The Art of Photography

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;

3.11 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 The 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: The Zone System of Exposure for Film;

8.1 A Brief Overview;

8.2 Film’s Response to Light: Building the Zone System;

8.3 Translating Negative Densities to Print Tonalities;

8.4 The Light Meter—How it Works;

8.5 Review of Negative Exposure Procedure;

8.6 Using the Zone System to Depart from Reality;

8.7 The Zone System for Color;

8.8 The Zone System and the Inverse Square Law;

8.9 In Summary;

Chapter 9: The Black-and-White Negative and Contrast Control—The Extended Zone System;

9.1 Chapter 9 Overview;

9.2 The Negative During Development;

9.3 The Bellows Analogy;

9.4 Putting Higher Zones to Work;

9.5 Reciprocity Failure;

9.6 Examples of Decreasing and Increasing Contrast;

9.7 The 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—What It Is, Where It Works, Where It Fails;

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 The Zone System and Roll Film;

9.15 Negative Materials and Developers;

Chapter 10: The 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;

10.17 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 The 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: The Digital Zone System;

11.1 Basics of Digital Capture;

11.2 The Sensor’s Useful Brightness Range;

11.3 The Histogram—The Heart of the Digital Zone System;

11.4 The RAW Converter—Processing the RAW Capture;

11.5 High Dynamic Range Images—The Extended Zone System for Digital Photography;

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 The Strength of Abstraction;

15.4 Inwardly and Outwardly Directed Questions;

15.5 The 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;

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;

Enlarger Light Sources

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