What is included with this book?
Preface | p. 12 |
Introduction | p. 14 |
How to See Photographically | p. 16 |
Seeing Photographically | p. 17 |
Making Abstract All Sensory Input Except for Visual Input | p. 17 |
Focusing on the Visual Aspects of the Scene | p. 18 |
Learning to See in Two Dimensions | p. 18 |
Recreating Depth, the 3rd Dimension, in a 2-Dimensional Medium | p. 18 |
How to Compose a Photograph | p. 22 |
Introduction to Composition | p. 23 |
The Strongest Way of Seeing | p. 24 |
There is More Than One Way to Compose a Scene | p. 24 |
One Composition Among Many | p. 25 |
Walking the Scene | p. 25 |
Using a "Cutout" Finder | p. 26 |
Rules of Composition | p. 27 |
Conclusion | p. 31 |
How to Choose the Best Lens for a Specific Composition | p. 32 |
The Importance of the Lens | p. 33 |
Human Eyes and Camera Eyes | p. 33 |
One Landscape: Three Main Lens Choices | p. 34 |
Which Lens Should I Take? | p. 42 |
Photographic Skills Enhancement Exercises | p. 42 |
Conclusion | p. 43 |
How to Find the Best Light for a Specific Photograph | p. 46 |
And God said, Let there be light: and there was light (Genesis 1:3) | p. 47 |
Drawing with Light | p. 47 |
Three Governing Rules Regarding Light | p. 48 |
How to Find the Best Light | p. 48 |
Sunrise and Sunset - The Best Light | p. 50 |
Other Light Choices | p. 52 |
The Various Types of Natural Light | p. 52 |
Photographic Skills Enhancement Exercises | p. 58 |
Conclusion | p. 60 |
How to Select the Best "Film" for a Specific Photograph | p. 62 |
Introduction to Film Choice | p. 63 |
A Look at Photography in History | p. 63 |
Film and Seeing | p. 64 |
The Importance of Raw Conversion | p. 65 |
Color or Color | p. 66 |
Let's Use Film (or digital capture); Let's Not Let Film Use Us! | p. 66 |
Color or Black and White? | p. 67 |
Duotones, Tritones and Quadritones | p. 69 |
Film Speed | p. 70 |
Photographic Skills Enhancement Exercises | p. 73 |
Conclusion | p. 75 |
How to Determine the Best Exposure for a Specific Photograph | p. 76 |
Introduction to Exposure | p. 77 |
The Importance of Proper Exposure | p. 77 |
Gray Cards, Overexposure, and Underexposure | p. 78 |
How to Determine the Contrast Range that the Film or Digital Camera Can Capture | p. 80 |
The Power of the Histogram | p. 82 |
Exposure for Digital Captures | p. 83 |
The Importance of Shooting RAW | p. 84 |
Exposing to the Right | p. 84 |
Some Examples of Common Histograms | p. 85 |
Bracket, Bracket, Bracket | p. 88 |
Study the Scene Being Photographed | p. 90 |
High Contrast Remedies | p. 92 |
Familiarize Yourself with Hand Held Light Meters | p. 97 |
Spot Meter Meets PDA | p. 98 |
Photographic Skills Enhancement Exercises | p. 99 |
Conclusion | p. 102 |
Keepers or Non-Keepers? | p. 104 |
Keepers or Non-Keepers? | p. 105 |
Which Ones Are Good; Which Ones are Bad? | p. 105 |
My Personal Selection Criteria | p. 108 |
Technical Excellence vs. Aesthetics | p. 110 |
The Selection Criteria | p. 110 |
Photographic Skills Enchancement Exercises | p. 111 |
Conclusion | p. 112 |
How to Create a Portfolio of Your Work | p. 116 |
Introduction to Creating a Portfolio | p. 117 |
What is a Portfolio? | p. 117 |
Portfolios and Portfolios | p. 117 |
Goal and Purpose | p. 120 |
Audience | p. 120 |
Portfolios Are Not Necessarily Aimed at Showcasing a Photographer's Best Work | p. 122 |
The Contents of a Portfolio | p. 123 |
Some Important Questions About Portfolios | p. 123 |
Photographic Skills Enhancement Exercises | p. 125 |
Conclusion | p. 129 |
How to Establish a Personal Photographic Style | p. 130 |
Introduction to Personal Style | p. 131 |
Who Are We? | p. 131 |
Who Am I? | p. 133 |
A Personal Style is a Unique and Personal way of Seeing | p. 133 |
Choosing a Subject is Not Developing a Personal Style | p. 135 |
Choosing a Subject is Not the Same as Choosing a Genre | p. 136 |
Personal Discovery is Not Personal Style | p. 138 |
A Personal Style Is a Combination of Choices | p. 138 |
A Personal Style Is Fine Tuning Choices to Fit Your Own Personality | p. 142 |
My Personal Style | p. 146 |
Fortuitous Attempts and Defining Images | p. 147 |
Photographic Skills Enhancement Exercises | p. 148 |
Conclusion | p. 151 |
Being an Artist | p. 154 |
Introduction to Being an Artist | p. 155 |
Freedom of Expression: Let Us Be Artists | p. 157 |
Being an Artist Is a Lifestyle; Not a Temporary Situation | p. 159 |
Being an Artist Does Not Mean Making an Income from Your Art | p. 161 |
Being an Artist Does Not Mean Exhibiting or Publishing Your Work | p. 162 |
Being an Artist Means Having an Audience | p. 164 |
Being an Artist Means Having an Appreciation for the Arts | p. 166 |
Being an Artist is Knowing How to React When You are Told that "Artists are Lucky!" | p. 168 |
Being an Artist Does not Mean Being an Art Critic | p. 171 |
What About Talent? | p. 174 |
Photographic Skills Enhancement Exercises | p. 176 |
Conclusion | p. 178 |
How to be an Artist in Business: My Story-Part 1 | p. 180 |
Introduction to Being an Artist in Business | p. 181 |
The Beginning of a Career | p. 187 |
The Straw that Broke the Camel's Back | p. 190 |
Doing What I Love | p. 192 |
Why Didn't I Think of this Before? | p. 193 |
Opportunities Often Come Under the Guise of Hard Work | p. 194 |
The Best Place to Start a Business Is on the Navajo Reservation | p. 194 |
How to be an Artist in Business: My Story-Part 2 | p. 198 |
The Break | p. 199 |
The People | p. 199 |
The Approach | p. 203 |
The Progression of the Grand Canyon Show | p. 204 |
Quantity | p. 206 |
Transitions: How the End of One Opportunity Can Be the Beginning of Another | p. 211 |
The Second Best Place to Start a Business is Phoenix, Arizona | p. 213 |
Teaching Again | p. 215 |
Quality, Not Quantity | p. 216 |
New Shows | p. 220 |
Longer and More Thoughtful Chapters | p. 220 |
New Projects | p. 221 |
Becoming a Music Producer | p. 221 |
Setting Up the Ideal Studio | p. 222 |
Two Businesses in One | p. 223 |
Learning Never Ends | p. 223 |
Conclusion | p. 225 |
How You Can Do it Too | p. 226 |
Introduction to How You Can Do It | p. 227 |
Do What You Love | p. 227 |
Take Control of Your Own Destiny | p. 228 |
Fame or Fortune? Make a Choice! | p. 228 |
Confront your Fears | p. 230 |
Seek Help from People Who Are Where You Want to Be | p. 231 |
Opportunities Often Come Under the Guise of Hard Work | p. 234 |
Press On Regardless | p. 234 |
It's About You | p. 235 |
Quality or Quantity? Make a Choice! | p. 235 |
Do a Little Bit Every Day | p. 236 |
Integrity | p. 238 |
Best Sellers | p. 240 |
Photographic Skills Enhancement Exercises | p. 241 |
Conclusion | p. 243 |
Conclusion | p. 246 |
Index | p. 248 |
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