- Acknowledgements
- 1 Communication Through Photography
- 2 What Is Composition?
- 3 Elements of Composition
- 4 Visualization
- 5 Light
- 6 Color
- 7 Filters
- Black-and-White Filters for Film
- Examples with a Hypothetical Landscape
- Contrast Control with Filters
- Infrared Film and Filters
- Color Correction Filters for Traditional Film Imagery
- Neutral Density and Polarizing Filters
- Problems Associated with Polarizers
- Digital Polarizing Filter
- Digital Black-and-White Filtration
- Digital Color Filtration
- 8 The Zone System of Exposure for Black-and-White Film
- A Brief Overview
- Film’s Response to Light: Building the Zone System
- Translating Negative Densities to Print Tonalities
- The Light Meter—How It Works
- Review of Negative Exposure Procedure
- Using the Zone System to Depart from Reality
- The Zone System for Color Negatives
- The Zone System and the Inverse Square Law
- In Summary
- 9 Contrast Control and the Extended Zone System for Black-and-White Negatives
- Chapter 9 Overview
- The Negative During Development
- The Bellows Analogy
- Putting Higher Zones to Work
- Reciprocity Failure
- Examples of Decreasing and Increasing Contrast
- The Exposure/Density Curve and Zone 4 Shadow Placement
- Differences Between Photography and Sensitometry: Texture vs. Tone and Zone 4 Shadow Placement
- Developing the Exposed Negative
- Explanation of Compensating Development
- Two-Solution Compensating Development for Negatives
- Development Procedures for Sheet Film and Roll Film
- The Zone System and Roll Film
- Negative Materials and Developers
- 10 The Print
- Black-and-White Enlarging Papers
- Variable Contrast vs. Graded Papers
- Fiber Base Papers vs. Resin Coated (RC) Papers
- Black-and-White Paper Developers
- Making Contact Proof Prints
- Preliminary Work Toward a Final Print
- Make Test Prints, Not Test Strips
- Dodging and Burning
- Integrating the Entire Process: Visualization, Exposure, Development, and Printing
- Burning with Variable Contrast Papers
- Advanced Darkroom Techniques
- Inspection, Evaluation, and the Myth of “Dry-Down”
- Potassium Ferricyanide Reducing (Bleaching)
- Final Fixing of the Image
- Local vs. Overall Contrast Control
- Scale
- Selenium Toning Prints
- Other Toners
- Chemical Coloration
- Full Archival Processing of Prints
- Toning, Intensifying, and Reducing Negatives
- Cold, Neutral, and Warm Tone Papers
- Review of Contrast Controls
- Infinite Contrast Control for Black-and-White after Negative Development
- Color Printing
- The Final Product Is What Matters
- Scanning from Film
- 11 The Digital Zone System
- Basics of Digital Exposure
- The Sensor’s Useful Brightness Range
- Translating Theory to Excellent Digital Exposures
- The Histogram—The Heart of the Digital Zone System
- The RAW Converter—Processing the RAW Exposure
- High Dynamic Range Images—The Extended Zone System for Digital Photography
- Converting Digital Color Exposures to Black-and-White
- Panoramas and Other Image Combinations
- 12 Image Adjustments—Using the Digital Tools
- 13 Traditional, Digital, Art and Technique
- 14 Exploding Photographic Myths
- 15 Presentation
- 16 Photographic Realism, Abstraction, and Art
- 17 Approaching Creativity Intuitively
- 18 Toward a Personal Philosophy
- Appendix 1 Testing Materials and Equipment for Traditional Photography
- Appendix 2 Enlarger Light Sources
Bruce Barnbaum
PO Box 1791
Granite Falls, Washington 98252
USA
Phone or Fax: (360) 691-4105
[email protected]
www.barnbaum.com
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