Photography / Edition 1

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Overview

PHOTOGRAPHY, Revised Edition is a comprehensive survey of the field of photography. Covering ail of the basics—from the black and white darkroom to the latest in digital technology—the text includes discussion of the "why" as well as the "how-to" of photographic processes and techniques.

Beautifully designed and comprehensively written, Photography features:

  • cutting-edge images from a range of photographers using both traditional and digital media
  • every photographic process carefully explained and illustrated
  • profiles of leading photographers with full-page examples of the artists' work, a list of the tools they use and discussion of their philosophies and techniques
  • up-to-date coverage of digital photography

Unique online resource—the Companion Website™
www.prenhall.com/horenstein

Prentice Hall's exclusive Companion Website™ that accompanies Photography offers unique tools and support that make it easy for students and instructors to integrate this online study guide with the text. The site is a comprehensive resource that is organized according to the chapters within the text and features a variety of learning and teaching modules: FOR STUDENTS:

A Study Guide organized by chapter includes:

  • simulations and demonstrations of photographic and lab processes
  • chapter summaries that organize key concepts to be learned
  • quizzes with multiple-choice, true/false, and fill-in questions that provide instant scoring and feedback

Additional features of the Companion Website

  • Reference sections contain Web Destinations and Net Search options
  • A Help feature explains how to navigate the website and set preferences
FOR INSTRUCTORS:
  • The Faculty section includes teaching resources such as the Instructor's Manual, lecture hints, class activities, and graphics from the text, coordinated to each chapter.
  • The Syllabus Manager™ tool gives you an easy-to-follow process for creating, posting, and revising a syllabus online. This lets you and your students communicate both inside and outside the classroom at the click of a button.
  • The Companion Website™ makes using the internet in your course exciting and easy. Join us online and enter a new world of teaching and learning opportunities.
Read More Show Less

Product Details

  • ISBN-13: 9780131839885
  • Publisher: Prentice Hall
  • Publication date: 8/3/2003
  • Edition description: Revised
  • Edition number: 1
  • Pages: 435
  • Product dimensions: 10.98 (w) x 11.10 (h) x 0.86 (d)

Read an Excerpt

Photography is now a mainstream art course taught at virtually every level from grade school to college—the latter in art schools, professional schools, and liberal-arts settings. It is taught in continuing education programs, at camera clubs, and in an ever-growing number of year-round workshops. Yet the medium's academic success is a fairly recent phenomenon. If you wanted to study photography just 30 years ago, your options were far more limited. Most art schools didn't have separate photography programs and many major universities didn't even offer an accredited course. And only a few institutions gave graduate degrees in photography.

The growth in photographic education reflects a huge change in photography's social and cultural status. In the art world, photography has finally been accepted as a legitimate medium, worthy of the same attention as painting or sculpture. Museums large and small have permanent collections of photography; hundreds if not thousands of galleries and private dealers exhibit and sell fine-art photography. In the advertising and design communities, photography is used more than ever as a means of persuasion. And where art directors, editors, and clients once told photographers how to work, they now look to photographers for ideas and style.

And there have been many technical changes, too. Photography has always been to a large degree driven by technology, but that has been especially true in recent years. Commercially available photographic materials and processes have improved in quality, flexibility, and permanence. Photographic equipment—especially cameras—has become highly electronic, allowing precise automation of exposure, focus, and other aspects of picture making. And perhaps most significant, the computer has become photography's handmaiden, playing an important role in image capture, editing, and output.

If and when digital photography will replace traditional film-based photography is still a matter of speculation. For the time being, many photographers have adopted a hybrid approach. They make photographs with film and process them conventionally, but then scan them to create digital image files that can be manipulated in the computer and output as digital prints that may or may not look like conventional photographic prints. The level of post-exposure control offered by digital technology generally exceeds that of the conventional darkroom, hence the term digital darkroom. But while filmless photography is making serious inroads, it usually can't match the quality of film, except with expensive and large studio-bound systems.

The purpose of this book is to address the vast changes of photography's past few years, and to help bring photographic education into the twenty-first century. It presents traditional photographic technique in great detail, explaining such basic matters as film exposure, camera controls, film processing, and printing for both black-and-white and color. Rather than treating black-and-white and color photography as separate disciplines, Photography integrates the subjects. And it also provides a thorough exploration of the role of modern technology—camera automation and digital imaging—and how traditional and new technologies can be used together for the best results.

The book's art program plays a critical role in its educational goals. Its many portfolio images come from all areas of photography—technical and commercial to fine-art. The intent was to provide an overview of some of the best creative photographers working today, in whatever field they've chosen to work, and also to help explain in captions something about their methods and techniques. To a large degree, these portfolio images pick up visually where Vicki Goldberg's photo history (Chapter 1) leaves off, with that chapter providing a visual reference to the medium's past and the portfolio images providing a visual reference to its present and future.

A how-to text can take the reader only so far. In eight special profiles, the book details the working methods, thoughts, and visual styles of some of the most visible professionals in a variety of areas of photography. Our goal is to give the reader an understanding of how successful photographers work and also to create a sense of the choices available to future generations of photographers.

The next few years will bring new challenges and opportunities at what promises to be a very rapid pace. Succeeding editions of Photography will doubtless lean more and more towards automation and digital image capture and processing. The authors are uniquely qualified to interpret and explain these changes. Both are active photographers, working in both the fine-art and commercial areas. Henry Horenstein has been a photography teacher since 1970, currently at the Rhode Island School of Design, and has written several of the; most enduring photographic textbooks.. Russell Hart has taught photography at the Boston Museum School and Tufts; University, and has been a photography writer and editor since 1980, mainly at Popular Photography and American Photo magazine, where he is currently Executive Editor.

ACCOMPANYING SUPPLEMENTS

  • Laboratory Manual / Workbook (0-13-975509-8); (97550-8)
  • Instructor's Manual (0-13-975491-1); (97549-0)
  • Website – www.prenhall.com/horenstein
Read More Show Less

Table of Contents

1. Moments in Time: Snapshots of Photographic History.

2. Getting Started.

3. Inside Your Camera.

4. The Lens: An Introduction.

5. The Lens: Focal Length.

6. The Lens: Aperture and Depth of Field.

7. The Shutter.

8. Film Basics.

9. Film Exposure.

10. Camera Filters.

11. Lighting Tools and Techniques.

12. Film Processing.

13. Black-and-White Printing.

14. Color Printing.

15. Finishing Prints.

16. Special Techniques.

17. Digital Imaging.

Credits.

Index.

Read More Show Less

Preface

Photography is now a mainstream art course taught at virtually every level from grade school to college—the latter in art schools, professional schools, and liberal-arts settings. It is taught in continuing education programs, at camera clubs, and in an ever-growing number of year-round workshops. Yet the medium's academic success is a fairly recent phenomenon. If you wanted to study photography just 30 years ago, your options were far more limited. Most art schools didn't have separate photography programs and many major universities didn't even offer an accredited course. And only a few institutions gave graduate degrees in photography.

The growth in photographic education reflects a huge change in photography's social and cultural status. In the art world, photography has finally been accepted as a legitimate medium, worthy of the same attention as painting or sculpture. Museums large and small have permanent collections of photography; hundreds if not thousands of galleries and private dealers exhibit and sell fine-art photography. In the advertising and design communities, photography is used more than ever as a means of persuasion. And where art directors, editors, and clients once told photographers how to work, they now look to photographers for ideas and style.

And there have been many technical changes, too. Photography has always been to a large degree driven by technology, but that has been especially true in recent years. Commercially available photographic materials and processes have improved in quality, flexibility, and permanence. Photographic equipment—especially cameras—has become highly electronic, allowing precise automation of exposure, focus, and other aspects of picture making. And perhaps most significant, the computer has become photography's handmaiden, playing an important role in image capture, editing, and output.

If and when digital photography will replace traditional film-based photography is still a matter of speculation. For the time being, many photographers have adopted a hybrid approach. They make photographs with film and process them conventionally, but then scan them to create digital image files that can be manipulated in the computer and output as digital prints that may or may not look like conventional photographic prints. The level of post-exposure control offered by digital technology generally exceeds that of the conventional darkroom, hence the term digital darkroom. But while filmless photography is making serious inroads, it usually can't match the quality of film, except with expensive and large studio-bound systems.

The purpose of this book is to address the vast changes of photography's past few years, and to help bring photographic education into the twenty-first century. It presents traditional photographic technique in great detail, explaining such basic matters as film exposure, camera controls, film processing, and printing for both black-and-white and color. Rather than treating black-and-white and color photography as separate disciplines, Photography integrates the subjects. And it also provides a thorough exploration of the role of modern technology—camera automation and digital imaging—and how traditional and new technologies can be used together for the best results.

The book's art program plays a critical role in its educational goals. Its many portfolio images come from all areas of photography—technical and commercial to fine-art. The intent was to provide an overview of some of the best creative photographers working today, in whatever field they've chosen to work, and also to help explain in captions something about their methods and techniques. To a large degree, these portfolio images pick up visually where Vicki Goldberg's photo history (Chapter 1) leaves off, with that chapter providing a visual reference to the medium's past and the portfolio images providing a visual reference to its present and future.

A how-to text can take the reader only so far. In eight special profiles, the book details the working methods, thoughts, and visual styles of some of the most visible professionals in a variety of areas of photography. Our goal is to give the reader an understanding of how successful photographers work and also to create a sense of the choices available to future generations of photographers.

The next few years will bring new challenges and opportunities at what promises to be a very rapid pace. Succeeding editions of Photography will doubtless lean more and more towards automation and digital image capture and processing. The authors are uniquely qualified to interpret and explain these changes. Both are active photographers, working in both the fine-art and commercial areas. Henry Horenstein has been a photography teacher since 1970, currently at the Rhode Island School of Design, and has written several of the; most enduring photographic textbooks.. Russell Hart has taught photography at the Boston Museum School and Tufts; University, and has been a photography writer and editor since 1980, mainly at Popular Photography and American Photo magazine, where he is currently Executive Editor.

ACCOMPANYING SUPPLEMENTS

  • Laboratory Manual / Workbook (0-13-975509-8); (97550-8)
  • Instructor's Manual (0-13-975491-1); (97549-0)
  • Website – www.prenhall.com/horenstein
Read More Show Less

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