Table of Contents
1COMMUNICATION THROUGH PHOTOGRAPHY
Judging Your Own Personal Response
Expressing Your Own Point of View
Line, Form, Contrast, and Emotion
Focal Length of Lens and Cropping
Rules, Formulas, and Other Problems and Pitfalls
Step 1: Photographic Looking and Seeing
Step 3: Envisioning the Final Image
Step 4: Suggested Procedures for Those Having Trouble Envisioning a Final Image
Step 5: Planning a Strategy for a Final Image
How Your Eye Differs from Your Camera
Exercises in Learning to See Light More Accurately
Types of Lighting/Quality of Light
Light as Seen by the Eye and by Film or Sensors, and the Inverse Square Law
The Color Wheel and Color Sphere
Color Families, Color Contrast, and Their Emotional Effects
Subjectivity and Mood of Color
Working with Color Traditionally
Black-and-White Filters for Film
Examples with a Hypothetical Landscape
Color Correction Filters for Traditional Film Imagery
Neutral Density and Polarizing Filters
Problems Associated with Polarizers
Digital Black-and-White Filtration
8THE ZONE SYSTEM OF EXPOSURE FOR BLACK-AND-WHITE FILM
Film’s Response to Light: Building the Zone System
Translating Negative Densities to Print Tonalities
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
9CONTRAST CONTROL AND THE EXTENDED ZONE SYSTEM FOR BLACK-AND-WHITE NEGATIVES
The Negative During Development
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
Negative Materials and Developers
Black-and-White Enlarging Papers
Variable Contrast vs. Graded Papers
Fiber Base Papers vs. Resin Coated (RC) Papers
Black-and-White Paper Developers
Preliminary Work Toward a Final Print
Make Test Prints, Not Test Strips
Integrating the Entire Process: Visualization, Exposure, Development, and Printing
Burning with Variable Contrast Papers
Inspection, Evaluation, and the Myth of “Dry-Down”
Potassium Ferricyanide Reducing (Bleaching)
Local vs. Overall Contrast Control
Full Archival Processing of Prints
Toning, Intensifying, and Reducing Negatives
Cold, Neutral, and Warm Tone Papers
Infinite Contrast Control for Black-and-White after Negative Development
The Final Product Is What Matters
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
12IMAGE ADJUSTMENTS—USING THE DIGITAL TOOLS
Returning to ACR from Photoshop
13TRADITIONAL, DIGITAL, ART AND TECHNIQUE
Art, Technique, and Their Importance
Choosing Digital or Traditional
14EXPLODING PHOTOGRAPHIC MYTHS
Making Positioning Guides for Print Placement
Spotting, Etching, and Correction of Defects
16PHOTOGRAPHIC REALISM, ABSTRACTION, AND ART
Photography and Painting—Their Mutual Influence
Inwardly and Outwardly Directed Questions
17APPROACHING CREATIVITY INTUITIVELY
Understanding and Misunderstanding Intuition
Examples of the Intuitive Approach
Applying Intuition to Your Photography
18TOWARD A PERSONAL PHILOSOPHY
Expanding and Defining Your Interests
Self-Critique, Interaction, and Study