Index

Note: Page numbers with “f” denote figures; “t” tables.

A

Abstract images, 192f–193f, 193

Actions of, 42–44, 44f–45f

Active colors. See Warm colors

Adler, Lindsay, 202f–203f, 203–205

Adobe Camera Raw (ACR), 272–273, 277, 302

Clarity slider, 302–305, 304f

Afterimages, 30f, 31

Afternoon, light in, 154

Aging, and vision, 44 – 48, 47f

Airlight, 154

Alpenglow, 154

Amodal perception, 68

Aperture, 120

Apple Aperture, 272 – 273, 272f, 277, 284 – 285, 304

Definition slider, 302 – 304

Archetypes, 164

Artificial light, 156–157, 158f

Aspect ratio, 135

Assembling, of frame, 122–135, 125f

cropping, 133–135, 134f, 136f–137f

intensity, 122–124, 125f

objects, relationship between, 129–133, 129f–132f

positioning, 104–159, 266

visual weight, 128–129

B

Back lighting, 149, 150f

Background, in images, 227, 231–233, 232f, 240

adding blur to, 317–318, 317f–318f

digital manipulation of, 287, 289f

Beauty dishes, 145–147, 146f

Becker, Art, 216f–217f, 217

Binocular depth cues, 105 – 107

Black points, in digital manipulation, 271 – 273, 272f, 274f – 275f

Black-and-white photography, 98 vs. color photography, 98 – 100

Blackmore, Clay, 214f–215f, 215–217

Blindness, color, 26

“Blue hour”, 93–95

Blurs/blurriness, 28–29, 29f, 317–325

Bokeh, 121, 121f

Brain

groupings and, 68b

interpretation of, 157

processing

of faces, 41–42, 42f–43f

of light, 35–44

recording of light, 29–35

understanding of action, 42–44, 44f–45f

Brightness, 85–86, 86f, 143, 143f. See also Contrast. See also Luminance

Burian, Peter, 212f–213f, 213–215

Burning, in digital manipulation, 277, 277b, 278f

C

Camera Raw. See Adobe Camera Raw (ACR)

Cameras, 2–3, 2f

infrared (IR) cameras, 258–261, 260f

lightfield camera, 178

tilted cameras, 166

Caponigro, John Paul, 192f–193f, 193–195

Cataracts, 45

Category learning, 163

Circles, 59–60, 61f

Collective unconscious, 164

Color blending, 97, 97f

Color blindness, 26

Color calibration, 95b

Color checker, 45, 46f

Color constancy, 38, 41

Color Efex Pro 4.0 (CEP), 270b–271b, 273, 276f, 277, 279–281, 287, 292

Detail Enhancer, 305, 306f

Glamour Glow, 319, 323f

Tonal Contrast filter, 302, 303f

Color opponent pairs, 30-31

Color therapy, 84

Color triangle, 91, 91f–92f

Color wheel, 86–87, 86f–87f

Colors, 82–101

adjustments, in digital manipulation, 279–281, 280f, 282f–284f

black-and-white vs. color photography, 98–100

impact of, 87–89

matching, 89–93

palette, visual effects of, 93–97

pastel variants of, 88f

properties of, 84–86

rainbow model of, 85f

representation of, 30–32, 30f–32f

for storytelling, 181

sources of, 84–87, 85f

with equal luminance, 39b

Communication. See Semiotics

Complementary colors, 89, 89f

Components, image

awareness of, 19–21, 20f–21f

focusing on, 14–15, 14f–16f

Composition, 227–230

progression in, 3–7, 4f–6f

Concept learning, 163

Contrast, 143, 143f

role in digital manipulation, 268. See also Brightness. See also Luminance

Convergence, 105

Cool colors, 91–93, 93f

Cornea, 25

Cornsweet illusion, 33, 34f

Cropping, 115b–116b, 133–135, 134f, 136f–137f, 283–284, 285f

Crowd, shooting across, 131, 133f

Cultural differences

in colors, 88

in viewing image, 13b

D

Daylight, emission spectrums of, 147f

Deep space, 105

Depth cues, 246–248, 247f–248f

binocular, 105–107

monocular, 107–111, 108f–110f

Depth of field, 105–111

choosing, 231–234, 231f–233f

lens choice and, 116–122, 119f–120f, 123f

in macro lenses, 252

shallow, 121–122

Details, increasing or decreasing, 302–308, 317–325

Diffusers, 145

Digital infrared cameras, 258–260

Digital manipulation, for improving visual intensity, 266

color adjustments, 279–281, 280f, 282f–284f

cropping, 283–284, 285f

distracting elements, 287, 288f–289f

game plan, development of, 266–271, 291f–292f

images, selection of, 266

lighting, 277–279, 279f

mid-tone contrast, 273, 276f

rotating, 284–285, 286f

tonal adjustments, 271

white and black points, setting, 271–273, 272f, 274f–275f

Digital techniques, creative, 295

blurs, 317–325

details, increasing or decreasing, 302–308, 317–325

dynamic range, extending, 296–300, 298f–300f

elements, combining, 312–314, 312f–313f 315f

relighting, of images, 315–317, 316f–317f

single image processing, 297–300, 301f

textures

adding, 309f, 311f

creating, 310b

Direct light, 149–150

Direction of light, 147–157

Distracting elements, digital manipulation of, 287, 288f–289f

Dodging, in digital manipulation, 277, 277b, 278f

Double-opponent cell, 31

Dutched cameras. See Tilted cameras

Dynamic range, 155b–156b

extending, 296- 300, 298 300f

E

Edges, of frame, 133–135, 134f, 241

Editing, using visual intensity for, 17–19

Electromagnetic (EM) spectrum, 24, 25f

Elevation, as depth cue, 111

Emotions

of colors, 87, 87t, 88f

facial, 12–13

joy, anger and stable shapes, 61–63, 62f–63f

of shapes, 60–61

Equilateral triangle, to pick color combinations, 84, 90

Eye line, 56–57, 57f

Eyes

detection of light, 25–29, 26f–27f

and interpretation of brain, 7–13, 7f–9f, 12f

movement of, 11b, 13f

recording of light, 29–35

set up of, 26–28

F

F-number, 120

Faces, brain processing of, 41–42, 42f–43f

Facial emotions, 12–13

Familiar size, 109

Fibonacci grid, 127f-128f

Field, creating images in, 221–262

choices, 227–247

first steps, 222–225, 223f–226f

initial approaches and choices, 222

multiple shots, taking, 248–250, 251f

tools and techniques, 250–261

Field of view, 111–116, 112f

Figure/ground, 105–111

Filters, 241–246, 244f–246f

for increasing and decreasing details, 302

Finding, images, 175–177, 176f–177f

First impressions, counting of, 266–271, 268f–269f

Fisheye lens, 59, 61f, 254–257, 258f. See also Wide-angle lenses

Flashes, 156

Flat space, 105

Fluorescent light, 147

Focal length, 115

for field images, choosing, 227

Focus, for storytelling, 178, 180f

Foggy images, 273, 275f

Fovea, 28

“Frame within a frame” technique, 131

Framing, 103–139

assembling, 122–135

checking, 166, 239f–240f, 242f

depth, 105–111

figure/ground, 104–105

Front lighting, 148, 148f

G

Genes, and subjects perception, 166

Gestalt, 63–69, 64f

and brains, 68b

closure, 67–68, 70f

common fate, 65–67, 67f

continuation, 67, 68f-–69f

and music, 72b

proximity, 3– 64, 6f– 65f

psychology, 63

similarity, 65, 66f

Glaucoma, 46

Glow, creation of, 319

Goethe’s triangle. See Color triangle

“Golden hour”, 152, 153f

Golden ratio, 126

Golden rectangle, 126, 126f

Golden triangle, 126, 127f

Groups. See Gestalt

H

Hard light, 143–147

Haze, 154

HDR Efex Pro, 297, 300–302

Helmholtz-Kohlrausch effect, 95

High dynamic range (HDR) images, 296–300, 34–35, 37f, 246-–292, 29f– 300f

Horizon, 129f, 130

placement of, 229–230, 230f

Horizontal lines, 52–53, 52f

Horizontal shot. See Landscape orientation

Hue, 85, 86f

Hunt effect, 143

Hyperfocal point, 120–121

I

Illuminance, 142. See also Brightness. See also Luminance

Illusions, optical, 7, 8f

Implied lines, 55–57, 56f

Implied motion, directions of, 57, 58f–59f

Inattentional blindness, 19

Incident light, 142

Indirect light, 150

Infrared (IR) cameras, 258–261, 260f

Intensity. See Visual intensity

ISO, for field images, 238

K

Kanizsa triangle illusion, 68, 71f

Kinetic cues, 107

Kühne, Willy, 7, 7f

L

Lab color space, 32b

Landscape orientation, 122

Learning, 163

Lensbaby lenses, 254, 257f

Lenses

choice of, 111–122, 115f, 117f

depth of field and, 116–122, 119f–120f, 123f

for field images, 227

fisheye, 61f

macro, 250–253, 252f–253f

tilt-shift, 253–254, 255f–257f

Light, 24, 140–159

detection by eyes, 25–29, 26f–27f

direction of, 147–157

human visibility of, 24b

mood and subject, 157–159

processing by brain, 35–44

quality of, 142–147

recording by eyes and brain, 29–35

Light meters, 142–143

Light modifiers, 145–147, 146f

Lightfield camera, 178

Lighting

checking, 241, 243f

in digital manipulation, 277–279, 279f

for storytelling, 181

Lightroom, 272–273, 277, 284–285, 304

Clarity slider, 302–305

Lines, 52–57, 52f

implied lines, 55–57

Lowrie, Charlotte, 210f–212f, 211–213

Luminance, 142–143

with center/surround, handling, 32–35, 34f–35f

equal, colors with, 39b. See also Brightness. See also Contrast

M

Macro lenses, 250–253, 252f–253f

Macular degeneration, 45

Meditating Philosopher (painting), 34, 35f

Memories, 163, 163f

visual, 163

Mental photograph, 8, 9f

Midday, light in, 152, 154f

Mid-tone contrast, 302–304, 305b

in digital manipulation, 273, 276f. See also Contrast

Mind, shooting visual intensity in, 15–17

Mirror neurons, 42–43

and subjects perception, 166

Monocular depth cues, 107–111, 108f–110f

Mood, 157–159

Morning, light in, 152, 153f

Morris, Art, 198f–199f, 199–201

Morrison, Mallory, 196f–197f, 197–199

Mrs. Charles Badham (painting), 41–42, 42f

Multi-light setups, 156

Multi-picture stories, 183-185, 184f–186f

Multiple exposures, 257–258, 259b, 259f

Multiple images, combining, 297–300

Multiplication factor, 115b–116b

Music, and gestalt, 72b

N

Narrow lenses, 111–112, 113f–114f, 116, 117f

Natural light, 150–156, 151f

Negative space, 105, 106f, 135

Nik Software, 302

Non-destructive cropping, 285b

O

Objects, 172

relationship between, 129-133, 129f–132f

Oblique lines, 52–53, 52f

Occlusion, 107, 109

Orientation, 111, 111f

Orton technique, 319

P

Paint-simulating software, 319, 320f–323f

Passive colors. See Cool colors

Patterson, Freeman, 205–207

Paulsen, Kirk, 208f–209f, 209–211

Peripheral vision, 28–29, 29f

Perspective, 107–109, 108f

Photomatix Pro, 297, 300–302

Photomosaic, 97, 98f

Photoshop, 270b–271b, 270f, 273, 277b, 278f, 280–281, 284–285, 297, 310b

Iris Blur filter, 318, 318f

Lighting Effects filter, 316–317

Oil Painting filter, 320f–321f

Orton effect in, 324b, 324f

Portrait orientation, 122

Positioning, in frames, 125f–126f, 126, 159

Positive space, 105, 106f

Prägnanz, 68–69, 71f–72f

Pre-visualization of images, 175–177, 176f–177f

Prototypes, 164, 164f–165f

Purple color, 87

Q

Quality of light, 142–147

soft vs. hard, 143–147

warm vs. cold, 147

R

Rainbow, 86

Rectangles, 57–59, 60f

Relative size, 109

Relighting, of images, 315–317, 316f–317f

Retina, 25

Rhythm, visual, 69–71, 73f–76f

Ricard, John, 200f–201f, 201–203

Rods, 26

Rotating, 284–285, 286f

Royal purple. See Tyrian purple

Rubin vase, 104–105, 104f

Rule of thirds, 15–16, 122, 124f

S

S-shaped curves, 55b, 55f

Saliency map, 16–17

Saturation, 85, 86f, 281, 283f

Scintillating grid, 8f, 33f

Semiotics, 172, 174f

Sensors, in eyes, 26

Shades, 85–86

Shallow depth of field, 121–122

Shapes, 57–63

joy, anger and stable shapes, 61–63, 62f–63f

Sharpener Pro, 270b–271b

The Shrimp Girl (painting), 55f

Shutter speed

choosing, 241

for storytelling, 178–181, 181f–182f

Side lighting, 148–149, 149f

Signs. See Semiotics

Silver Efex Pro 2, 281

Simon, Steve, 194f–195f, 195–197

Simultaneous contrast, 34, 35f, 95, 96f–97f. See also Contrast

Single image processing, 297–300, 301f

Social networking theory, 43

Soft light, 143–147, 145f

Split-complementary colors, 90, 90f. See also Complementary colors

Stevens effect, 143, 143f

Stories, creating, 169–178, 169f–171f

decisive moment, 177–178, 179f

images, pre-visualizing and finding, 175–177, 176f–177f

Storytelling. See Visual storytelling

Straight lines, 53, 54f

Subjects, 157–159

perceiving, 162–169, 165f–167f

placement of, 230

Sunrise, light during, 150–152, 152f

Sunset, light during, 154, 155f

Super-telephoto lens, 111

T

Telephoto lens, 111, 231–233

Texture gradient, 110

Textures, 71–77, 77f–80f

adding, 309f, 311f

creating, 310b

Thalamus, 36

Three-color mixtures, 90

Three-light setup, 157f

Tilted cameras, 166

Tilt-shift lenses, 253–254, 255f–257f

Tints, 85–86

Tonal adjustments, in digital manipulation 271

Topaz Labs, 302

Detail 2, 305–308, 307f

Simplify, 319, 322f

Triangles, 62f

Tungsten light, 147

Tyrian purple, 87

U

Useful/essential parts of image, 10, 10f–11f

V

Vertical lines, 52–53, 52f

Vertical shot, 122. See Portrait orientation

Viewfinders, 240–241

Vignette, 287, 289f

Vintage filters, 175b

Vision, aging and, 44–48, 47f

Visual effects, of color palette, 93–97, 94f

simultaneous contrast, 95, 96f–97f

Visual intensity, 13–19, 143, 168–169, 168f, 176–177

components, focusing on, 14–15, 14f–16f

digital manipulation for improving. See Digital manipulation

for editing, 17–19, 17f–18f

in field images, 231, 231f, 252–253, 261b, 262f

in frames, 122–124, 125f, 126, 128–129

in mind, shooting, 15–17

Visual rhythm. See Rhythm. See also visual

Visual storytelling, 160–187

multi-picture stories, 183–185, 184f–186f

settings for, 178–183, 180f–183f

stories, creating, 169–178, 169f–171f

subjects, perceiving, 162–169, 165f–167f

Visual weight, 128–129

Viveza, 277, 279, 279f

W

Warm colors, 91–93, 93f, 281, 282f

Wavelength, 24

“What” system, in brain, 36–38, 39f, 41

“Where” system, in brain, 36, 39f–40f

White balance, 41

White color, 87

White points, in digital manipulation, 271–273, 272f, 274f–275f

Wide-angle lenses, 111–112, 113f–114f, 115–116, 117f, 228f. See also Fisheye lens

Wier, Nevada, 206f–207f, 207

Wolfe, Art, 190f–191f, 191–193

The Woman with a Hat (painting), 38, 38f

Word association technique, 172

Word clustering technique, 172, 173f

Z

Zig-zag lines, 53

Zooming, 115b–116b