Page numbers followed by f indicates a figure and t indicates a table.
Active passiveness, 371
Aggregate image
avoiding glass, 336–339
backing channels, 337–338
exercises, 339–340
existence in world, 330–333
face mount, 337
flush mount, 337
framing behind glass, 335–336
light, 315–317
mounting alternatives, 337
presentation in gallery, 333–339
size and scale, 329–330
spacing, 338–339
texture, 325–329
tint, 325
tone, 317–323
Ambient light, 24
see also Light
whole aperture number, 29
zoom lenses, 30
camera shake, 171
impromptu still life, 170f
size effect, 170
whole-stop, 168f
see also Depth of field; ISO; Lens; Shutter speed
Architectural Apparitions, 298, 299f
Artist portfolio
Buckley, Angie, 80
DeMarte, Jason, 138
Eshbaugh, Mark, 150
Estabrook, Dan, 156
Hilliard, David, 134
Hughes, T. John, 90
Kambli, Priya, 142
Kellner, Thomas, 146
Klett, Mark, 124
Kreisher, Katharine, 160
LeRoy, Michel, 86
MacInnes, Roddy, 154
Stevens, Jane Alden, 128
Wang, Sam, 84
Wolfe, Byron, 124
Artist statements, 18–20
Barbieri, Olivo, 212
Bates, Michelle, 212
Chandler, Polly, 210
David T. Hanson, 356–357
DeMarte, Jason, 138
Dobbs, Todd, 216–217
Eggleston, Beth, 254–257
Eshbaugh, Mark, 150
Estabrook, Dan, 156–157
Ferreira, Virgilio, 218
Fish, Alida, 342
Golemboski, Carol, 284
Granger, Kristine, 308–309
Grant, Susan Kae, 380–381
Greene, Myra, 344
Grote, Andrew, 306
guidelines, 19
Hamrick, Frank, 364–367
Hilliard, David, 134
Jahiel, Adam, 246
Kambli, Priya, 142
Kellner, Thomas, 146–147
Keyes, Doug, 302
Klett, Mark, 124
Kreisher, Katharine, 160
LeRoy, Michel, 86
Lirakis, Susan, 262–263
Longley-Cook, Tracy, 360
MacInnes, Roddy, 154
Macku, Michal, 352
Masao, Yamamoto, 370–371
Miele, Jean, 292
Norton, Anna, 300
Orion, Alexandre, 250
Rhode, Robin, 288
Schrager, Victor, 220
Simons, Chip, 208
Stephenson, David, 296
Stevens, Jane Alden, 128
Suzanne E. Szucs, 374–375
Thompson, Cole, 258
Wade, Cara Lee, 350
Wang, Sam, 85
Wilkinson, Sean, 214
Wolfe, Byron, 124
Available light. see Ambient light
Backing channels, 337–338
Ballad to Ballet, 291f
Barbieri, Olivo
artist statement, 212
elements, 212
photographs by, 213f
Bates, Michelle
artist statement, 206–207
elements, 206
photographs by, 207f
Bellows options, 187–189
Bird’s-eye view, 69
Black-and-white darkroom, 322
Black-and-white film, 323
Blur, 223
extreme, 235f
Blurred time, 235
behind curtain, 236f
exercises, 244
neutral density filters, 237–240
painting with light, 240–241
panning, 241
tools, 235
tracing human transit, 236f
see also Frozen time; Static time
Blurring motion, 223
digital image, 103
without film, 101–106
glass negative carriers, 101, 102
purpose, 95–96
traditional darkroom, 96–101
types, 97
vignetted, 100
Boundaries. see Border
Bracketing, 34–35
Bromide emulsions, 322
Buckley, Angie
artist statement, 80–81
elements, 80
Bunny Hunters, 209f
Camera
aperture and lens physical characteristics, 165
without lenses, 173–176
mirror-up option, 171
pinhole, 174–176
plastic lens, 194–196
quality of focus, 166
scanner as, 276–278
see also Aperture; Depth of field; Lens
artist statement, 210
elements, 210
photographs by, 211f
Character recognition, 344, 345f
Chloride emulsions, 322
Chlorobromide emulsions, 322
Clock Bunny, 209f
Collective memory, 302, 303f–305f
Color
see also Red, green, and blue (RGB)
Composition. see Form
Contact sheets, 70–71, 74, 117
advantage, 116
editing images, 71
images, 116
Content, 4
Contrast, 44–45
see also Blur
Critique, 17
about another’s work, 17
facing, 18
groups, 16–18
process, 17
Cropping, 71–75
David T. Hanson
artist statement, 356–357
elements, 356
photographs by, 358f–359f
Davidhazy, Andrew
concept and process statement, 252–253
elements, 252
photographs by, 253f
Decisive moments, 229
concept and illustration, 230f
in time, 229f
DeMarte, Jason
artist statement, 138
elements, 138
Denver Club, 299f
camera shake, 171
controllers, 170
exercises, 201
preview, 172
shallow, 172f
see also Aperture; Camera; ISO; Shutter speed
Detroit City Hall, 299f
Diffusion, 196
connotations, 199
effect, 198f
filters effect, 196
happy accident rainbow flare, 200f
lens flare, 199–200
lenses lacking quality, 197f
see also Blur
Digital
age, 281
disease, 77
noise, 27
sensors, 27
Diptych, 6, 7f, 119, 153f, 159f
with vignetted borders, 119f
Direction of motion, 233
Distance from subject, 233
Dobbs, Todd
artist statement, 216–217
elements, 216
photographs by, 217f
Editing images, 71
Eggleston, Beth
artist statement, 254–257
closest shave yet, 257
elements, 254
photographs by, 255f
Eshbaugh, Mark
artist statement, 150
elements, 150
Estabrook, Dan
artist statement, 156–157
elements, 156
Exposure, 24
amount of light, 24–25
aperture, 28–30
contrast, 44–45
determinants of, 24
evaluation, 35
histograms, 35–37
photographic media, 33
reflectance value, 42–43
shutter speed, 30–32
stops and factors, 43
technical aspects, 23
tonal ranges, 37–42
see also Aperture; ISO; Light
micro with, 65
Face mount, 337
Fast action freeze, 234f
Fast-action panning, 241f
Ferreira, Virgilio
artist statement, 218
elements, 218
photographs by, 219f
Film. see ISO
Fish, Alida
artist statement, 342
elements, 342
Fisheye
view, 68–69
Flexing, 189–192
Flipbooks, 279
Flush mount, 337
Focal length/magnification, 233
Focal plane shutters, 32
Focus, 165–167
see also Depth of field; Lens
Follow the Carrot, 209f
contact sheets, 70–71
cropping, 71–75
decision, 52
juxtaposition, 58–59
organization, 53–59
picture planes, 54–57
vantage point, 58
visual variety, 59–70
Frank Hurley, 293f
Freeze-blur continuum, 224f
From Cabinet of Curiosities, 342, 343f
Frozen in space, 245
determination, 233
exercises, 245
fast action freeze, 234f
flash/strobe, 233
frozen in space, 234f
shutter speed work, 233f
see also Blurred time; Static time
f-stop. see Aperture
Gestalt images, 108–120
Ghosts of Auschwitz and Birkenau, The, 258, 261f
God’s eye view, 192
Golemboski, Carol
artist statement, 284
elements, 284
photographs by, 285f–287f
Grain, 325
Granger, Kristine
artist statement, 308–309
elements, 308
photographs by, 309f–311f
Grant, Susan Kae
artist statement, 380–381
elements, 380
photographs by, 381f–383f
Greene, Myra
artist statement, 344
elements, 344
photographs by, 345f
Greig, Cynthia
artist statement, 204–205, 346
photographs by, 205f
Grote, Andrew
artist statement, 306
elements, 306
photographs by, 306f–307f
Gun, 205f
Hamrick, Frank
artist statement, 364–367
elements, 364
Scars, 367
Wallet Book, 365
Haunting, 308
Hc Svnt Dracones, 294f
High-key scene, 33, 35, 40, 47
Hilliard, David
artist statement, 134
elements, 134
Histograms, 35–37
average-tone scenes, 36f
clipping, 37
tonal ranges, 37–42
Holy Cow, 207f
Hue, 320
see also Color; Contrast
Hughes, T. John
photographs by, 299f
Image discussion
experiencing images, 334
in gallery, 331
multiple exposures in-camera, 267
sequence documenting performance, 274, 274f
traditional darkroom mixed multiple exposures, 270, 270f
spirit photographs, 239
view from above, 191f
visual variety and macro to micro with focal lengths, 186, 186f, 187
In-camera
ISO, 25–27
100 ISO, 28f
3200 ISO, 28f
chart, 27
lighting requirements visual qualities, 26f
medium ISO speed, 27
whole-stop, 28
Jahiel, Adam
artist statement, 246
elements, 246
photographs by, 247f–249f
Jouissance, 309
of contents, 60
between frames in multiframe images, 120f
Kambli, Priya
artist statement, 142
elements, 142
Kellner, Thomas
artist statement, 146–147
elements, 146
Keyes, Doug
artist statement, 302
elements, 302
photographs by, 303f–305f
Klett, Mark
artist statement, 124
elements, 124
Kreisher, Katharine
artist statement, 160
elements, 160
Lakeview Cemetery, 207f
Last Cowboy, The, 246, 247f–249f
Leaf shutters, 32
composer and optics accessories, 189f
muse, 189f
see also Lens
Lens
bellows options, 187–189
diffusion, 196–199
flare, 199–200
flexing in traditional darkroom, 189–192
normal focal length, 180–181
plane of focus, 187–193
plastic lens cameras, 194–196
soft focus SLR, 192–193
to subject distance, 170
telephoto, 183
uses, 179
wide-angle, 181–182
see also Aperture; Depth of field
LeRoy, Michel
artist statement, 86
elements, 86
Life preserver, 205f
absorption and transmission, 317f
density and contrast, 315
RGB color channels, 317
meter, 32
see also Ambient light
Lirakis, Susan
artist statement, 262–263
elements, 262
photographs by, 264f
Longley-Cook, Tracy
artist statement, 360
elements, 360
photographs by, 361f–363f
see also Ambient light; Contrast
MacInnes, Roddy
artist statement, 154
elements, 154
Macku, Michal
artist statement, 352
elements, 352
photographs by, 323, 353f–355f
Madison, FL; Wright Boat House, 299f
Masao, Yamamoto
additional reflections, 371
artist statement, 370–371
elements, 370
photographs by, 372f–373f
Metering systems, 35
Miele, Jean
artist statement, 292
elements, 292
photographs by, 293f–295f
Mirror-up option, 171
Moving single images, 231
frames, 278
perceived seamless motion, 280–281
still and spinning, 279f
tactile images, 279–280
temporal sequence of film stills, 280f
Multiframe panoramas, 111–113, 112f
with borders, 113–114
overlapped panoramas, 113–116
with seams, 114
Multiple exposures, 266–272
digital darkroom multi-image montage, 272
exercises, 283
traditional darkroom, 269–272
Multiple frames, 106–107
spacing, 272–276
extension, 107–108
Multiple moments, 231
exercises, 281–309
moving single image frames, 278–279
overlapped time, 266
scanner as camera, 276–278
sequences, 272–276
in time, 265
see also Shutter speed
Neutral density filters, 237, 240
design, 237
Singh-Ray double ring Vari-ND Duo filter, 237f, 238
Singh-Ray variable, 237f
slows shutter speeds, 238f
Night Journey, 380–381, 381f–383f
Norton, Anna
artist statement, 300
elements, 300
photographs by, 301f
Orion, Alexandre
artist statement, 250
elements, 250
photographs by, 251f
Out-of-focus, 192
exercises, 201
lens quality, 193–199
medium-format SLR camera image, 193f
TTL viewing, 192
see also Ambient light; Contrast; Depth of field; Lens
Overexpose, 40
see also Ambient light; Aperture; Light; Shutter speed
Overlapped time, 266
multiple exposures, 266–272
technical discussion, 267
trading time for layers, 271
Painting with light, 240, 240f
Panning, 241
even moderate-speed action, 242f
fast-action, 241f
Panopticon, 275
Penelope, 209f
Personal mythology, 263f
attributes, 5
content, 4
designing, 52
element framing, 51
image, 3–5
stops, 24
Photorealism, 165
Pictorialists, 166
Pilgrim’s Quest, 263f
Pinhole cameras, 174–176
exercises, 202
loose-film, 177f
pinhole body cap, 175f
shutter speed effects, 178f
technical considerations, 176
Pittsburgh Bridge, 299f
Pixels, 325
Plastic camera images, 206–207
Plastic lens cameras, 194
characteristics, 194
images, 195f–196f
Portfolio pages, 79
Projection, 295f
Proximity, 108
Psychological burn, 100
Red, green, and blue (RGB), 315
Reflectance value, 42–43
Reflected-light meter, 25
Rhode, Robin
artist statement, 288
elements, 288
photographs by, 289f–291f
Road to Stillmore, the, 300, 301f
Saturation, 320–321
see also Hue
Scanner
attribute, 276
as camera, 276
movement translation, 278
scanning scene, 277f
Scars, 367
Scene setters, 62
Schrager, Victor
artist statement, 220
elements, 220
photographs by, 221f
Schrager, Victor, 9f
Sensor speed. see ISO
Sequences, 273
conceptual gestalt, 273
documenting performance, 274, 274f
exercises, 283
stop-motion, 282f
temporal, 275
Short lenses. see Wide-angle lenses
Shot list, 14
Shutter mechanisms, 32
Shutter speed, 30–32, 30f, 223, 233
affecting visual quality, 226–228
blurred time, 235–241
camera shake, 31
decisive moments in time, 228–229, 229f
exercises, 244–263
importance, 226
motion and energy, 227f
static time, 242–244
technical review, 224–226
time’s continuum, 228, 228f, 231f
transcribing time onto photograph, 229–244
see also Aperture
Simons, Chip
artist statement, 208
elements, 208
photographs by, 209f
Singh-Ray double ring Vari-ND Duo filter, 237f, 238
Single
frame division, 115–116
moments, 231
Snow Rollers, 188f
Soft focus SLR. see Out-of-focus
Spacing, 338–339
Speed of motion, 233
Spirit photographs, 239
Static time, 242
ambient light buildup, 243–244, 243f
architectural stability, 242f
image creating tool, 243
see also Blurred time; Frozen time
Stephenson, David
artist statement, 296
elements, 296
photographs by, 297f
Stevens, Jane Alden
artist statement, 128
elements, 128
Stitched panoramic images, 110
Stone Flag, 289f
Stops, 24
and factors, 43
String Theory images, 252–253, 253f
failure, 33
interpretation, 6
selection, 10–12
Subject matter. see Content
Sunglasses, 205f
Suzanne E. Szucs
artist statement, 374–375
elements, 374
photographs by, 375f, 377f, 379f
Tactile images, 279
flipbooks, 279
zoetropes, 280
Tear sheets, 16
Telephoto lenses
distance effect, 185f
images, 183f–184f
technical, 183
visual, 183
see also Wide-angle lenses
Tempest, 263f
Terra Incognita, 293f
Texture, 325
grain, 325
noise, 326
original full-frame capture, 326f
physical, 327–329
texture of video, 329
Thompson, Cole
artist statement, 258
elements, 258
photographs by, 261f
critique groups, 16–18
interdisciplinary research, 16
tear sheets, 16
Threshold, 263f
Through-the-lens (TTL), 32
Time’s continuum, 228, 228f, 231f
Tint, 325
Tonal ranges, 37–42
average scenes, 37
high-key scene, 40
low-key scene, 41–42
color channels, 319f
digital color image, 317
hue, 320
saturation, 320–321
traditional darkroom tone considerations, 322–323
types, 322f
value, 321
TP Typology, 254
Trading time, 271
Treasure State, the, 356–357, 358f–359f
Tree Face, 165f
Trees for my father, 265f
TTL viewing, 192
Uncanny places project, 218, 219f
Underexpose, 41
Vantage point, 58, 59f–60f, 77
looking up to looking down, 66, 68f
outside in to inside out, 62–66
Wade, Cara Lee
artist statement, 350
elements, 350
photographs by, 351f
Wallet Book, 364–367
Wang, Sam
artist statement, 85
elements, 84
Waterfall project, The, 212, 213f
Wheel of Steel, 290f
Wide-angle lenses, 182f
technical, 181
visual, 181–182
see also Telephoto lenses
Wilkinson, Sean
artist statement, 214
elements, 214
photographs by, 215f
Wolfe, Byron
artist statement, 124
elements, 124
Zoetropes, 280
device, 309
Zoom lenses, 30
see also Lens