INDEX

 

 

Abrams, Alexis, 162–163

Adams, Ansel, 92–93

Adobe Photoshop, see Photoshop®

American Concentration Camps, 82–89

Americans, The, 234

Aperture

camera obscura, 113

definition, 109

depth of field control, 110, 344–345

increments, 110

pinhole camera, 114

whole numbers, 344

Archaeology of a Life, 136–139

Ascorbic Acid, 179

At Rest, 19

Awakening to a Dream, 292–295

 

Barrett, Terry, 74

Barth, Uta, 124

Bates, Michelle, 125, 140–143

Beckerman, David, 9–13, 117–119, 167, 169, 175

Become Your Dream, 11

Belcher, Alyson, 192–195

Bellows, 120–123

Bethesda Passage, 175

Black and White Magic of St. Petersburg, 204

Blossfeldt, Karl, 173

Blurred time

darkroom techniques, 180–182

exercise, 182

overview, 166, 168

painting with light, 170, 172

panning, 172–173

tools, 168

Bob, 48–51

Bone-Yard Series, 170–171

Border

darkroom techniques

borderless, 17

exercises, 25

fine black border, 17–18, 308–309

overview, 16–17

vignetted border, 18, 21, 309–313

definition, 15–16

digital photos, 21–22, 308–315

Botanical Portraits, 206–211

Box of Ku, A, 240

Bromide emulsion, 237

Buckley, Angie, 32–35

Buildings No., 12, 17

Bunny, 144–147

 

Camera obscura

calculations, 113

historical perspective, 112–113

Camera shake, avoidance, 346

Carnevale, 163

Cartier-Bresson, Henri, 162–163

Casabelle, A. Becquer, 222–223

Celebrations and Competitions, 164

Character Recognition, 230, 266–269

Cherimoya, 173

Children at Play, 16

Chloride emulsion, 236–237

Chloro-bromide emulsion, 237

Christiansen, Joy, 300–303

City of Shadows, 200–203

Cityscape Panorama Project, 42–47

Coaker, Tom, 52–55

Cochran, Tony, 110, 160

Collage, definition, 339

Constructed photography, definition, 339

Contact sheet

frame selection, 14

image generation, 71–74

Contemplating Peace, 102–105

Content

definition, 4

versus subject, 5

Cropping, framing, 14–15

Crossing the Brooklyn Bridge, 12

Crowley, Phyllis, 148–151

Curtis, Shawn Marie, 116, 166

 

Daguerreotype, 109

Danehey, John, 226–229

Davidhazy, Andrew, 218–225

Davidson, Michael W., 179

Day's End, 2, 98–101

Declaration of Independence, as physical object, 232

Depth of field

control

aperture, 110, 344–345

camera to subject distance, 111, 345

lens focal length, 111, 344

definition, 110

exercise, 129–130

pinhole camera, 114

preview, 124

Dharma in a Paisley Field, 21

Diagonal picture planes, 11, 25

Dialogue, The, 300–301

Diana, 125

Diarama, definition, 339

Diffusion filter

digital effects

camera diffusion effect, 322–324

darkroom diffusion effect, 321–322

overview, 128–129, 319

overview, 125–126

Dobbs, Todd, 17–18

Dod Sign, 121

Doubt, 60–65

 

Eagleson, Dennie, 114–115, 136–139

Eating Rituals, 300, 303

Edgerton, Harold, 178

Emerson, P.H., 109

Equivalent exposure, 346

Erie Train Car, 18

Erwitt, Elliott, 10

Eschbaugh, Mark, 2, 98–101

Exposure

bracketing, 349

definition, 341

determinants

amount of light, 341–342

aperture, 344–345

ISO speed, 342–344

shutter speed, 345

digital cameras, 349

equivalent exposure, 346

law of reciprocity, 346–347

light meter use, 347–348

normal exposure, 346

overexposure, 346

tonal relationship

exercises

average scene, 349–350

high-key scene, 350–352

low-key scene, 352–353

overview, 348

underexposure, 346

 

Faris Belt, Angela, 21–23, 68, 70, 111, 125, 127, 234, 237, 256–259, 304, 306, 315, 336, 350–352

Fine black border, 17–18, 308–309

Finke, Tom, 164 Fish, Alida, 260–265

Focal length

camera obscura, 113

depth of field control, 111, 344

frozen time, 166

lens types

normal focal length, 116–117, 119

wide angle, 119

telephoto, 119

pinhole camera, 115

Focus

digital darkroom focus effects

diffusion effects

camera diffusion effect, 322–324

darkroom diffusion effect, 321–322

overview, 128–129, 319

plastic camera, 127, 315–318

out-of-focus images, 123–124, 130

Photorealism, 108

plane of focus, 120, 130

Form

definition, 4

elements, 5

Foucalt, Michael, 83

Framing

conscious framing, 6–8, 24

contact sheets in editing, 14

cropping, 14–15

juxtaposition, 9–10

multiple frames, see Multiple frames picture planes, 10–11, 13

vantage point, 8–9

France in Passing, 226–229

Frank, Robert, 234

From the Cabinet of Curiosities, 260–265

Frozen time, 164–166, 183

F-stop, see Aperture

Furniture, 300–303

 

Gellage, 270–275

Genry, Lindsay, 128–129, 319

George, Amy Holmes, 292–295

Girl with Pail, 167

Goldberg, Jim, 234

Golemboski, Carol, 181, 184–187

Gordin, Misha, 60–65

Grainy effect, 238, 332–335

Greene, Myra, 230, 266–269

Greenfield, Lois, 164

Greig, Cynthia, 152–155, 280–283

 

Hands, 239, 332–335

Hanson, David T., 244–251

Hardman, Jennifer, 239, 332

Hasselblad ArcBody, 120

Hayashi, Masumi, 82–89

Head in Hands, 117

Heinecken, Robert, 231

Hidden Secrets, 300, 302

Holga, 125

Hughes, T. John, 42–47

Hum, David, 4

 

In-between, The, 32–35

Insidious Charms, 296–299

Installation, definition, 340

ISO speed

attributes, 343

exposure, 342–344

 

Jahiel, Adam, 212–217

Journal in Progress, 284–287

Juvan, Darko, 124

Juxtaposition

frame organization, 9–10

Living on Benson Highway, 53

 

Kellner, Thomas, 76–82

Kiwi, 173

Klett, Mark, 74, 90–95

Kreisher, Katharine, 102–105

Kulinski, Nicole, 158, 165

 

Labate, 288–291

Landscapes, 288–291

Lartigue, Jacques Henri, 164

Last Cowboy, The, 212–217

Laveris, Jason, 72

Lavine, Joe, 67, 172–173, 325

Law of reciprocity, 346–347

Lens, see also Focal length

advantages, 116

quality, 124–125

types

normal focal length, 116–117, 119

telephoto, 119

wide angle, 119

Lensbaby™, 122–123

Life-Size, 152–155

Light meter, use, 347–348

Lippert, Kathy, 174

Living on Benson Highway, 52–55

Looking for the Quetzal, 162

Luna Moth, 237

 

Macku, Michal, 270–275

Madigan, Martha, 206–211

Man and Woman, 10

Manhattan Hall, 13

Materials and processes

case study of effects, 240

gallery display materials, 240–242

overview, 232

technical considerations and visual outcomes

digital grainy and sepia effect, 238, 332–335

grain structure, 233–235

size and scale, 238, 240

surface structure, 235–238

Meatyard, Ralph Eugene, 166

Media plane, 120

Mendoza, Tony, 48–51

Mercado, Melissa, 19

Metabiotics, 26–31

Metropolitan Museum, 118

Mixed media, definition, 339

Montage, definition, 339

Morell, Abelardo, 112

Multimedia, definition, 339

Multiple frames

contact sheet images, generation, 71–74

gestalt, 66

panorama

generation, 69, 73, 313–315

single frame division, 69–70

rationale, 66–67

Muybridge, Eadweard, 93, 96, 178

 

Narrative, definition, 339

Negative carrier, customization, 307–308

Neutral density filter, blurred time, 168

Normal exposure, 346

Norton, Anna, 252–255

 

Off Peak, 148–151

On Longing: Narratives on the Miniature, the Gigantic, the Souvenir, 238

Orion, Alexandre, 10, 26–31

O'Sullivan, Timothy, 95

Overexposure, 346

Overlapped time

darkroom techniques, 180–182

examples, 176, 178–180

Overlapping picture planes, 11, 13, 25

 

Painted border, 18, 21, 309–313

Painting with light, 170, 172, 325–332

Panning, blurred time, 172–173

Panorama

generation, 69, 73, 313–315

single frame division, 69–70

Parallel picture planes, 10–11, 25

Phillips, Lincoln, 120–121

Photorealism, 108

Photoshop®

focus effects

diffusion effects, 128–129, 319–324

plastic camera, 127, 315–318

grainy and sepia effect, 238, 332–335

painting with light, 325–332

shutter speed effects, 159–160

Picture planes, frame organization, 10–11, 13

diagonal picture planes, 11, 25

exercises, 24–25

overlapping picture planes, 11, 13, 25

parallel picture planes, 10–11, 25

Pinhole camera

construction, 113, 130–131

technical considerations, 114–115

Plane of focus

manipulation exercise, 130

overview, 120

Plastic lens camera

overview, 125

simulation, 126–127, 315–318

Price, Mary, 5

Psychometry, 184–187

 

Rain Leaves, 125

Raised by Wolves, 234

Red Rocks Crux, 121

Referent, 276–279

Representations, 280–283

Road to Stillmore, The, 252–255

 

Self Portraits, 192–195

Sepia effect, 238

Sequence, definition, 339

Series, definition, 339

Shore, Stephen, 7–8

Shutter

focal-plane (curtain) shutter, 159

leaf shutter, 159

Shutter speed

camera shake avoidance, 346

digital effects, 159–160

frozen time, 165–166

overview, 158–159

visual quality and photographic meaning, 160–164

whole-stop speeds, 159, 345

Simons, Chip, 144–147

Skinning Birds, 181

Something More and Less, 156, 188–191

Spaces, 111

Spray Booth, 115

Stacey Plott Contact Sheet Image, 72

Stars, 196–199

Static time, 173–174, 176

Stephenson, David, 178, 196–199

Steps of the Met, 9

Stevens, Jane Alden, 36–41

Stewart, Susan, 238

Stivers, Robert, 124

String Theory, 218–221

Sub–version, 56–59

Subject

versus content, 5

definition, 4

Swan, Sylvia de, 56–59

Szarkowski, John, 160

Szucs, Suzanne E., 284–287

 

Tableau, definition, 339

Tears of Stone: World War I Remembered, 36–41

Teemer, Jack, 15–16, 240

Telephoto lens, 119

Texture

changing exercise, 242–243

image materials, 237–238

Time delineation

blurred time

darkroom techniques, 180–182

exercise, 182

overview, 166, 168

painting with light, 170, 172

panning, 172–173

tools, 168

frozen time, 164–166, 183

overlapped time

darkroom techniques, 180–182

examples, 176, 178–180

static time, 173–174, 176

Time Standing Still, 205

Tint, substrate, 236

Tintype process, 260

Titarenko, Alexey, 200–205

Tone

bromide emulsion, 237

chloride emulsion, 236–237

chloro-bromide emulsion, 237

exposure tonal relationship

exercises

average scene, 349–350

high-key scene, 350–352

low-key scene, 352–353

overview, 348

Traces, 124, 132–134, 256–259

“Treasure State, The”: Montana, 1889–1989, 244–251

Turnstile, 169

 

Uelksmann, Jerry, 178

Underexposure, 346

 

Vantage point, frame organization, 8–9

Vignetted border, 18, 21, 309–313

 

Wade, Cara Lee, 296–299

Wall Street Shapes, 119

Watkins, Carleton E., 92, 94

Weinrauch, Paul, 176–177

Weston, Edward, 93, 173

Whitaker, Joel, 276–279

Wide angle lens, 119

Wilkinson, Sean, 106, 124, 132–134, 156, 188–191

Winogrand, Garry, 3

Wolfe, Byron, 74, 90–95

Woodman Francesca, 166

Wyoming Landscape, 68

 

Yamamoto, Masao, 240

Yosemite in Time, 96–97

 

Zoromski, Anna T., 170–171