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Boston, MA 2010 Trade paperback 10th ed. New. Trade paperback (US). Glued binding. 406 p. Contains: Illustrations, black & white, Illustrations, color. Myphotographykit. ... Audience: General/trade. Expedited shipping available. Read more Show Less

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Overview

For introductory and advanced courses in Photography.

The London, Upton, Stone series has helped over 1,000,000 photography students capture their potential. And Photography, 10e is the most comprehensive, up-to-date resource for today's photography students. No other text teaches students the skills they need to use the medium confidently and effectively, while emphasizing both technique, visual awareness, and the latest technologies. This is the text that students will want to keep for years to come.

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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: 9780205711499
  • Publisher: Pearson
  • Publication date: 3/3/2010
  • Series: MyPhotographyKit Series
  • Edition description: Older Edition
  • Edition number: 10
  • Pages: 416
  • Product dimensions: 10.10 (w) x 10.60 (h) x 0.90 (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

Preface...................................................viii

Chapter 1: Getting Started...........................2

Introducing the Camera . . . . . . . . . . . . . . . . . . . . .4

Getting Your Camera Ready . . . . . . . . . . . . . . . . . 5

Focusing and Setting the Exposure . . . . . . . . . . .6

Taking Your Picture . . . . . . . . . . . . . . . . . . . . . . . .8

What Will You Photograph? . . . . . . . . . . . . . . . . . 9

Some Basic Guidelines to Get You Started . . . . . . . . .9

Photographing People . . . . . . . . . . . . . . . . . . . . . . .10

Photographing Places . . . . . . . . . . . . . . . . . . . . . . .12

Chapter 2: Camera.....................................14

Basic Camera Controls . . . . . . . . . . . . . . . . . . . . .16

The Shutter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18

The Shutter and Light . . . . . . . . . . . . . . . . . . . . . . .18

The Shutter and Motion . . . . . . . . . . . . . . . . . . . . . .20

Conveying Motion in a Still Photograph . . . . . . . . . .22

The Aperture . . . . . . . . . . . . . . . . . . . . . . . . . . . .24

The Aperture and Light . . . . . . . . . . . . . . . . . . . . . .24

The Aperture and Depth of Field . . . . . . . . . . . . . .26

Using Shutter and Aperture Together . . . . . . . .28

Choosing a Camera . . . . . . . . . . . . . . . . . . . . . . . .30

Keeping the Camera Steady . . . . . . . . . . . . . . . .33

Photographer at Work

Photojournalist James Nachtwey . . . . . . . . .34

Chapter 3: Lens........................................36

From Pinhole to Lens . . . . . . . . . . . . . . . . . . . . .38

Lens Focal Length . . . . . . . . . . . . . . . . . . . . . . . .40

Normal Focal Length . . . . . . . . . . . . . . . . . . . . . . . .42

Long Focal Length . . . . . . . . . . . . . . . . . . . . . . . . . .44

Short Focal Length . . . . . . . . . . . . . . . . . . . . . . . . .46

Zoom Lenses . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48

Special-Purpose Lenses . . . . . . . . . . . . . . . . . . . .49

Focusing Your Lens . . . . . . . . . . . . . . . . . . . . . . .50

Manual Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50

Automatic Focus . . . . . . . . . . . . . . . . . . . . . . . . . . .52

Focus and Depth of Field . . . . . . . . . . . . . . . . . .54

Controlling Depth of Field . . . . . . . . . . . . . . . . . . . .56

Zone Focusing . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58

Focusing on the Hyperfocal Distance . . . . . . . . . . . .59

Perspective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60

Guidelines for Buying a Lens . . . . . . . . . . . . . . .62

Getting the Most from Your Camera

and Lens . . . . . . . . . . . . . . . . . . . . . . . . . . . . .63

Photographer at Work:

Documentary Photographer

Mary Ellen Mark . . . . . . . . . . . . . . . . . . . . .64

Chapter 4: Exposure, Sensors, and Film ....66

Exposure Basics . . . . . . . . . . . . . . . . . . . . . . . . . .68

Equivalent Exposures . . . . . . . . . . . . . . . . . . . . . . .68

How Exposure Meters Work . . . . . . . . . . . . . . . . . . .69

In-Camera Exposure Meters . . . . . . . . . . . . . . . . . .70

Automatic Exposure . . . . . . . . . . . . . . . . . . . . . . . .71

How to Meter . . . . . . . . . . . . . . . . . . . . . . . . . . . .72

An Overall Reading of a Scene with Average Tones . . . . . . . . . . . . . . . . .72

Using Different Types of Meters . . . . . . . . . . . . . . .73

Metering High-Contrast Scenes . . . . . . . . . . . . . . . .74

Exposing for Specific Tones and Bracketing . . . . . . . . . . . . . . . . . . . . .76

Hard-to-Meter Scenes . . . . . . . . . . . . . . . . . . . . . . .77

Responding to Light . . . . . . . . . . . . . . . . . . . . . .78

Silver and Pixels . . . . . . . . . . . . . . . . . . . . . . . . . . .78

Selecting and Using Film . . . . . . . . . . . . . . . . . . .79

Exposure Latitude and Dynamic Range . . . . . . .80

How Much Can Exposures Vary? . . . . . . . . . . . . . . .80

Film and Sensor Speed . . . . . . . . . . . . . . . . . . . .82

Speed and ISO . . . . . . . . . . . . . . . . . . . . . . . . . . . .82

Grain and Noise . . . . . . . . . . . . . . . . . . . . . . . . . . .83

Using Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . .84

Polarizing Filters . . . . . . . . . . . . . . . . . . . . . . . . . . .86

Extending Beyond Visible Light . . . . . . . . . . . . .87

Infrared Photographs . . . . . . . . . . . . . . . . . . . . . . .87

Using Exposure . . . . . . . . . . . . . . . . . . . . . . . . . . .88

Photographer at Work:

Advertising Photographer

Clint Clemens . . . . . . . . . . . . . . . . . . . . . . . .90

Chapter 5: Developing a Negative .....................92

How to Process Black-and-White Roll Film . . . . . . . . . .. . . .94

Equipment and Supplies You’ll Need . . . . . . . . . . . .94

Processing Chemicals

and How to Handle Them . . . . . . . . . . . . . . . . . . .95

Chemical Safety . . . . . . . . . . . . . . . . . . . . . . . . . . . .96

Processing Black-and-White Roll Film Step by Step . . . . . . . . . . . . . . .98

How Film Processing Affects Your Picture . . . . . . . . . . . . . . . . . . .104

Exposure and Development: Under, Normal, Over . . . . . . . . . . . . . . . . . . .106

Chapter 6: Printing in a Darkroom ......................108

Black-and-White Printing . . . . . . . . . . . . . . . . .110

Equipment and Supplies for Printing . . . . . . . . . . .110

The Enlarger . . . . . . . . . . . . . . . . . . . . . . . . . . . . .112

Printing Papers . . . . . . . . . . . . . . . . . . . . . . . . . . .114

Making a Black-and-White Print Step by Step . . . . . . . . . . .. . . . . . .116

A Contact Sheet: A Whole Roll at Once . . . . . . . . . .116

Setting Up an Enlargement . . . . . . . . . . . . . . . . . .118

A Test Strip for Your Print . . . . . . . . . . . . . . . . . . .120

A Trial Print–and Then a Final Print . . . . . . . . . .121

Processing a Black-and-White Print . . . . . . . . . . . .122

Evaluating Density and Contrast in a Print . . . . . . . . . . . . . . . . .126

Controlling Contrast . . . . . . . . . . . . . . . . . . . . . .128

Graded- and Variable-Contrast Papers . . . . . . . . .128

Dodging and Burning . . . . . . . . . . . . . . . . . . . . .130

Cropping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .132

Archival Processing for Maximum

Permanence . . . . . . . . . . . . . . . . . . . . . . . . . .133

Toning for Color and Other Effects . . . . . . . . . .134

Chapter 7: Color .........................................136

Color: Additive or Subtractive . . . . . . . . . . . . .138

Color Photographs: Three Image Layers . . . . .139

Color Characteristics . . . . . . . . . . . . . . . . . . . . .140

Color Balance . . . . . . . . . . . . . . . . . . . . . . . . . . .142

Color Changes throughout the Day . . . . . . . . . . . .142

Color Casts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .144

Color Temperature . . . . . . . . . . . . . . . . . . . . . . . .145

Filters to Balance Color with Film . . . . . . . . . . . . .146

Making a Color Print From a Negative . . . . . . .148

Equipment and Materials You’ll Need . . . . . . . . . . .148

Exposing a Test Print . . . . . . . . . . . . . . . . . . . . . .149

Judging Color Balance in a Print Made from a Negative . . . . . . . . . . . . . . . . . .150

Photographer at Work:

Another Angle on Sports—

Walter Iooss, Jr. . . . . . . . . . . . . . . . . . . . . .152

Chapter 8: Setting up a Digital Darkroom .........154

Hardware and Software . . . . . . . . . . . . . . . . . . .156

An Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . .156

Capturing Detail: Resolution and Bit Depth . . . . . .157

Photographs Are Files . . . . . . . . . . . . . . . . . . . .158

File Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . .158

Color Management . . . . . . . . . . . . . . . . . . . . . . .160

Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .162

Color or Black and White? . . . . . . . . . . . . . . . . . . .162

Histograms . . . . . . . . . . . . . . . . . . . . . . . . . . . . .164

Anatomy of a Digital Image . . . . . . . . . . . . . . . . . .164

Three Histograms for Color . . . . . . . . . . . . . . . . . .165

Importing Your Images . . . . . . . . . . . . . . . . . . .166

Downloading from a Camera . . . . . . . . . . . . . . . . .166

Making a Scan . . . . . . . . . . . . . . . . . . . . . . . . . . . .167

Setting Up a Workflow . . . . . . . . . . . . . . . . . . . .168

Workflow Applications . . . . . . . . . . . . . . .169

Photographer at Work:

Digital Storyteller Pedro Meyer . . . . . . . . .170

Chapter 9: Image Editing .............................172

Digital Post-Processing: Getting Started . . . . . . . . . . . . . . . . . . . . . .174

Choosing Software . . . . . . . . . . . . . . . . . . . . . . . .174

Your Work Area and Tools . . . . . . . . . . . . . . . . . . .175

An Image-Editing Workflow . . . . . . . . . . . . . . . 176

A Step-by-Step Process . . . . . . . . . . . . . . . . . . . . .176

Adjusting Color and Value . . . . . . . . . . . . . . . . .178

Different Approaches . . . . . . . . . . . . . . . . . . . . . .178

Using Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . .179

Curves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .180

Adjusting All or Part of an Image . . . . . . . . . .182

Selection Tools . . . . . . . . . . . . . . . . . . . . . . . . . . .182

Using Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . .183

Other Editing Commands . . . . . . . . . . . . . . . . . .184

High Dynamic Range . . . . . . . . . . . . . . . . . . . . . . .184

Filters for Special Effects . . . . . . . . . . . . . . . . . . . .185

Sharpening . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .186

Retouching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .187

Compositing . . . . . . . . . . . . . . . . . . . . . . . . . . . 188

Photographer at Work:

RetouchShoppe—

Scalese and Villarreal . . . . . . . . . . . . . . .190

Chapter 10: Digital Printing ......................192

Printers and Printing . . . . . . . . . . . . . . . . . . . . .194

Printer Choices . . . . . . . . . . . . . . . . . . . . . . . . . . .194

Drivers and RIPs . . . . . . . . . . . . . . . . . . . . . . . . . .195

Profiles and Soft Proofing . . . . . . . . . . . . . . . . . . .196

Papers and Inks . . . . . . . . . . . . . . . . . . . . . . . . . .197

Printing Options . . . . . . . . . . . . . . . . . . . . . . . . .198

Panoramic Photographs . . . . . . . . . . . . . . . . . . . .198

Printing in Black and White . . . . . . . . . . . . . . . . . .200

Displaying Your Work . . . . . . . . . . . . . . . . . . . . .202

The Internet–Gallery and Resource . . . . . . . . . . .202

Ethics: How Far Can You Go? . . . . . . . . . . . . . .203

Chapter 11: Organizing and Storing Your Work .....204

Image Storage . . . . . . . . . . . . . . . . . . . . . . . . . .206

Size Matters . . . . . . . . . . . . . . . . . . . . . . . . . . . . .206

Metadata: Data About Your Files . . . . . . . . . . .207

Software to Keep You Organized . . . . . . . . . . .208

Archiving Digital Images . . . . . . . . . . . . . . . . . .209

Archiving Film and Prints . . . . . . . . . . . . . . . . .210

Chapter 12: Print Finishing and Display .........212

Spotting to Remove Minor Flaws . . . . . . . . . . .214

Mounting a Print . . . . . . . . . . . . . . . . . . . . . . . .215

Equipment and Supplies You’ll Need . . . . . . . . . . .215

Dry Mounting . . . . . . . . . . . . . . . . . . . . . . . . . . . .216

Cutting an Overmat . . . . . . . . . . . . . . . . . . . . . . . .218

Framing and Glazing . . . . . . . . . . . . . . . . . . . . . . .219

Chapter 13: Lighting ................................. 220

Direction of Light . . . . . . . . . . . . . . . . . . . . . . . .222

Degree of Diffusion:

From Hard to Soft Light . . . . . . . . . . . . . . . .224

Available Light—Outdoors . . . . . . . . . . . . . . . .226

Available Light—Indoors . . . . . . . . . . . . . . . . .227

Artificial Light . . . . . . . . . . . . . . . . . . . . . . . . . .228

Lights and Other Lighting Equipment . . . . . . . . . .228

Qualities of Artificial Light . . . . . . . . . . . . . . . . . . .229

The Main Light: The Dominant Source . . . . . . .230

The Fill Light: To Lighten Shadows . . . . . . . . .232

Lighting with Flash . . . . . . . . . . . . . . . . . . . . . .234

Flash Equipment . . . . . . . . . . . . . . . . . . . . . . . . . .235

Basic Flash Techniques . . . . . . . . . . . . . . . . . . . . .236

Manual Flash Exposures . . . . . . . . . . . . . . . . . . . .238

Automatic Flash Exposures . . . . . . . . . . . . . . . . . .239

Fill Flash: To Lighten Shadows . . . . . . . . . . . . . . . .240

Controlling Background Brightness . . . . . . . . . . . .242

Simple Portrait Lighting . . . . . . . . . . . . . . . . . .244

Multiple-Light Portrait Setups . . . . . . . . . . . . .246

Lighting Textured Objects . . . . . . . . . . . . . . . . .248

Lighting Reflective Objects . . . . . . . . . . . . . . . .249

Lighting Translucent Objects . . . . . . . . . . . . . .250

Using Lighting . . . . . . . . . . . . . . . . . . . . . . . . . .251

Photographer at Work

Dance Photographer Lois Greenfield . . . .252

Chapter 14: Extending the Image ..........254

Using Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . .256

Pictures Very Large and Very Small . . . . . . . . . . . .256

Multiple Images . . . . . . . . . . . . . . . . . . . . . . . .258

More is Better . . . . . . . . . . . . . . . . . . . . . . . . . . . .258

Fabricated to be Photographed . . . . . . . . . . . .260

The Photograph as Object . . . . . . . . . . . . . . . .262

Using Projections . . . . . . . . . . . . . . . . . . . . . . . .264

Making a Book . . . . . . . . . . . . . . . . . . . . . . . . . .265

Alternative Processes . . . . . . . . . . . . . . . . . . . .266

Cyanotype Printing . . . . . . . . . . . . . . . . . . . . . . . .266

Platinum and Palladium Printing . . . . . . . . . . . . . .267

Gum Bichromate Printing . . . . . . . . . . . . . . . . . . . .268

A Sabattier Image: Part Positive, Part Negative . . . . . .269

A Photogram: A Cameraless Picture . . . . . . . . . . .270

Pinhole Photography . . . . . . . . . . . . . . . . . . . . .272

How to Make a Close-Up Photograph . . . . . . .274

Close-Up Exposures . . . . . . . . . . . . . . . . . . . . . . .275

Copying Techniques . . . . . . . . . . . . . . . . . . . . . .276

Chapter 15: View Camera ........................278

Inside a View Camera . . . . . . . . . . . . . . . . . . . .280

View Camera Movements . . . . . . . . . . . . . . . . .282

Rise and Fall . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282

Shift . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .284

Tilt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .286

Swing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .288

Using a View Camera to Control the Image . . .290

Controlling the Plane of Focus . . . . . . . . . . . . . . .291

Controlling Perspective . . . . . . . . . . . . . . . . . . . . .292

Equipment You’ll Need . . . . . . . . . . . . . . . . . . .294

What to Do First—and Next . . . . . . . . . . . . . . .295

Loading and Processing Sheet Film . . . . . . . . .296

Chapter 16: The Zone System .................298

The Zone System Scales . . . . . . . . . . . . . . . . . .300

Using the Zone Scale While Metering . . . . . . .302

Placing a Tone, Seeing Where Other Tones Fall . . .302

How Development Controls Contrast . . . . . . . .304

Putting It All Together . . . . . . . . . . . . . . . . . . .306

Roll Film and Color Film . . . . . . . . . . . . . . . . . . . . .307

Chapter 17: Seeing Photographs ............. 308

Basic Choices . . . . . . . . . . . . . . . . . . . . . . . . . . .310

Content . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .310

Framing the Subject . . . . . . . . . . . . . . . . . . . . . . .312

Backgrounds . . . . . . . . . . . . . . . . . . . . . . . . . . . . .314

Basic Design . . . . . . . . . . . . . . . . . . . . . . . . . . . .316

Spot/Line . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .316

Shape/Pattern . . . . . . . . . . . . . . . . . . . . . . . . . . . .318

Emphasis/Balance . . . . . . . . . . . . . . . . . . . . . . . . .320

More Choices . . . . . . . . . . . . . . . . . . . . . . . . . . .322

Using Contrasts of Sharpness . . . . . . . . . . . . . . . .322

Using Contrasts of Light and Dark . . . . . . . . . . . .324

Placing the Subject within the Frame . . . . . . . . . . .326

Perspective and Point of View . . . . . . . . . . . . . . . .328

Looking at—and Talking About— Photographs . . . . . . . . . . .330

Showing Your Work to Editors and Others . . . . . . . . . . . . . . . .332

Chapter 18: History of Photography ...............334

The Invention of Photography . . . . . . . . . . . . .336

Daguerreotype: “Designs on Silver Bright” . . . . . . . . . . . . .337

Calotype: Pictures on Paper . . . . . . . . . . . . . . .338

Collodion Wet-Plate: Sharp and Reproducible . . . . . . . . . . . . . . . .339

Gelatin Emulsion/Roll-Film Base: Photography for Everyone . . . . . . . . . . . . . .340

Color Photography . . . . . . . . . . . . . . . . . . . . . . .341

Early Portraits . . . . . . . . . . . . . . . . . . . . . . . . . .342

Early Travel Photography . . . . . . . . . . . . . . . . .344

Early Images of War . . . . . . . . . . . . . . . . . . . . .345

Time and Motion in Early Photographs . . . . . .346

The Photograph as Document . . . . . . . . . . . . .347

Photography and Social Change . . . . . . . . . . . .348

Photojournalism . . . . . . . . . . . . . . . . . . . . . . . . .350

Photography as Art in the 19th Century . . . . . . . . . . . . . . . . . . .354

Pictorial Photography and the Photo-Secession . . . . . . . . . . . . . . .355

The Direct Image in Art . . . . . . . . . . . . . . . . . . .356

The Quest for a New Vision . . . . . . . . . . . . . . .357

Photography as Art in the 1950s and 1960s . . . . . . . . . . . . . . .358

Photography as Art in the 1970s and 1980s . . . . . . . . . . . . . . .360

Digital Photography Becomes Mainstream . . . . . . . . . . . . . . . . . .362

A Gallery of Contemporary Photography . . . . . . . . . . . . . . . . . . . . . . . . .364

Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . .380

Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .391

Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . .396

Credits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .400

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .402

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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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Sort by: Showing all of 13 Customer Reviews
  • Anonymous

    Posted May 3, 2011

    Highly Recommended for Preparing for PPA CPP Exam

    This book is invaluable to professionals seeking the title of Certified Professional Photographer through the Professional Photographers of American Certification Program. This book assisted me in preparing for the exam and also to refresh my memory on things that are no longer in use due to technology like film. If you are wanting something to study prior to taking any exam related to photography, this is the book....

    4 out of 4 people found this review helpful.

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  • Posted September 15, 2012

    Very expensive but worthwhile

    Obviously I bought this for a black and white darkroom class. I really wish it were a bit smaller and lighter in format. In subject matter the book is clear and descriptive in showing the art of photography on a step by step basks.

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