Photography / Edition 11

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Overview

The most comprehensive, up-to-date resource for today's photography students

Photography 11th edition offers an in-depth approach to photography that spans the ever-changing landscape of photography — from dark-room to digital print. This edition presents all facets of photography, laying out what you need to know to make photographs with digital tools as well as the integral steps to perfecting film print.

My_Lab is an integral part of the London/Upton/Stone program. Key learning applications include videos, simulations, and MediaShare.

A better teaching and learning experience

The teaching and learning experience with this program helps to:

  • Personalize Learning – MyArtsLab is an online homework, tutorial, and assessment program. It helps students prepare for class and instructor gauge individual and class performance.
  • Improve Critical Thinking Visual aids and detailed coverage of key elements help students examine art more critically .
  • Engage Students Updated images, MyArtsLab, and the clarity of the text provide a wonderful engaging student experience.
  • Support Instructors Instructor resources are available in one convenient location. Figures, videos, and teacher support materials create a dynamic, engaging course.

NOTE: This is the standalone book if you want the Book/Access Card order the ISBN below:

0205960081 / 9780205960088 Photography Plus NEW MyArtsLab with eText -- Access Card Package

Package consists of

0205206565 / 9780205206568 NEW MyArtsLab with Pearson eText -- Valuepack Access Card

0205933807 / 9780205933808 Photography

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Editorial Reviews

From Barnes & Noble
This venerable volume, now in its sixth edition, is uniquely suited to aide beginners and professionals alike. This edition has been updated to include a chapter on digital photography and internet-ready imaging. The insights of professional photographers are included throughout, in the form of images and interviews. When an instructional work has lasted through this many editions, you know it offers the advice and information photography buffs require.
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Product Details

  • ISBN-13: 9780205933808
  • Publisher: Pearson
  • Publication date: 3/12/2013
  • Edition number: 11
  • Pages: 336
  • Sales rank: 47,548
  • Product dimensions: 10.20 (w) x 10.60 (h) x 0.60 (d)

Meet the Author

Jim Stone is an Associate Professor of Photography at the University of New Mexico. His photographs have been collected by the Museum of Modern Art and The Smithsonian American Art Museum, among many others. Books of his work include Stranger Than Fiction (Light Work, 1993),Historiostomy (Piltdown Press, 2001), and Why My Pictures are Good (Nazraeli Press, 2005).

He has also published six higher education titles that are widely used in university courses: A User¹s Guide to the View Camera, Darkroom Dynamics, Photography, Photography: The Essential Way, A Short Course in Photography, and A Short Course in Digital Photography.

Barbara London has authored and co-authored many photography books from their first editions to their current ones, including Photography, Photography: The Essential Way, A Short Course in Photography, A Short Course in Digital Photography, The Photograph Collector's Guide, and more.

John Upton, Professor Emeritus, was for many years Chair of Photography at Orange Coast College, one of the largest photography departments in the U.S. He has curated a number of exhibitions, including Color as Form: A History of Color Photography. His work is included in many private and public collections, including the New York Metropolitan Museum of Modern Art.

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Table of Contents

In this Section:
1) Brief Table of Contents

2) Full Table of Contents


BRIEF TABLE OF CONTENTS:

Chapter 1. Getting Started

Chapter 2. Camera

Chapter 3. Lens

Chapter 4. Exposure, Sensors and Film

Chapter 5. Color

Chapter 6. Setting up a Digital Darkroom

Chapter 7. Image Editing

Chapter 8. Digital Printing

Chapter 9. Organizing and Storing Your Work

Chapter 10. Print Finishing and Display

Chapter 11. Lighting

Chapter 12. Extending the Image

Chapter 13. Seeing Photographs

Chapter 14. History of Photography


FULL TABLE OF CONTENTS:

Chapter 1. Getting Started

Introducing the Camera

Getting Your Camera Ready

Focusing and Setting the Exposure

Taking Your Picture

What Will You Photograph?

Chapter 2. Camera

Basic Camera Controls

The Shutter

The Aperture

Using Shutter and Aperture Together

Choosing a Camera

Keeping the Camera Steady

Chapter 3. Lens

From Pinhole to Lens

Lens Focal Length

Special-Purpose Lenses

Focusing your Lenses

Focus and Depth of Field

Perspective

Guidelines for Buying a Lens

Getting the Most from your Camera and Lens

Chapter 4. Exposure, Sensors and Film

Exposure Basics

How to Meter

Responding to Light

Selecting and Using Film

Exposure Latitude and Dynamic Range

Film and Sensor Speed

Using Filters

Extending Beyond Visible Light

Using Exposure

Chapter 5. Color

Color: Additive or Subtractive

Color Photographs: Three Image Layers

Color Characteristics

Color Balance

Making a Color Print from a Negative

Chapter 6. Setting up a Digital Darkroom

Hardware and Software

Photographs Are Files

Color Management

Channels

Histograms

Importing Your Images

Setting Up a Workflow

Workflow Applications

Chapter 7. Image Editing

Digital Post-Processing: Getting Started

An Image-Editing Workflow

Adjusting Color and Value

Adjusting All or Part of an Image

Other Editing Commands

Compositing

Chapter 8. Digital Printing

Printers and Printing

Printing Options

Display your Work

Ethics: How Far Can You Go?

Chapter 9. Organizing and Storing Your Work

Image Storage

Metadata: Data About Your Files

Software to Keep You Organized

Archiving Digital Images

Archiving Film and Prints

Chapter 10. Print Finishing and Display

Spotting to Remove Minor Flows

Mounting a Print

Chapter 11. Lighting

Direction of Light

Degree of Diffusion: From Hart to Soft Light

Available Light – Outdoors

Available Lights – Indoors

Artificial Light

The Main Light: The Dominant Source

The Fill Light: To Lighten Shadows

Lighting with Flash

Simple Portrait Lighting

Multiple-Light Portrait Setups

Lighting Textured Objects

Lighting Reflective Objects

Lighting Translucent Objects

Using Lighting

Chapter 12. Extending the Image

Using Scale

Multiple Images

Fabricated to be Photographed

The Photograph as Object

Using Projections

Making a Book

Alternative Processes

Pinhole Photography

How to Make a Close-Up Photograph

Chapter 13. Seeing Photographs

Basic Choices

Basic Design

More Choices

Looking at – and Talking About – Photographs

Showing Your Work to Editors and Others

Chapter 14. History of Photography

The Invention of Photography

Daguerreotype: “Designs on Silver Bright”

Calotype: Pictures on Paper

Collodion Wet-Plate: Sharp and Reproducible

Gelatin/Emulsion/Roll-Film Basse: Photography for Everyone

Color Photography

Early Portraits

Early Travel Photography

Early Images of War

Time and Motion in Early Photography

The Photograph as a Document

Photography and Social Change

Photojournalism

Photography as Art in the 19th Century

Pictorial Photography and the Photo-Secession

The Direct Image in Art

The Quest for a New Vision

Photography as Art in the 1950s and 1960s

Photography as Art in the 1970s and 1980s

Digital Photography Becomes Mainstream

A Gallery of Contemporary Photography

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Preface

More than a million copies of Photography are now in print. Many people who have used this book have become professional photographers or photography instructors, or are continuing to pursue their personal interest in photography. Whatever your interest in photography is, this book is designed to teach the skills that you will need to use the medium confidently and effectively.

The emphasis of this edition continues to be in two major areas—technique and visual awareness. The technical material helps you learn how to control the photographic process, or as Ansel Adams put it, to "understand the way that the lens 'sees' and the film 'sees.'" Equally important, this book can help you see by showing you the choices that other photographers have made and that you can make when you raise a camera to your eye.

Clarity and convenience have always been a focus of this book. In this edition even more effort has been made to organize and format information into an easy guide for beginning photographers and a quick reference for those with experience.

  • The easy-to-use format has been maintained, with each two facing pages completing a single idea, skill, or technique.
  • Boldfaced topic sentences outline the text on every page.
  • "More About . . ." boxes on many pages cross-reference related topics in other parts of the book.
  • Computer icons call attention to related information about digital imaging or to information in the digital imaging chapters.

The general organization of technical information has been maintained, with the addition of a technical update.

  • Generalphotographic techniques are covered completely in Chapters 1-8: camera, lens, film, exposure, developing and printing black-and-white film, and mounting.
  • Chapters 10 and 11 expand and update information on digital imaging.
  • Chapters 9, 12, 13, 14, and 15 cover color photography, lighting, special techniques (such as cyanotyping ), view camera use, and a specialized method of exposure and development—the Zone System.
  • A fully illustrated "Troubleshooting Appendix," beginning on page 400, groups together technical problems, their causes, and ways to prevent them.

Improving visual awareness is a major emphasis of the book. Many new demonstration photographs have been added to make topics easy to understand. Throughout the book you will find hundreds of illustrations by the best photographers showing how they have put to use various technical concepts. See for example:

  • The photographs illustrating lens focal length on pages 45, 47, and 49, or how one photographer uses electronic flash plus available light on page 289.
  • "Photographer at Work" pages throughout the book feature interviews with photographers who have developed successful careers in everything from dance photography (pages 290 291) to digital illustration (pages 256-257).
  • Chapter 16, "Seeing Photographs" (pages 340-365), deals with composition, tonality, sharpness, and other visual elements that will help you make better pictures yourself, and see other people's photographs with a more sophisticated eye.
  • Chapter 17 (pages 366-399) surveys the history of photography so that you can place today's photography—and your own—in an historical context.

We are pleased to announce an expanded and interactive Website. You can visit the site at http://www.prenhall.com/london. It contains many features, including:

  • Simulations and demonstrations of various photographic processes
  • A study guide
  • Chat rooms
  • Links to other photography e-sites

An instructor's manual and integrated student lab manual/journal are available, which include:

  • sample assignments
  • processing and exposure records
  • numerous tips to complement the text.

Every edition of Photography has been a collaborative effort. Instructors, students, photographers, manufacturers, editors, gallery people, and many others participated in it. They fielded queries, made suggestions, responded to material, and were unfailingly generous with their time, energy, and creative thinking.

Special thanks go to instructors who reviewed the previous edition of Photography as well as parts of this edition, and who volunteered many good ideas. They brought a particularly useful point of view, contributing many ideas on not only what to teach, but how to teach it:

– Ayana Baltrip, University of California, Berkeley
– Rick Bruner, Shepherd College
– Elizabeth Burnham, Barton College
– Susan Ciricialo, California College of Arts and Crafts
– Charles Dmytriw, Northwestern Connecticut Community College
– Steve Dzerigian, Fresno City College
– Harris Fogel, University of the Arts, Philadelphia
– Jack Fulton, San Francisco Art Institute
– Chris Johnson, California College of Arts and Crafts
– Jim Kelly, Southern Illinois University
– John Knowlton, Green River Community College
– Philip Krejcarek, Carroll College
– John Labadie, University of North Carolina, Pembroke
– Libby Rowe, Oregon College of Arts and Crafts
– Ken Smith, University of Wyoming
– Evon Streetman, Florida State University
– Deborah Tharpe, University of Alaska, Anchorage
– Catherine Wagner, Mills College
– Al Wildey, University of Idaho School of Communications
– Susan Zavoina, University of North Texas

Without editorial and production assistance, a book of this size and complexity would be impossible to complete. Barbara London and John Upton would like to thank Peggy Jones, who made many contributions to the digital imaging chapters, both in terms of technical concepts and how to put those concepts to creative use. Joe Ciaglia, as usual, could answer any question about digital imaging. Jim Stone's experience with his own books provided many insights. Blade Gillissen had information on everything from lenses to flash meters. Sean Upton handled a host of editorial tasks—and more.

At Prentice Hall, special thanks to Bud Therien and Kimberly Chastain, and to Barbara DeVries for somehow keeping track of it all.

Ken Kobre and Betsy Brill appreciate the help of Debra Klochko, Director, Friends of Photography, Ansel Adams Gallery; Doug Nickel, Photography Curator at the San Francisco Museum of Modern Art; Arthur Oilman, Director, Museum of Photographic Arts, San Diego; and collector David Raymond.

Many equipment manufacturers and technical reviewers were helpful, both in lending equipment and in reviewing material. Richard LoPinto and Mike Phillips, Nikon USA; Bernard Denevi, Nikon France; Sally Smith-Clemens, John Knaur, and Ray Acevedo, Olympus America; Wendy Erickson, Ilford; Shlomo Cazary, Sony; Tom Kunhardt, Kodak; Polaroid Corp.; Lexar; Genuine Fractals; Vivid Details; Larry Guyer, Better Light, Inc.; and Dave Christensen, North Light Products, Inc.

Special thanks for many helpful suggestions from industry consultant Fran Herman; Dave Guralnick, Detroit News; Barbara Fredericks, Infoworld magazine; Adobe Evangelist Julianne Kost; Fireside Camera, San Francisco; Unruh Photography Shop and Sonoma Image in Santa Rosa, California.

Warren Hsu, a chemist, photographer, and versatile assistant, conducted many experiments for us. Warren and Scot Tucker spent long hours assisting with the new chemical darkroom step-by-step pictures. Many of the new color demos were photographed and scanned for publication by Sibylla Herbrich, a teacher of photography at San Francisco State. Artist Ben Barbante, Infoworld art director and teacher at City College of San Francisco, contributed his considerable skills in digital illustration and photography.

Ken and Betsy owe special thanks to Nancy, McDermid, Dean of Humanities at San Francisco State University, where Ken is a professor of photojournalism; to Annemarie and Lou Madison; Karen Russell; and, most important of all, Ken's mother, Reva Kobre, Betsy's father, Earl Wright, and our supportive and loving daughter, Daria Brill.

This is a book that students keep. They refer to it long after they have finished the basic photo course for which it was purchased. Some of the people who contributed to this edition used the book themselves when they were studying photography, and still have their original, now dog-eared edition. As you work with the book, you may have suggestions on how to improve it. Please send them to us. They will be sincerely welcomed.

Dedicated to everyone who is part of this new edition.

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Customer Reviews

Average Rating 3.5
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Sort by: Showing all of 3 Customer Reviews
  • Anonymous

    Posted April 27, 2013

    Disappointment - Should be made clear that book is for use only with College Instruction using the MyArtsLab program and that the online version without MyArtsLab is missing images!

    First I bought the paperback for $113 with MyArtsLab which was of no use to me because I couldn't participate with MyArtsLab because it can only be accessed in you are enrolled in a college class that is participating in this program. Thankfully for me Barnes & Noble took my return. So then I ordered the online version without the My Arts Lab for $77 which is a disappointment because you need a very large screen to view the book properly because it was designed for you to view opposite pages simultaneously which is hard to do on a laptop. The worst part is many images that would have been available in the paperback are not included in the online version making those examples useless to the learning process. There is an apology though saying they are sorry for the inconvenience. Why not just use appropriate images that can be used on the internet. There was no way for me to know any of this from the descriptions of the book. This should be a 5 star book and probably is for those who can use the MyArtsLab experience with it. As an online option it should be clarified that the best use is with a large screen and that there are missing images that complete the explanations.

    2 out of 2 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted August 22, 2013

    FIVE star physical book, ZERO star eTextbook reader application

    If I had known that the Nook Study eTextbook reader app was NOT available for iPad, I would NOT have purchased this eTextbook. I mistakenly believed that since there was a Nook app for iPad that this book would be readable on it. Apparently I've been spoiled by the primary big book site I use (on which this title was not available).

    I had an earlier revision physical copy of this book, which I sold so I could buy the newer version. I did not fully read the Nook "STUDY" eTextbook fine print, and now I am stuck with this book which I can only read on TWO of my computers (there are several computers and laptops in my family's household).

    I am kicking myself on almost a daily basis for spending the money on this useless digital text and would HIGHLY RECOMMEND YOU BUY THE PHYSICAL COPY if you are looking at purchasing this book.

    This is one of THE GREATEST books about photography, for college students or lifelong learners. My review is not about this book itself, but about the wholly flawed delivery mechanism.

    PROS:
    Great book, excellent content.
    A must-have for any photography education.

    CONS:
    Terrible/AWFUL ebook reader application
    Overly restrictive in working with content and unable to read on iPad

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted July 14, 2013

    No text was provided for this review.

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