Books & Videos

Table of Contents

  1. Chapter 1 Communication Through Photography

    1. Enthusiasm

    2. Judging Your Own Personal Response

  2. Chapter 2 What is Composition?

    1. How the Human Eye Sees

    2. Unified Thought

    3. Simplicity

    4. Expressing Your Own Point of View

    5. Simplicity vs. Complexity

  3. Chapter 3 Elements of Composition

    1. Contrast and Tone

    2. Line

    3. Form

    4. Line, Form, Contrast, and Emotion

    5. Pattern

    6. Balance

    7. Movement

    8. Positive/Negative Space

    9. Texture

    10. Camera Position

    11. Focal Length of Lens and Cropping

    12. Depth of Field

    13. Shutter Speed

    14. Relationships

    15. Involvement with the Scene

    16. Rules, Formulas, and Other Problems and Pitfalls

  4. Chapter 4 Visualization

    1. Step 1: Photographic Looking and Seeing

    2. Step 2: Composing an Image

    3. Step 3: Envisioning the Final Print

    4. Step 4: Planning a Strategy for a Final Print

    5. How Your Eye Differs from Your Camera

    6. Alternative Approaches

  5. Chapter 5 Light

    1. Looking at Light

    2. Exercises in Learning to See Light More Accurately

    3. Light Determines Form

    4. Types of Lighting/Quality of Light

    5. Light as Seen by the Eye and by Film or Sensors, and the Inverse Square Law

  6. Chapter 6 Color

    1. The Color Wheel and Color Sphere

    2. Color Composition

    3. Color and Emotion

    4. Color Contrast and Tone

    5. Choosing A Color Film

    6. Color Digital Methods

    7. Light and Color Control

    8. Subjectivity and Mood of Color

    9. In Summary

  7. Chapter 7 Filters

    1. Black-and-White Filters

    2. Examples with a Hypothetical Landscape

    3. Contrast Control with Filters

    4. Digital Filtration for Black-and-White

    5. Infrared Film and Filters

    6. Filters for Color Images

    7. Neutral Density and Polarizing Filters

    8. Problems Associated with Polarizers

  8. Chapter 8 The Zone System of Exposure for Film

    1. A Brief Overview

    2. Film’s Response to Light: Building the Zone System

    3. Translating Negative Densities to Print Tonalities

    4. The Light Meter—How it Works

    5. Review of Negative Exposure Procedure

    6. Using the Zone System to Depart from Reality

    7. The Zone System for Color

    8. The Zone System and the Inverse Square Law

    9. In Summary

  9. Chapter 9 The Black-and-White Negative and Contrast Control—The Extended Zone System

    1. Chapter 9 Overview

    2. The Negative During Development

    3. The Bellows Analogy

    4. Putting Higher Zones to Work

    5. Reciprocity Failure

    6. Examples of Decreasing and Increasing Contrast

    7. The Exposure/Density Curve and Zone 4 Shadow Placement

    8. Differences Between Photography and Sensitometry: Texture vs. Tone and Zone 4 Shadow Placement

    9. Pre-Exposure—What It Is, Where It Works, Where It Fails

    10. Developing the Exposed Negative

    11. Explanation of Compensating Development

    12. Two-Solution Compensating Development for Negatives

    13. Development Procedures for Sheet Film and Roll Film

    14. The Zone System and Roll Film

    15. Negative Materials and Developers

  10. Chapter 10 The Print

    1. Black-and-White Enlarging Papers

    2. Variable Contrast vs. Graded Papers

    3. Fiber Base Papers vs. Resin Coated (RC) Papers

    4. Black-and-White Paper Developers

    5. Making Contact Proof Prints

    6. Preliminary Work Toward a Final Print

    7. Make Test Prints, Not Test Strips

    8. Two-Solution Development for Graded and Variable Contrast Papers

    9. Dodging and Burning

    10. Integrating the Entire Process: Visualization, Exposure, Development, and Printing

    11. Burning with Variable Contrast Papers

    12. Advanced Darkroom Techniques

    13. Inspection, Evaluation, and the Myth of “Dry-Down”

    14. Potassium Ferricyanide Reducing (Bleaching)

    15. Final Fixing of the Image

    16. Local vs. Overall Contrast Control

    17. Scale

    18. Selenium Toning Prints

    19. Other Toners

    20. Chemical Coloration

    21. Full Archival Processing of Prints

    22. Toning, Intensifying, and Reducing Negatives

    23. Cold, Neutral, and Warm Tone Papers

    24. Review of Contrast Controls

    25. Color Printing

    26. Color Contrast Reduction Masking

    27. Masking to Alter Color Intensities

    28. The Shadow Mask

    29. Spotting and Rebalancing Color for Color Prints

    30. Washing and Drying Color Prints

    31. Achieving Proper Color Balance

  11. Chapter 11 The Digital Zone System

    1. Basics of Digital Capture

    2. The Sensor’s Useful Brightness Range

    3. The Histogram—The Heart of the Digital Zone System

    4. The RAW Converter—Processing the RAW Capture

    5. High Dynamic Range Images—The Extended Zone System for Digital Photography

    6. Practical Considerations, Cautions, and Recommendations

  12. Chapter 12 Presentation

    1. Dry Mounting Prints

    2. Making Positioning Guides for Print Placement

    3. Spotting, Etching, and Correction of Defects

    4. Print Finishing

  13. Chapter 13 Exploding Photographic Myths

    1. Myth #1: The zone system gives you a negative that yields a straight print of exactly what you saw in the field, with no burning or dodging required

    2. Myth #2: There are 10 zones in the zone system

    3. Myth #3: Shadows should be placed at Zone 3 in the zone system

    4. Myth #4: Negative densities should be within a fixed density range, and negatives that don’t fit into that range are useless

    5. Myth #5: All contact proof prints of negatives should be made at the same exposure

    6. Myth #6: The best landscape photographs are made within an hour and a half of sunrise or sunset

    7. Myth #7: All black-and-white photographs need a good black, a good white, and tones in between

    8. Myth #8: Two More Persistent Myths

  14. Chapter 14 Photographic Techniques and Artistic Integrity

    1. Art, Communication, and Personal Integrity

  15. Chapter 15 Photographic Realism, Abstraction, and Art

    1. Photography as Fine Art

    2. Photography and Painting—Their Mutual Influence

    3. The Strength of Abstraction

    4. Inwardly and Outwardly Directed Questions

    5. The Power of Photography

  16. Chapter 16 Thoughts on Creativity

    1. Obstacles to Creativity

    2. Prerequisites for Creativity

    3. Producing Something New—Its Real Importance

    4. Be Prepared for Imagination, Innovation, and Creativity

  17. Chapter 17 Approaching Creativity Intuitively

    1. Intuition in Science

    2. Avoiding Intuition

    3. Understanding and Misunderstanding Intuition

    4. Examples of the Intuitive Approach

    5. Applying Intuition to Your Photography

    6. Conclusion

  18. Chapter 18 Toward A Personal Philosophy

    1. Flexibility

    2. Visual Arts

    3. Nonvisual Arts

    4. Expanding and Defining Your Interests

    5. Limitations of Photography

    6. Developing a Personal Style

    7. Self-Critique, Interaction, and Study

  1. Appendix Testing Materials and Equipment for Traditional Photography

    1. ASA (ISO) Test

    2. Contrast Development Test

    3. Lens Sharpness and Coverage Test

    4. Bellows Test

    5. Safelight Test

    6. Enlarger Light Uniformity Test

    7. Enlarger Lens Sharpness Test

  2. Appendix Enlarger Light Sources