit the site at http://www.prenhall.com/london. It contains many features, including:
- Simulations and demonstrations of various photographic processes
- A study guide
- Chat rooms
- Links to other photography e-sites
An instructor's manual and integrated student lab manual/journal are available, which include:
- sample assignments
- processing and exposure records
- numerous tips to complement the text.
Every edition of Photography has been a collaborative effort. Instructors, students, photographers, manufacturers, editors, gallery people, and many others participated in it. They fielded queries, made suggestions, responded to material, and were unfailingly generous with their time, energy, and creative thinking.
Special thanks go to instructors who reviewed the previous edition of Photography as well as parts of this edition, and who volunteered many good ideas. They brought a particularly useful point of view, contributing many ideas on not only what to teach, but how to teach it:
– Ayana Baltrip, University of California, Berkeley
– Rick Bruner, Shepherd College
– Elizabeth Burnham, Barton College
– Susan Ciricialo, California College of Arts and Crafts
– Charles Dmytriw, Northwestern Connecticut Community College
– Steve Dzerigian, Fresno City College
– Harris Fogel, University of the Arts, Philadelphia
– Jack Fulton, San Francisco Art Institute
– Chris Johnson, California College of Arts and Crafts
– Jim Kelly, Southern Illinois University
– John Knowlton, Green River Community College
– Philip Krejcarek, Carroll College
– John Labadie, University of North Carolina, Pembroke
– Libby Rowe, Oregon College of Arts and Crafts
– Ken Smith, University of Wyoming
– Evon Streetman, Florida State University
– Deborah Tharpe, University of Alaska, Anchorage
– Catherine Wagner, Mills College
– Al Wildey, University of Idaho School of Communications
– Susan Zavoina, University of North Texas
Without editorial and production assistance, a book of this size and complexity would be impossible to complete. Barbara London and John Upton would like to thank Peggy Jones, who made many contributions to the digital imaging chapters, both in terms of technical concepts and how to put those concepts to creative use. Joe Ciaglia, as usual, could answer any question about digital imaging. Jim Stone's experience with his own books provided many insights. Blade Gillissen had information on everything from lenses to flash meters. Sean Upton handled a host of editorial tasks—and more.
At Prentice Hall, special thanks to Bud Therien and Kimberly Chastain, and to Barbara DeVries for somehow keeping track of it all.
Ken Kobre and Betsy Brill appreciate the help of Debra Klochko, Director, Friends of Photography, Ansel Adams Gallery; Doug Nickel, Photography Curator at the San Francisco Museum of Modern Art; Arthur Oilman, Director, Museum of Photographic Arts, San Diego; and collector David Raymond.
Many equipment manufacturers and technical reviewers were helpful, both in lending equipment and in reviewing material. Richard LoPinto and Mike Phillips, Nikon USA; Bernard Denevi, Nikon France; Sally Smith-Clemens, John Knaur, and Ray Acevedo, Olympus America; Wendy Erickson, Ilford; Shlomo Cazary, Sony; Tom Kunhardt, Kodak; Polaroid Corp.; Lexar; Genuine Fractals; Vivid Details; Larry Guyer, Better Light, Inc.; and Dave Christensen, North Light Products, Inc.
Special thanks for many helpful suggestions from industry consultant Fran Herman; Dave Guralnick, Detroit News; Barbara Fredericks, Infoworld magazine; Adobe Evangelist Julianne Kost; Fireside Camera, San Francisco; Unruh Photography Shop and Sonoma Image in Santa Rosa, California.
Warren Hsu, a chemist, photographer, and versatile assistant, conducted many experiments for us. Warren and Scot Tucker spent long hours assisting with the new chemical darkroom step-by-step pictures. Many of the new color demos were photographed and scanned for publication by Sibylla Herbrich, a teacher of photography at San Francisco State. Artist Ben Barbante, Infoworld art director and teacher at City College of San Francisco, contributed his considerable skills in digital illustration and photography.
Ken and Betsy owe special thanks to Nancy, McDermid, Dean of Humanities at San Francisco State University, where Ken is a professor of photojournalism; to Annemarie and Lou Madison; Karen Russell; and, most important of all, Ken's mother, Reva Kobre, Betsy's father, Earl Wright, and our supportive and loving daughter, Daria Brill.
This is a book that students keep. They refer to it long after they have finished the basic photo course for which it was purchased. Some of the people who contributed to this edition used the book themselves when they were studying photography, and still have their original, now dog-eared edition. As you work with the book, you may have suggestions on how to improve it. Please send them to us. They will be sincerely welcomed.
Dedicated to everyone who is part of this new edition.
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