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For introductory and advanced courses in Photography.
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
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.
For those impatient enough: if you are to buy one book that would teach you photography - this should be the one.
Jim Stone is an Associate Professor of Photography at the University of New Mexico. His photographs have been collected by the Museum of Modern Art and The Smithsonian American Art Museum, among many others. Books of his work include Stranger Than Fiction (Light Work, 1993),Historiostomy (Piltdown Press, 2001), and Why My Pictures are Good (Nazraeli Press, 2005).
He has also published six higher education titles that are widely used in university courses: A User¹s Guide to the View Camera, Darkroom Dynamics, Photography, Photography: The Essential Way, A Short Course in Photography, and A Short Course in Digital Photography.
Barbara London has authored and co-authored many photography books from their first editions to their current ones, including Photography, Photography: The Essential Way, A Short Course in Photography, A Short Course in Digital Photography, The Photograph Collector's Guide, and more.
John Upton, Professor Emeritus, was for many years Chair of Photography at Orange Coast College, one of the largest photography departments in the U.S. He has curated a number of exhibitions, including Color as Form: A History of Color Photography. His work is included in many private and public collections, including the New York Metropolitan Museum of Modern Art.
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
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