A Short Course in Photography: Digital [3 ed.] 0205998259, 9780205998258

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Third Edition

A Short Course in A Digital AN INTRODUCTION TO PHOTOGRAPHIC TECHNIQUE

Teun Hocks

Barbara London

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IP#ilii•Hi

Jim Stone

Boston Columbus Indianapolis New New York San San Francisco Francisco Upper Upper Saddle Saddle River River Amsterdam Cape Town Dubai London London Madrid Madrid Milan Milan Munich Munich Paris Paris Montréal Monrreal Toronto Toronto Delhi Mexico City São Paulo Sydney Hong Kong Seoul Singapore Taipei Sao Sydney Hong Kong Seoul Singapore Taipei Tokyo Tokyo

Editor-in-Chief: Sarah Touborg Senior Publisher: Roth Roch Wilkofsky Assistan t: Christopher Fegan Fegan Editorial Assistant: \Vendy Albert Marketing Manager: Wendy Assistant Assistan t Marketing Manager: Paige Paige Patunas Pacunas Ediror: Melissa Feimer Feimer Senior Managing Editor: Production Produc tion Project Manager: Manage r: Joe Scordato Scordato Program Manager: Barbara Barbara Cappuccio Senior Operations Supervisor: Mary Mary Fischer Fischer

Operations Specialist: Diane Diane Peirano Peirano Cover Designer: Kathryn Kath ryn Foot Foor Bloom/stevebloom.com Cover Art: © Steve Bloom/stevebloom.com Med ia Director: Director: David David Alick Senior Digital Media Media Project Manager: Amanda Smith Digital Publishing Specialist: Corin Skidds Full-Service Project Project Management: Managem en t: SPi-Global SPi-Global Printer/ Bind er: The Courier Companies Printer/Binder: Cover Printer: The T he Courier Companies Co m panies

borrowed from from other ocher sources sou rces and and reproduced, reproduced ,with with permission, permission, Credits and acknowledgments borrowed in this page within withi n text text or or on on page page 228. 228. rhis textbook appear on appropriate page Teu n Hocks, Untitled Untitled 2000 2000 Frontispiece: Teun Courtesy Co urtesy of of the artist and P•P•O•W P.P·O·W Gallery, Gallery, New New York York

Copyright © 2015, 2012, 2010 Copyright© 2010 by by Pearson Pearson Education, Education, Inc. Inc. All All rights righ ts reserved. rese Lved. Manufactured Manufactured in in the the United United States Statesof ofAmerica. America.This T his by Copyright, Copyrigh t, and permission perm ission should sho uld be be obtained obtained from fro m the the publisher publisherprior prior to to any anyprohibited p roh ibi tedreproduction, reproduction, publication is protected by reproductio n, transmission in in any any form form or or by by any any means, means, electronic, electronic, mechanical, mechanical,photocopying, photocopying,recording, record ing,or orlikelikestorage in a retrieval system, or transmission wise. To obtain Permi ssions obtai n permission(s) permission(s) to to use use material materia l from from this chis work, work, please please submit submit aa written written request request to to Pearson Pearson Education, Education,Inc., Inc.,Permissions Permissions Department, Departmen t, One Lake Lake Street, Street, Upper Upper Saddle Sadd le River, Rive r, New New Jersey Jersey 07458, 07458, or or you you may may fax fax your your request request to to 201-236-3290. 201-236-3290. Many of desi gnaof the designations by by manufacturers manufacturers and and sellers sellers to co distinguish distinguish their their products produces are are claimed claimed as as trademarks. trademarks. Where Wherethose thosedesignadesignations appear in this chis book, book, and the the publisher publisher was was aware aware of ofaa trademark trademark claim, claim, the the designations designations have have been been printed printed in in initial initial caps capsor o rall all caps. Library of of Congress Cataloging-in-Publication Data Data London, Barbara A short course in photography / Barbara Jim Stone.—Third photography:: digital digital an introduction introduc ti on to to photographic photographic technique techn ique/ BarbaraLondon, London,Jim Stone.-Thirdedition. edition. pages cm Includes bibliographical references references and index. index. ISBN 978-0-205-99825-8 1. l. Photography—Digital Photography- Digital techniques—Textbooks. techniques- Tex tbooks. 2. 2. Image Image processing—Digital processing- Digital techniques—Textbooks. tech niq ues- Textbooks. I.I. Stone, Stone,Jim Jim II. II. Title. Title. TR267.L647 2015 20 15 771’.4--dc23 77 l '.4--dc23 2014007787 20 14007787 10 9 8 7 6 5

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Stud ent Edition: Ed ition: Student ISBN 10: 10: 0-205-99825-9 ISBN 13: 13: 978-0-205-99825-8

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Instructor’s Instructor's Review Copy: 0-205-99829- 1 10: 0-205-99829-1 ISBN 10: ISBN 13: 13: 978-0-205-99829-6

Portraits from from Penelope Umbrico. Sunset Portraits 8,462,359 Flickr Sunsets on 12/21/10, 12/ 21/ 10, 2010. well as Photography can be your your subject, as well searching the the Web Web in in your medium. Umbrico began searching 2006 for the most-often-photographed most-o~en-photographed subject, findfinding it to be sunsets (541,795 pictures posted posted on on the the popular photo-sharing photo-sharing site Flickr Flickr at that time). time).

x 6-inch machine prints made Umbrico had 4 × from an “appropriated” "appropriated" selection (this 2010 piece piece includes only those sunsets with with silhouetted silhouetted figures), figures), and exhibits them in grid form, form, about 88 feet feet tall. tall. For For a 2011 gallery show, shaw, she showed showed 1,058 1,058 44 × x 6-inch sunset portraits; by then the the total total number number of ofsunsets sunsets on Flickr had grown to to 9,623,557.

As you you make your your own photographs, it isis worth worth asking yourself questions. What askingyourself What are the the ways ways you can improve the photographs you are now now making? making? IfIf others have already photographed your your subject, how will your your pictures be different? different? IfIfyou magnify magnify meaningyour will you also the meaning your images have for you, will increase the impact they have on others? others? Read Read on. on.

iii Ill

Contents C ontents Preface vii

1I Camera Camera-22 yo ur camera camera ready ready 44 ■＠ Focusing and setting the the exposure exposu re Getting Started Getting your Expos ure readout readout 7 ■ ＠ Exposing images 8 ＠■ What will you yo u photograph? photograph? 99 6 ＠■ Exposure ■ ＠ Types of of Cameras Film Film cameras 10 10 ■＠ Digital cameras 12 ■＠ Basic Camera Controls 14 ＠■ More about Camera Controls 16 16 ＠■ Inside a digital digita l single-lens 17 ■＠ Shutter Speed Affects light light and a nd motion motion 18 18 ■＠ Use it creatively creatively reflex camera 17 light and and depth depth of offield field 22 22 ＠■ Use it creatively 24 ■＠ 20 ■＠ Aperture Affects light Shutter Speed and Aperture Blur Blur vs. vs. depth depth of offield field 26 26 ＠■ Getting the Most from Your Camera and Lens Lens 28 28

2 Lens

30

basic difference difference between between lenses lenses 32 32 ■＠ Normal Focal Lens Focal Length The basic most like like human huma n vision vision 34 34 ■＠ Long Focal Length Telephoto Length The most Focal Length Wide-angle Wide-angle lenses lenses 38 38 ■＠ Zoom, Macro, and lenses 36 ■＠ Short Focal Depth of of Field Field 42 42 ＠■ Automatic Focus 43 Fisheye Lenses 40 ■＠ Focus and Depth ■ ＠ Depth of of Field Controlling sharpness sharp ness in in aa photograph photograph 44 44 ■＠ More about of Field How How to to preview preview itit 46 46 ■＠ Perspective How How a photograph photograph shows shows Depth of Close-ups and a nd filters filters 50 50 depth 48 ■＠ Lens Attachments Close-ups

3 Light and Exposure

52

Sensors and Pixels 54 54 ■＠ Pixels and Resolution 55 55 ■＠ Color in Photography Color Co lor Systems 56 ■＠ Color Characteristics Characte ri stics 57 57 ■＠ White Balance 58 58 ■＠ Using W hat different different types types do do 62 62 ＠■ How to calHistograms 60 ■＠ Exposure Meters What cul ate and a nd adjust adju st an an exposure manually manually 64 64 ■＠ Overriding an Automatic ExpoExpoculate Exposure of of an Average Average Scene Scene 68 68 ＠■ Exposing sure Camera 66 ■＠ Making an Exposure or Darker Darker than than Average Average 70 70 ＠■ Backlighting 72 ■＠ Scenes that are Lighter Lighter or High Contrast Contrast 73 73 ■＠ HDR HOR High dynamic range range 74 74 Exposing Scenes with High

4 Digital Workplace Basics

76

You'll Need Need 78 78 ■＠ Pictures Are Files 80 ■＠ Digital Equipment and Materials You’ll Color Modes, gamu ts, spaces, spaces, and a nd profiles profi les 82 82 ■＠ Channels Chan nels 83 ■＠ Calibrating for Modes, gamuts, accuracy 84 ■＠ Working with Camera Raw Raw 85 85 ■＠ Stay organized Setting up up aa Workflow Workfl ow 86 ■＠ Photographer’s Photographer's Workflow Programs: Programs: 87 87 ■＠ Importing an Image 88 ■＠ Scanning Scan ning 89

5 Image Editing

IIJ 90

Editing an Image Image 92 92 ■＠ Adjusting an Image Image Levels Leve ls 94 ■＠ Getting Started Editing Curves 96 ■＠ Adjusting Part of of an Image Image Selections Selections 98 98 ＠■ More Techniques Layers 100 ■＠ Retouching 102 ＠■ Sharpeni Sharpening ng 104 ■＠ Compositing 106 ＠■ Co lor into black black and a nd white whi te 108 108 ■＠ Filters Fil ters 109 ■＠ An Editing Workflow 110 110 Color ■ ＠ Ethics and Digital Imaging Imaging 112 112

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C ONTENTS CONTENTS

6 Printing and Display

114

Drivers 116 116 ■＠ Papers and Inks 117 11 7 ■＠ Soft Proofing 118 ■＠ Printers and Drivers Photographs 119 119 ■＠ Presenting Your Work Framing Framing 120 120 ■＠ Matting Panoramic Photographs 121 ■＠ Mounting a Print Equipment Equipment and and materials materials you’ll you 'll need need 122 122 a print 121 ■ ＠ Dry Mounting a Print Print Step Step by by Step Step 124 124 ■＠ Bleed Mounting/Overmatting Mounting/Overmatting 126 126

7 Organizing and Storing Image Storage 130 ■＠ Using Metadata 131 ■ ＠ Archiving Images and Prints Prints 133 133

8 Using Using Light

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128

Software for Organizing 132 132

134

of Light Light From From direct direct to to diffused diffused 136 136 ■＠ Existing Light Light Use Use what’s what's Qualities of avail able 138 ■＠ The Main Light Light The strongest stro ngest source source of oflight light 140 140 available ■ ＠ Fill Light To lighten lighten shadows shadows 142 142 ■＠ Simple Portrait Lighting Lighting 144 144 ■＠ Light Photolamp Photolamp or or flash fi ash 146 146 ■＠ More about Flash How How to to Using Artificial Light position itit 148 ■＠ Using Flash 150

9 Seeing Like a Camera

152

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What's Picture The edges edges or or frame frame 154 154 The background 156 ■＠ What’s in the Picture Focus Which W hic h parts parts are are sharp sharp 158 158 ■＠ Time and Motion in in a Photograph Photograph 160 160 ■＠ dim ensio ns become become two two 162 162 ■＠ Chaos into order 163 Depth in a Picture Three dimensions ■ ＠ Photographing for Meaning Meaning 164 164 ■＠ Portraits Informal: Info rm a l: Finding Finding them them 166 166 ■＠ the m up up 168 168 ■＠ Photographing the Landscape Landscape 170 170 ■＠ Formal: Setting them 172 ■＠ Photographing Inside Inside 174 174 ■＠ Assembled Photographing the Cityscape 172 to be Photographed 176 ■＠ Responding to Photographs Photographs 178 178

10 History of of Photography 10

180

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" Designs on o n silver silver bright” bright" 182 182 Pictures on on paper paper Daguerreotype “Designs Calotype Pictures 184 ■＠ Collodion Wet-Plate Sharp and a nd reproducible reproducible 185 185 ■＠ Gelatin Emulsion/ Emulsion/ Roll-Film Base Base Photography Photography for for everyone everyo ne 186 186 ■＠ Color Photography 187 187 ■＠ Photography 190 190 ■＠ Early Images of of War War Early Portraits 188 ■＠ Early Travel Photography 191 191 ■＠ Time and Motion in in Early Early Photographs Photographs 192 192 ■＠ The Photograph as Change 194 194 ■＠ Photojournalism Document 193 ■＠ Photography and Social Change in the 19 19 th Century 200 ■＠ Pictorial Photography 196 ■＠ Photography as Art in 201 ■＠ The Direct Image Image in in Art Art 202 202 ■＠ The Quest and the Photo-Secession 201 for a New Vision 203 ■＠ Photography as Art in in the 1950s 1950s and and 1960s 1960s 204 204 ■ ＠ Photography as Art in in the the 1970s 1970s and and 1980s 1980s 206 206 ■＠ Color Photography Arrives—Again Arrives-Again 208 ■＠ Digital Photography Predecessors Predecessors 210 210 ■＠ Becomes Becomes mainstream 212

How to Learn Learn More 214 214 ■＠ Troubleshooting 215 ■＠ Photographers’ Photographers' Web Sites 220 ■＠ Glossary 222 ■＠ Bibliography 226 ■＠ Photo Credits 228 ■＠ Index 230 C ONTENTS CONTENTS

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M YARTSLAB MYARTSLAB

P reface Preface

II

f you don’t don't know anything anything about about photography photographyand and

wou ld like to to learn, or if ifyou want want to to make make better betterpictures picturesthan than would making now, now, A A Short Short Course Course in in Photography: Photography: the ones you are making book is is modeled modeled after after the the widely widelyused used Digital will help you. This book of A A Short Short Course Course in in Photography, Photography,, but bur film-and-darkroom edition of Photography presents the medium in in its its current, current, electronic electronic form. forn1.

■ ＠

■ ＠

We present here, in in depth, depth, the the basic basic techniques techniques of ofphotography: photography: ＠■ ＠■

＠■ ＠■

How to get a good exposure How to adjust the the focus, focus, shutter shutter speed, speed, and and aperture aperture (the (the of the lens opening) to to produce produce the the results results you you want want size of How to transfer your pictures pictures to to aa computer con1puter and andmake make sure sure safe from from loss loss they are organized and safe How to use computer software software to to make make your your photographs photographs look their best

Aln1ost of today’s today's cameras cameras incorporate incorporate automatic automatic features, features, Almost all of doesn' t mean mean that that they they automatically automatically produce produce the the rerebut that doesn’t edition of of A A Short Short Course Course in in Photography Photography dedesults you want. This edition co: votes special attention to: ＠■

Automatic focus and automatic exposure—what exposure- what they they do do and, particularly, how how to to override override them them when when itit is is better better to to adjust the camera manually manually

of the book’s book's highlights highlights include: include: Some of ＠■

＠■ ＠■

＠■

＠■

Getting Started. Started. If Ifyou are are brand brand new new to to photography, photography,this this section will walk you through through the the first first steps steps of ofselecting selectingand and installing a memory card, setting setting the the camera’s camera's menu menu options, options, focusing sharply, the exposure, exposure, and and making makingyour your sharply, adjusting the pages 4–9. 4-9. first pictures. See pages Projects. These projects projects are are designed designed to to help help develop develop your your skills. See See page page 136 136 or or 155. 155. technical and expressive skills. Making Better Prints. This includes includes information information about abouthow how to adjust your photographs with with image-editing image-editingsoftware software (pages 92–111), them (page 92- 111), select ink ink and and paper paper for forchem (page 117), 117), print them (page 118), 118), and then then display display them them in in aa mat matand and frame (pages 120–127). 120- 127). lenses (pages Types of oflenses (pages 31–41), 3 1- 41), cameras cameras (pages (pages 10–13), 10- 13), 134- 151), and and software software for for organizing organizing and and lighting (pages 134–151), archiving (pages 131–133). 131- 133). ofPhotography. The medium medium has has been been used usedfor for History of persuasion, and and personal personal expression expressio n since since documentation, persuasion, th-century invention. See 19'h-century See pages pages 180–213. 180- 213. its 19

Photography is aa subjective subjective undertaking. undertaking. AA Short ShortCourse Courseinin Photography emphasizes your your choices choices in in picture picture making: making: ＠■ ＠■

How to look at a scene in in the the way way aa camera camera can can record record itit How to select the shutter speed, speed, point point of ofview, view, and and other other

make the the difference difference between between an an ordinary ordinary elements that can make photograph snapshot and an exciting photograph Like aa Camera, Can1era, explores explores your your choices choices Chapter 9, Seeing Like the image image and and presents presents ways ways to to in selecting and adjusting the as people people and and landscapes. landscapes. photograph subjects such as Chapter 10, 10, History of ofPhotography, Photography,shows shows photographs photographsby by ofthe greatest artists ever ever to to use use aacamera. camera. some of

New in this third edition are: are: The latest camera can1era technology technology and and software, software, integration integration of of with Photoshop Photoshop at at every everystep, step,and and exexworkflow applications with panded coverage of ofa Camera Camera Raw Raw workflow. workflow. ■ ＠ New photographs by great great contemporary contemporary artists, artists,includincluding Nancy Burson, Roe Ethridge, Ethridge,Laurisa Laurisa Burson, Deborah Deborah Willis, Willis, Roe Stephen Shore, Shore, Rebecca Rebecca Cummins, Curnmins, Galvan, Martha Rosler, Stephen Javier David Taylor, Taylor, Penelope Penelope Umbrico, Umbrico,Carrie Carrie Javier Manzano, David and Gueorgui Gueorgui Pinkhassov. Pinkhassov. Eggleston, and Mae Weems, William Eggleston, ■ ＠ The 1970s explosion of ofcolor color photography photography isis explained explainedin inthe the History of ofPhotography, Photography, Chapter Chapter 10. 10. ■ ＠ Current product and and technical technical information information throughout, throughout, with updated demonstration and and example example photographs. photographs. ■ ＠

to make make learning learning photography photography as as easy easy as as This book is designed to possible: ■ ＠ ■ ＠

■ ＠ ■ ＠

Every two facing pages pages completes completes aa single single topic topic instructions clarify clarify each each stage stage of of Detailed step-by-step instructions extended procedures make subtopics subtopics easy easy to to spot spot Boldfaced headings make and drawings drawings illustrate illustrate each each topic topic Numerous photographs and

Acknowledgments Many people gave generously generously of oftheir their time time and and effort effort in in the the proproof this book. Feedback Feedback from from instructors instructors helped helped confirm confirm duction of the direction of of the the book and determine determine the the new new elements elen1ents in in this this Luis Peon-Casanova, Peon-Casanova, University Universiry of of Nebraska–Lincoln; Nebraska- Lincoln; edition. Luis Michael Grillo, University University of of Maine; Maine; Deidre Deidre Engel, Engel, Mt. Mt. San San Antonio College; Michael Ensdorf, Ensdorf, Roosevelt Roosevelt University; University;and and Art Art Lansing Community Commun ity College, College, reviewed reviewed the the second second ediediHanson, Lansing tion and made valuable suggestions. suggestions. Amber, Amber, Jade, Jade,and andSkye SkyeStone Stone to finish finish the the book. book. At At Pearson Pearson Eduction, Eduction,Roth Roth gave their dad time to Wilkofsky provided editorial editorial support; support; Joe Joe Scordato Scordato supervised supervised of the the book from fron1 manuscript manuscript to to printer. printer. Steve Steve the production of (extremely few, few, of ofcourse) course) errors. errors. IfIfyou you have have Martel caught our (extremely them to to Photography Photography Editor, Editor, Pearson Pearson please send them suggestions, please NJ 07458. 07458. They Theywill will Upper Saddle Saddle River, River,NJ Education, 11 Lake Street, Upper be sincerely welcomed. Jim Stone Jim Barbara London P REFACE PREFACE

vii VII

Editor-in-Chief: Editor-in-C hi ef: Sarah Touborg Senior Sen ior Publisher: Pub lisher: Roth Ro th Wilkofsky Wilkofsky Assistant: Christopher Chri stop her Fegan Fegan Editorial Assistant: Marketin g Manager: Manager: Wendy \Vend y Albert Marketing Assistant Marketing Manager: Paige Marketin g Paige Patunas Patun as Man aging Editor: Ediror: Melissa Feimer Feimer Seni or Managing Senior Production Manage r: Joe Scordato Scordato Produ cti on Project Manager: Program Manager: Manage r: Barbara Barbara Cappuccio Capp uccio Senior Seni or Operations Supervisor: Su perviso r: Mary Mary Fischer Fischer

Operations Specialist: Diane Diane Peirano Pei rano Cover Designer: Kathryn Kath ryn Foot Foor Bloom/ stevebloo m.com Cover Art: © Steve Bloom/stevebloom.com Med ia Director: Director: David David Alick Senior Digital Media Media Project Manager: Amanda Smith Pu blishing Specialist: Corin Co rin Skidds Digital Publishing Full-Service Project Project Management: Managem en t: SPi-Global SPi-G lobal Printer/ Binder: The Courier Companies Printer/Binder: Cover Printer: The Courier Cou ri er Companies Co m pani es

Credits Credirs and acknowledgments borrowed borrowed from fro m other o th er sources sou rces and and reproduced, reprodu ced,with with permission, permi ssion, in this th is textbook tex tboo k appear on appropriate app ropriate page page within within text text or or on on page page 228. 228. Frontispiece: Teun Teu n Hocks, Hocks, Untitled Untitled 2000 2000 Courtesy of the artist and P•P•O•W P.P·O·W Gallery, Gallery, New New York Yo rk Cou rtesy of 20 15, 2012, 20 12, 2010 20 10 by by Pearson Pearso n Education, Educati on, Inc. In c. All All rights ri ghts reserved. rese rved. Manufactured Manu fac tu red in in the theUnited Uni ted States States of o fAmerica. Am erica. Copyright © 2015, This publicati on is is protected protec ted by by Copyright, Copyright, and and permission permi ssion should sho ul d be be obtained obtained from from the the publisher publisherprior priorto co any an yprohibited prohi bited T hi s publication reproduction, reproductio n, storage in a retrieval retrieval system, system , or or transmission trans missio n in in any any form form or o r by byany any means, means,electronic, electro nic,mechanical, m echani cal,photocopyphotocopying, in g, recording, or likewise. To obtain permission(s) permi ssion(s) to to use use material materi al from from this t his work, wo rk,please please submit submi t aa written written request req uest to to Pearson Pearso n Education, Inc., Inc. , Permissions Permissio ns Department, Department, One O ne Lake Lake Street, Street, Upper Upper Saddle Saddle River, River,New New Jersey Jersey07458, 07458,or oryou you may mayfax faxyour yourrequest req uest 201 -236-3290. to 201-236-3290.

This work is protected by by United United States States copyright copyrightlaws lawsand andisisprovided providedsolely so lelyfor forthe theuse useofof t eaching their their courses courses and and assessing assessingstudent studentlearning. learning.Dissemination Disse minationor orsale saleofof instructors in teaching this work work (including (including on on the theWorld WorldWide WideWeb) Web)will willdestroy des troythe th eintegrity integrityofofthe thework work any part of this n ot permitted. permitted . The The work work and and materials m ateri alsfrom fro m ititshould sh ou ldnever n everbe bemade m adeavailable availabletotostudents students and is not except by instructors instru ctors using u sing the the accompanying accompanyingtext textin intheir theirclasses. classes .All Allrecipients recipientsofofthis thiswork workare are expect ed to to abide by by these these restrictions restrictions and a nd to to honor honorthe theintended intendedpedagogical pedagogicalpurposes purposesand andthe the expected instructors who who rely relyon on these these materials. ma terials. n eeds of other instructors needs Many of of the t he designations designati ons by by manufacturers manu fac turers and and sellers sellers to to distinguish di stingui sh their th eir products prod ucts are a reclaimed claimed as trademarks. trade marks. Where those those designations des ignations appear appear in in this t his book, boo k, and and the th e publisher publisher was was aware aware of ofaa trademark trade ma rk claim, the th e designations des ignations have have been been printed printed in in initial ini tial caps caps or or all all caps. caps.

10 9 8 7 6 5 4 3 2 1 10

Student Edition: ISBN ISB N 10: I 0: 0-205-99825-9 ISBN 13: 13: 978-0-205-99825-8

IP¥iii·HI

Instructor’s Instructor's Review Copy: I 0: 0-205-99829-1 0-205-99829-1 ISBN 10: ISBN 13: 13: 978-0-205-99829-6

ANNIE A N N I E LLEIBOVITZ EIBOVITZ Ma, 1998. 1998. Framing is a basic control you Yo Yo Ma, you have in making a photograph. photograph. The two photographs on this page and opposite are about music. you center your your subject or music. Would you use a corner? Do you you want action or repose? Black and white or color? Horizontal, Horizontal, vertical, or square? Candid or posed? Showing the subject's subject’s front or back? More about framing on pages 154–155. 154- 155.

Getting Started . ................. . . . . . . . . . . . . . . . 44 Gettingyour Getting your camera ready .. ......... . . . . . . . 44 Focusing and setting . . 66 setting the exposure exposure.. .... Exposure readout ................. . . . . . . . . . . . . . . . 77 Exposing images .................. . . . . . . . . . . . . . . . . 88 photograph? .... .. .... .. .... What will you photograph? . . 99 Cameras ............... . . . . . . . . . . . . . 10 Types of of Cameras. 10 10 Film cameras ................... . . . . . . . . . . . . . . . . . 10 Digital cameras .... . . ........ . . . . . . .. .... .. .... 12 12

Shutter Speed .................. . . . . . . . . . . . . . . . . 18 18 Affects light and motion ........... . . . . . . . . . 18 Use it creatively . ................ . . . . . . . . . . . . . . 20 20 Aperture.. ...................... Aperture . . . . . . . . . . . . . . . . . . . . 22 22 offield .. ...... 22 Affects light and depth of . . . . 22 24 Use it creatively ................. . . . . . . . . . . . . . . . 24

Basic Camera Controls .. ......... . . . . . . . 14

Shutter Speed 26 and Aperture .. . . . .... .. .... .. .... .. .... .. .. 26 Blur vs. depth of offield ............. 26 . . . . . . . . . . . 26

Camera Controls .... 16 More about Camera . . 16 single-lens Inside a digital single-lens reflex camera .................. . . . . . . . . . . . . . . . . 17 17

Getting the Most from Your 28 Camera and Lens .... .... .. .. .... .. .... .. .. 28

Camera In this chapter ln cha pter you’ll you 'll learn… learn .. . of your camera and what they they do. do . • the basic controls of • • of cameras, and their their characteristics, • the categories of purposes. right one for your purposes. so you can choose the right • • the first steps of of getting a camera ready, ready, focusing focusing camera's settings. settings. an image, and adjusting the camera’s

Project: EXPOSE SOME SOME PICTURES PICTURES YOU WILL NEED single- lens reflex. reflex. Camera. We suggest a single-lens your work, work, it’s it's good to to Output. To evaluate your

digital pictures pictures see exactly what you did. Your digital camera's small smal l monitor monitor can be viewed on the camera’s evaluate on on aa computer computer but they are easier to evaluate Pages 8 and 88 tell tell you you how how to to download download screen. Pages came ra to to aa computer. computer. photographs from your camera your unedited unedited Once they are on a computer, your be displayed displayed large large with with aa photographs can also be wide•screen television television so so digital projector or on a wide-screen imagine what what you can easily easi ly see small details details and imagine like printed printed at at aa large large size. size. IfIf you you they might look like take itit to to the the photo photo lab lab shoot 35mm film you can take in a drug store or supermarket chain chain for for overnight overnight printing. processing and printing.

A A

1

things in in common: common: an an image-forming image-forminglens; lens;aa llII cameras have four things

(film or or aa digital digital sensor) sensor) to to record record the the light light that that light-sensitive surface (film container (the (rhe camera’s camera's body) body) to to keep keep forms an image; a light-tight container two important important controls controls to to adjust adjust the the amount amount of ofpicturepictureother light out; and two that reaches reaches the the light-sensitive light-sensitive surface. surface. making light (the exposure) that This chapter describes those those light light controls controls and and how howyou you can cantake takecharge charge of them, instead of of letting letting them them control control you. you. Almost Almost all all current current cameras cameras of exposure and and automatic automatic focus, focus, and and most most have have are equipped with automatic exposure auro1naric flash. If If you are are interested interested in in making making better better pictures, pictures, however, however,you you automatic how your camera camera makes n1akes its its decisions, decisions,even even ififthe the automatic automaticfeafea· should know how tures can’t can't be turned off. If lf they they can, can, you you will will want want to to override override your your camera’s camera's auton1atic decisions from from time time to to time time and and make make your you r own own choices. choices. automatic ■ ＠

■ ＠

■ ＠

■ ＠

to blur blur the the motion motion of ofaa moving moving subject subject or or freeze freeze its its You may want to motion sharply. Pages Pages 18–19 18- 19 show sh ow how. how. from foreground foreground to to background background or orthe the You may want a scene sharp from the background background out out of offocus. focus. See See pages pages 44–45. 44- 45. foreground sharp but the You may want to to override override your camera’s can1era's automatic autotnatic focus focus mechanism n1echanism so so part of of aa scene scene is is sharp. sharp. Page Page 43 43 tells tells when when and and how how that only a certain part to do so. to silhouette aa subject subject against against aa bright bright background, background,or or You may decide to to make make sure sure that that you you don’t don't end end up up with with aa perhaps you want to 72. si lhouette. See page 72. silhouette.

Most professional photographers photographers use use cameras cameraswith withautomatic automaticfeatures, features, track of of what what Pencil and notepad to keep track you do. Optional, but but highly highly recommended recommended for for al l the projects. all

pages 4–9 4 - 9 ifif you are are just just PROCEDURE See pages photograph. Those pages pages walk walk you you beginning to photograph. of setting up up your your camera, camera, through the first steps of focus ing an image image sharply, adjusting adjusting the the camera camera focusing settings so your photographs photographs won’t won't be be too too light light or or making your your first first pictures. pictures. See See pages pages too dark, and making kinds of of cameras. came ras. 10- 13 for more more about the kinds 10–13 in the scenes scenes when you you Have some variety in photograph subjects subjects near near and and shoot. For example, photograph far, indoors and outside, in in the the shade shade and and in in the the far, Photograph different types of of subjects, subjects, such such sun. Photograph and an an action action scene. scene. as a portrait, a landscape, and suggestions . Page 9 gives some suggestions.

their cameras cameras operate operate manually manuallyas aswell well as asautomatically automaticallyso so but they know how their is best best for for aa particular particular situation. situation. You You will will want want to to do do they can choose which is the more n1ore you you know know about about how how your your camera camera operates, operates, the the the same because the yo u will be able to to get get the the results results you you want. want. better you

DO? Which pictures pictures did did you you HOW DID YOU DO? different from from what what like best? Why? Were some different you expected to get? Did Did some of of your your camera’s camera's helps to to read read your your operations cause confusion? ItIt helps book all al l the way through or or to to ask ask for for instruction book from someone familiar fami li ar with with your your camera. camera. help from

David David Scheinbaum. Scheinbaum. Erykah Badu, Sunshine Theater, Albuquerque, New Mexico, 2003. querque,

3

Getting Started G E T T I N G YOUR YOUR C AMERA R EADY GETTING CAMERA READY camera's main functions are are to to help help you you A camera’s view the scene so you can select select what what you yo u want want to to

film camera) Film (in a film records the image transmitted by the lens.

The viewfinder shows

the picture that the lens will focus on the sensor or film.

photograph, focus to co get get the the scene scene sharp sharp where where to be, be, and expose the t he picture picture so so itit isis you want it to coo light or too coo dark. dark. not too T his illustration illust ration divides aa camera camera in in half half so so itit This for both film film and and digital digital capture. capture.For For shows parts for abo u t specific sp ecific cameras, can1eras, see see pages pages 10–13. 10- 13. n1ore about more The lens moves forward forward and and back to to

bring objects at different distances into sharp focus. focus.

The aperture adjusts from larger (letting more light pass from the lens to the light-sensitive surface) to smaller (letting less light pass).

The shutter opens and closes to limit the length of time that light strikes the light-sensitive surface.

The memory card (in a digital camera) stores images until can be be until they can printed or transferred transferred printed to a computer or other storage device. device.

The sensor (in a digital camera) converts the light from the lens into electrical electrical signals that that are are sent sent to the card. to t he memory card.

More about camera controls controls on pages 14–27. 14- 27.

Choose aa Memo Memory Card Card

Select an an ISO ISO

-

CF (Compact (Compact Flash)

-

(Secure Digital) SD (Secure

Memory Stick

I!!

xD-Picture

Digital cameras store pictures pictures on memory memory cards cards speed. Because Because there there that vary in capacity and speed. are not not interchangeable, interchangeable, are several types that are have one one that fits fits your your camera. camera. make sure you have

4

C AMERA CAMERA

(100,200,400, so on) on) ISO speed (100, 200, 400, and so film's) sensitivity sensitivity to to describes a sensor’s sensor's (or film’s) light . Th number, the the less less light light itit light. Thee higher the number, ( one that that isis not not needs for a correct exposure (one digital camcamtoo light or too dark). With aa digital ISO setting setting within withi n era, you may select an ISO camera's range. range. You may may choose choose aa difd ifthat camera’s pictu re. Lower Lower numbers numbers ferent ISO for each picture.

AUTO HV

100 4W

125

160

"NJ

!)}. Now, ifif your aperture is set to f/16, your f/16, everything from 15ft 15ft to 30 ft. ft. (4.5–9 (4 .5- 9 m) will be within the depth of offield and in focus. focus . It doesn't doesn’t matter exactly where the subject is when you make the photograph, as you long as it is somewhere within distances. Pre-focus an these distances. autofocus lens by aiming at a spot the same distance the action will be and holding holding the shutter button down halfway until you you frame and shoot.

Ansel Adams. Tetons and the Snake River, Wyoming, 1942. 1942. The smaller the aperture the greater the depth of of field. field. Everything in the picture at right is sharp. Adams usually used a view camera (page 11), 11 ), which offers additional control over over focus, and he preferred its large-format film for making prints of ofgreater clarity. View cameras are always used on a tripod. you tripod. Even ififyou are using a small camera, a tripod is a good idea to avoid motion blur when the aperture is small and the shutter speed is correspondingly slow.

Focusing for the greatest greatest depth depth of of field. field. scene that ch at includes in cludes shoo ting aa scene When you are shooting impo r tant objects o bjects at a distance distance as as well well as as close close important yo u will want wane maximum maxim um depth depth of of field. fie ld. up, you t he box at right right is is a way way of of setting settin g the t he Shown in the len s to permit as much n1 uch as possible possible of of the t h e scene scene lens to co be sharp. It le is easy if if you yo u have have aa lens lens that chat has has dept h-of-fie ld scale. If If not, no t, you can can look look up u p the t he a depth-of-field depth dep th of of field in a printed printed table table or or by by using using aa of field application (see (see below). below). depth of

Depth-of-field tables list, for each lens focal length, focusing distance, and aperture, the near and far ofgood focus and the limits of hyperfocal distance (see the box at right). right). At one time only available as a lengthy book, a full set of ofdepthof-field offield tables can now be downloaded as an app (a your software program) for your smart phone. You can have complete focus information handy wherever you you are. At left is Simple s;mple D-o-F iPhone. Calculator on an iPhone.

Depth of field

• • 50 100 15 30

8 4

22 16

ft m 4 8

16 22

5.6 8 11 11 16 16 22

When the lens is focused at infinity ( ∞ oo on the lens distance scale), everything at some distance away and and farther farther will be sharp: with this lens at f/22 everything everything will will be sharp from from 50 ft. ft. (16 m) to infinity (as far as the eye can see). Depth of of field field

20 7

30 10

22 16

50 15

8 4

100 30 4 8

ft m

16 22

5.6 8 11 11 16 16 22

You can increase the depth of offield even more if, if, instead instead of of focusing on infinity, you set the infinity infinity,you infinif)' mark ( ∞ oo)) opposite the point on the depth-of-field scale (22) that shows the f-stop you f-stop are using (f/22). (f/22). You are now focused on a distance (50 (50 ft., ft., 16 16 m) slightly closer than infinity (technically called the hyperfocal hyperfoca l ). Now everything from 23 ft. (7 m) to the far d;scance). far backdistance ground is within the depth of offield and will will be be sharp in the the image.

C HAPTER 2 CHAPTER

47

Perspective H OW A P H O T O G R A P H SSHOWS HOWS D EPTH HOW PHOTOGRAPH DEPTH erspective: the impression impression of of depth. depth. Few Few PP erspective: lenses (except the the fisheye) fisheye) noticeably noticeably distort distort the the scene they show. The perspective perspective in in aa photophotograph—the graph- the apparent size and and shape shape of of objects objects of depth—is depth- is what what you you would would and the impression of see if if you were standing at at the the camera camera position. position. t hen do some photographs photographs seem seem to to have have an an Why then exaggerated depth, with the the subject subject appearing appeari ng stretched and expanded (this (this page, page, top), top), whereas whereas to show show aa compressed compressed other photographs seem to space, with objects crowded very very close close together together (this page, bottom)? The brain brain judges judges depth depth in in aa photograph mostly mostly by by comparing comparing objects objects in in the the foregro u nd with those t hose in in the the background; background; the the foreground greater the size differences perceived, perceived, the the greater greater t he impression of of depth. When When viewing viewing an an actual actual the other clues clues to to the the distances. d istances. scene, the brain has other But, when looking at a photograph, photograph, the the brain brain pri1narily on relative relative sizes. sizes. relies primarily

Perspective can be be controlled controlled in in aa photophotograph . Any lens very close to to the the foreground foreground graph.

Walter Iooss. looss. Ali vs. vs. Terrell, Houston, 1967. 1967. Expanded Expanded perspective perspective seems seems to to But using using any lens lens this close close to to aa subject subject stretches stretches result from the very wide lens. But distances because it magnifies objects near near the the lens lens in relation relation to to those those that that are are far from the lens. lens.

of a scene increases the the impression impression of of depth depth by by of increasing the size of of foreground foreground objects objects relarelathe background. background. As As shown shown on on tive to objects in the the opposite page, page, perspective perspective is is not not affected affected by by changing the focal length of ofthe the lens lens ififthe the camera camera ren1ains in the same position. position. However, However, the the relarelaremains tive sizes of of objects do change change ififthe the distance distance from from is changed. changed. lens to subject is

Perspective can be be exaggerated exaggerated ififyou you change change lens-to-subject distance. distance. AA both focal length and lens-to-subject to the the subject subject lens used used close close to short-focal-length lens in size because because it it is is much much increases differences in closer to foreground objects than than to to those those in in the the increases the the impression impression of of background. This increases depth. Distances Distances appear appear expanded expanded and and sizes sizes and and shapes may appear distorted. The opposite effect occurs occurs with with aa longlongused far far from from the the subject. subject. focal-length lens used decreased because because the the lens lens Differences in sizes are decreased objects. This This decreases decreases the the far from from all objects. is relatively far sometimes seems seems to to squeeze squeeze apparent depth and sometimes space than than they t hey could could objects into a smaller space reali ty. occupy in reality. 48 48

LLENS ENS

Walter Iooss. looss. 100 100 m start, Los Los Angeles, 1983. 1983. Compressed Compressed perspective perspective isis usually associated with a long-focal-length lens. ItIt is because because the the lens lens isis relatively relatively far from both foreground and background that that size differences differences between between near near and and far parts of ofthe scene are minimized, as isis the the impression of ofdepth.

+2 +1 0 –1 –2

400 MA

Alan Oransky

S

Changing focal length alone does not perspective change perspective—the perspective-—the the apparent size or or shape of ofobjects or their apparent position in depth. In the photographs above, the camera depth. was not moved, but the lens focal length was was increased. ofall the the obincreased. As a result, the size of jects increased at a comparable rate. Notice jects that the size of ofthe fountain and the size of of the windows in the background both change the same amount. The impression of ofdepth remains the same.

+2 +1 0 –1 –2

400 S

MA

S

+2 +1 0 –1 –2 MA S

MA

+2 +1 0 –1 –2

400

400

Lens-to-subject distance controls perspective. Perspective is changed when the distance from the lens to objects in the scene is changed. Notice how the size of ofthe fountain gets much bigger while the size of ofthe windows remains about the same. The depth seems to increase because the camera was brought closer closer to the nearest part of ofthe subject.

C HAPTER 2 CHAPTER

49 49

Attachments Lens Attachments

your best A macro lens fens is your choice for sharp close-ups. IfIf you don't don’t have one, there are you other ways to get close.

CLOSE-UPS AND C LOSE-UPS A N D FFILTERS ILTERS C lose-up equipment, some som e of of which which isis shown shown C on the right, ri ght, will let you yo u move m ove in in very very close close to to aa subject. The T he closer your yo ur camera cam era is is to to aa subject, subject, the t he larger the image im age on o n the the sensor sensor or o r film. fi lm . A A close-up close-up a n image on o n the the light-sensitive light-sensitive surface surface from from is an about ⁄10 abo ut 11/10 to life size (1:1). (1:1). MacroMacro10 life size (1:10) to photography to an an image im age that that is is anywhere anywh ere photography refers to li fe size (1:1) ( 1:1) to to as big bi g as as ten ten times t im es life life size size from life (10:1). Photo-micrography uses uses aa microscope microscope to to get get than 10:1. 10: 1. a n image larger than an

Bue the th e more m o re the th e lens lens is is closer to a subject. But extended, exten ded , the t he dimmer the the light ligh t that th a t reaches reaches the the light-sensitive ligh t-sensit ive surface, and a nd the the more mo re exposure exposu re you yo u need n eed so the t he result will not not be be underexposed. u n d erexposed. cam era that chat meters m eters through th rough the the lens lens will will A camera increase the the exposure expos ure automatically. auto ma tically. But Bur ifif the the close-up breaks the the automatic au to matic coupling coupling close-u p attachment breaks between lens and camera, camera, you yo u must must increase increase the the exposure manually; 1n an ually; follow follow the the recommendations recomm en dation s man ufacturer of of the the tubes tubes or or bellows. bellows. given by the manufacturer

Depth of of field is is shallow shallow in in close-ups. close-ups. The The

Lighting Llghting close-ups. Direct Di rect light ligh t on on aa subject subject can can

th e lens comes com es to co the the subject, su bject, the the narrower narrower closer the de pth of o f field fi eld (the (th e more m ore the th e background backgro und and a nd the depth foreground fo reground go out of of focus). focus). Focusing Focusing manually m an ually m oving the the camera cam era slightly slightly forward forwa rd or o r back back and moving may Sm aller aperape rm ay help to to get precise p recise focusing. focus ing. Smaller tures for increased depth de pth of offield field will will increase in crease the the ti m e; a tripod t ripod (used (used with with aa cable cable release, release, exposure time; remote rem o te trigger, or o r self-timer) self-timer) will will prevent preven t camera cam era du ring exposure. n1ocio n during motion

yo u use smaller sm aller apertures apertures for for greater greater depth depth of of let you texture, angle angle light ligh t across ac ross the the b ring out texture, field. To bring subject from the the side side to to pick pick out o u t every evety ridge ridge and a nd crease. Direct Di rect light can be be very ve ry contrasty, contrasty, though, th o ugh, with high ligh ts and and too-dark too-dark shadows. shadows. IfIf wit h bright highlights this light can can help hel p lighten ligh ten the the shadsh adchis is the case, fill light su bjects are are small, sm all, 142- 143). Close-up Close-up subjects ows (pages 142–143). so using u sing even a letter-sized letter-sized piece piece of ofwhite whi te paper pa per as as ligh ten shadows shad ows significantly. significantly. a reflector can lighten To copy a flat fl a t subject, su bject, such such as as aa page page from fro m ligh ting should sh ou ld be be even. even . Two Two lights lights of of a book, lighting o ne on o n each side sid e of o f the the subject subject equal intensity, one and an d at the t he same distance di stan ce and and angle, a n gle, will will illumiillum in a te it uniformly. u n ifor n1ly. nate

Increased exposures are are always always needed needed for for o f the the method—a m ethod- a macro m acro close-ups. Regardless of tubes, or or aa bellows—the bellows- the lens lens must must lens, extension tubes, move m ove farther from fro m the the sensor sensor or o r film film to to focus focus

A close-up lens attaches to the front fron t of ofa camera lens. They come in strengths measured in diopters; the higher higher the diopter number, the closer you you ccan yo an focus. focus. Close-up lenses are relatively inexpensive and small, but image quality qua/ii;)' will not be as good as with other methods.

Bellows (and (and similar extension tubes) fit between the lens and the camera to increase the distance from the lens to the sensor or film; the greater this distance, distance, the closer closer you can bring the lens you to the subject. Extension tubes come in fixed sizes; a bellows is more adaptable because it can be expanded to any length. length . Using either will require increasing the exposure; exposure; see the text above left.

Laurisa Galvan. Gold teeth, Dallas, Dallas, Texas, Texas, 2011. Getting close can often 2011. o~en make the the strongest photograph, as in this image of ofa man showing off offhis “grill” "grill" in South South Central Dallas. Although not then then aa resident, resident, Galvan began to document the notorious neighborhood for an assignment in her her college photography class. Now a daily fixture on the street corners and accepted as a local, she has has continued the project for several several years.

50 50

LLENS ENS

A A

filter can be a useful camera camera accessory. accessory. Glass filters attach to to the the front front of of the the lens lens and and are made in sizes to to fit various lens lens diameters. diameters. To To find the diameter of of your lens, lens, look look on on the the ring ring engraved around the the front front of of the the lens. lens. The The diamdiameter (in mm) usually fo llows the the symbol symbol Ø. 0. LessLessusually follows filters are are available available expensive, but fragile, gelatin filters that can be cut to to size with scissors scissors and and taped taped in in held with with an an adapter. adapter. place over the lens or held

Exposure must increase when when filters filters are are used . Filters Fi lters work by removing removing some of of the the light light used. that passes through them; them; you must must increase increase the the exposure to prevent prevent underexposure. underexposure. A A throughthroughthe-lens meter n1erer should compensate cotnpensate accurately, accurately, but but camera's response response with with aa test test shot. shot. check your camera’s Look at the histogram histogram (pages (pages 60–61) 60- 61) and and adjust adjust manually, if if needed. needed. Using Using aa handhandthe settings manually, Without W ithout polarizing filter

With filter W ith polarizing fi lte r

Whe n shooting landscapes, using using a polarWhen izing filter makes distant objects clearer and the sky darker, darker, as in the example above right. The effect is strongest when you you are shooting shooting at a 90° angle to the sun.

90°° 90

held meter, read filter instructions instructions for for aa recomrecommended exposure increase in in stops stops or or aa filter filter facfactor that tells how many many times rimes the the exposure exposure should shou ld be increased.

A polarizing filter can remove remove reflections. reflections. photographed through through aa store store If you have ever photographed window and got more of of the the reflections reflections from from wanted to ro photophorothe street than whatever you wanted graph inside the store, store, you know know how how distracting distracting can be. be. Using Using aa polarizing polarizing unwanted reflections can ro eliminate some some of of these these reflecreflecfilter is a way to tions (see photographs at at left, left, bottom). bottom). The The filter fi lter eliminates or decreases reflections reflections from from glass, glass, water, or any smooth sn1ooth nonmetallic nonmetallic surface. surface.

Landscapes can be be sharper sharper and and clearer clearer with with a polarizing filter. Light reflected from from particles particles of of water vapor or dust in in the the atmosphere atmosphere can can look hazy. hazy. A A polarizing polarizing filter filter make a landscape look will decrease these these minute minute reflections reflections and and allow allow details. It It may may also also help help you to see more distant details. n1ake colors purer and more more vivid vivid by by dimindin1into make as reflections reflections of of ishing unwanted coloring such as blue light from the the sky. And using using aa polarizer polarizer will will darken the sky (see the the photographs photographs above above left). left). A polarizing filter works best best at at certain certain front of ofthe the lens lens and and can can angles; it attaches to the front ro increase or decrease the the effect. effect. Changing Changing rotate to the angle to the the subject also affects affects the the polarizapolarizaA camera camera that that views views tion (see diagrams at left). A through the lens lets you see see in in the the viewfinder viewfinder the the of the filter; a test test exposure exposure will will show show itit in in effect of position or or the the filter filter until until a monitor. Adjust your position you get the results you want. want.

Neutral-density (ND) (ND) filters remove remove aa fixed fixed

Reflecting surface 30 – 40° 40°

MAS

400

+2 +1

0 –1 –2

Reflections are a distracting element in this photograph (above, a dimetrodon (above, left) le~) of ofo inside the museum case. A polarizing polarizing filter filter on the camera lens removed most of ofthe reflections (above, works best at (obove, right). ,ight). The filter filterwo,ks ot a 30°–40° 30°- 40° angle to the reflecting reflecting surface.

of light from from all wavelengths, wavelengths, conseconsequantity of quently reducing the the overall overall amount amount of oflight light that that filters make make itit possible possible to ro reaches the lens. These filters use a slower shutter speed or larger larger aperture aperture than than you otherwise could. For For example, example, if if you you want want to to can't use use a slower shutter shutter speed speed blur action but can’t to the the lens’ lens' smallest smallest because you are already set to ca1nera's lowest lowest ISO, ISO, an an ND ND aperture and your camera’s has the the effect effect of of dimming dimming the the filter over the lens has then set aa slower slower shutter shutter speed. speed. light, letting you then Similarly, if if you want to to decrease decrease depth depth of of field field ro your fastest fastest shutter shutter speed speed but are already set to and lowest ISO, an ND ND filter filter would would let let you you open open wider. the aperture wider. C HAPTER 2 CHAPTER

e

51 51

r

PAUL D'AMATO P AUL D ’AMATO Isela, Isela, Chicago, Chicago, 1993. 1993.

54 Sensors and Pixels . ............. . . . . . . . . . . . 54

Pixels and Resolution .... ......... . . . . . . . 55 55 Photography.... ......... 56 Color in Photography . . . . . . . 56 56 Color systems ................... . . . . . . . . . . . . . . . . . 56 Colorcharacteristics 57 Color characteristics . ............. . . . . . . . . . . . 57

. . . . . . . . . . . . . . . . 58 White Balance .................. Using Histograms .............. . . . . . . . . . . . . 60 60 Exposure Meters ............... . . . . . . . . . . . . . 62 62 What different types do ............ . . . . . . . . . . 62 62 How to calculate and adjust adjust . . . . . . . . . 64 an exposure manually manually ........... 64

Overriding an Automatic Exposure Camera . ............. . . . . . . . . . . . 66 66 Making an Exposure of . . . . . . . . . 68 of an Average Scene . ........... 68 Lighter Exposing Scenes that are Lighter 70 or Darker than Average ........ . . . . . . 70 72 Backlighting ................... . . . . . . . . . . . . . . . . . 72

Exposing Scenes 73 with High Contrast ............ . . . . . . . . . . 73 74 HDR .......................... . . . . . . . . . . . . . . . . . . . . . . . . 74 74 High dynamic range . ............. . . . . . . . . . . . 74

Li ht and Exposure Ex osure Light In this chapter you’ll yoLL 'II learn… learn ... •• the difference between between additive and subtractive subtractive primary colors of of each, each, and and their their color systems, the primary practical applications. use a light meter meter or aa histogram histogram to to get aa •• how to use picture that chat is not not too dark or or too too light. light. •• the ways light light sources and and the time of ofday day can can affect the t he colors co lors in in your image. image.

Y Y

3

our digital camera’s sen sensor is is light light sensitive. sensitive.Like Likefilm, fi lm,when whenaasensencamera's sensor

sor is exposed to to light, light, aa change change occurs occurs that that can can be be recorded recorded and and saved. saved. Light is the part of of the the electromagnetic electromagnetic energy energy that that exists exists in in aa the visible part continuum from from radio radio waves waves through through visible visible light light to to cosmic cosmicrays. rays. These Theseenergy energy forms differ only in in their th eir wavelength, wavelength, the the distance distance from from the the crest crest of ofone one wave wave to the crest of of the the next. next. The visible visible part part of ofthis this spectrum, spectrum,the thelight light that thatwe wesee, see, to ranges between 400 and and 700 700 nanometers nanometers (billionths (billionths of ofaameter) meter) in inwavelength. wavelength.

pictures correctly correctly (that (that is, is, setting setting the the shutter shu tter speed speed and and Exposing your pictures they let let in in the the correct correct amount amount of oflight light for for aa given given ISO ISO and and scene) scene) aperture so they makes a big big difference if if you you want want aa rich rich image image with with realistic realistic tones, tones, dark dark but but Light is energy. When certain wavelengths of ofenergy energy strike strike the the detailed shadows, shadows, and bright, bright, delicate delicate highlights, highlights, instead instead of ofaa too too dark, dark,murky murky human eye, they are perceived perceived as light. light. Digital Digital sensors (and (and film) film) picture or a picture that that is is barely barely visible visible because because itit isis too too light. light. change when struck by this part part of ofthe the electromagnetic electromagnetic energy enerw At Ac the simplest level, level, you you can can let let your your automatic automaticcamera cameraset setthe theshutter shutter spectrum. Some can respond to additional additional wavelengths wavelengths that that the the eye eye speed and aperture for calcu cannot see, such as ultraviolet and infrared light. fo r you. you . If If your your camera camera has has manual manual settings, settings,you yo ucan cancalcucalculight. late them by using aa hand-held hand-held or or built-in built-in exposure exposure meter meter to to make makean an overall overall reading of rec of the scene. You can can even even use use aa simple simple chart chart of ofgeneral generalexposure exposurerecrecUltraviolet ommendations omn1endations like like the the one one on on page page 7. 7. In In many many cases, cases,these these standardized standardizedproprocedures will wi ll give you aa satisfactory satisfactory exposure. exposure. But Bur standard standard procedures procedures don’t don' t V iolet Gamma Rays work in all situations. If If the the light light source sou rce isis behind behind the the subject, subject, for for example, example, an overall reading will silhouette silhouette the the subject subject against againstthe the brighter brighterbackground. background. This may not be be what what you you want. want. Blue X-Rays

You will have more control control over over your yo ur pictures—and pictures- and be be happier happier with with the the Green

Ultraviolet Visible Spectrum Infrared

Microwave

results—if res u lts- if you know know how h ow to to interpret interpret the the information information your your camera cameraor o rmeter meter provides and can adjust the the recommended recommended exposure exposure to to get get any any variation variation you you choose. You will situa wi ll then then be be able able to to select select what what you yo u want want to to do do in in aaspecific specificsituasituation rather than exposing thebest. exposing at at random random and and hoping hoping for for the thebest. best.

Yellow Ye llow

Red

Infrared Radio Wave

Minor White. Vicinity of ofAlfred, New York, York, from from Sequence 10: 10: Rural Cathedrals, 1955. Rural 1955. Infrared radiation is electromagnetic energy in wavelengths that that are invisible to to the the naked naked eye, but digital sensors as well well as special film film can record record them. them. In In an infrared photograph like this one, leaves and and grass appear appear very very light because they reflect more infrared infrared radiation than than non-living non-living things. things. The result can be a strangely dreamlike landscape. landscape. White White said he used infrared-sensitive film film because because he he “wanted "wanted to to give contrast to the landscape,” landscape," but he also appreciated appreciated its its surreal surreal qualities. See page 108 108 for more.

53

Sensors and Pixels Y

Y our digital dig ital camera’s camera's lens lens projects projects an an image image onto a digital sensor sensor that tha t is a grid (or (or array) of of cells called photodiodes or or photosites photosites.. Each Each photosite p ho tosite called aa CMOS CMOS or or aa is a single electronic device called CCD that can collect light. Each Each photosite photosite collects collects and measures m easu res the the amount of of light ligh t that tha t falls falls on on itit during an a n exposure. After the the exposure, exposu re, the the meameasurements s u re ments from fro m all the the photosites phorosires on on the the sensor sensor are a re converted to digital numbers num bers and and stored stored on o n the the camera’s camera's memory m em ory card. card . Then the the sensor sen sor is is cleared cleared for the th e next exposure. exposu re. Each Each photosite’s ph otosite's digital digital num ber is a measure measure of o f the the lightness lightness or o r darkness darkness number (sometimes called the the value value)) of of aa single single square square pictu re elelement). Sometimes called a pixel (from pic ture ement). Sometimes photosites p hotosites themselves them selves are are called called pixels. pixels. A digital picture is is made m ade up up of of aa large large number of pixels, each each one o ne aa square square n umber of with wit h a single value and color, colo r, in in aa grid like a checkerboard or or aa piece piece of graph paper. pape r. If If there there are are enough eno ugh pixels p ixels and an d they are small sm all enough, en ou gh, your yo ur eye blends blend s them them together toge ther and a nd like aa continuouscontinuousthe picture looks like tone photograph. photograph . If If the the pixels pixels are are la rge enough, en ough, they t h ey are a re visible visible large t he image image looks looks as squares and the coarse—see coarse- see the the photographs photograp hs on on the th e page opposite o pposite.. You must control the the amount amount of of light light that that will fall on the sensor sens or during du ring each picture picture so so yo u get a correct exposure. exposure. Too T oo much much light ligh t th at you that can overwhelm a photosite, p hotosite, making m aking its its measurem easureme nt inaccurate, inaccura te, and a n d too too little lit tle will will cause cause itit to to ment ra n do mly- a nd undesirably—colored undesirably- colored record as a randomly—and pixel called noise (see (see page page 75). 75). You Yo u need need to to deterdetern1ine, before you yo u shoot, an exposure exposu re that char is is corcormine, Th e following fo llowing pages pages show show you yo u fo r each scene. The rect for t he light light meter meter that that is is built built into into your yo u r h ow to use the how camera, or o r a similar but but separate separate hand-held hand-held light light m eter, to co set your yo u r aperture apertu re and and shutter shu tte r speed speed for for meter, a correct exposure every every time. time.

54

LLIGHT IGHT A ND E XPOSURE AND EXPOSURE

Exposure determines the the lightness lightness or o r darkdarkness of of the image. The exposure you yo u select select (the (t he combination combinatio n of of f-stop and and shutter shutter speed) speed) deterdetermin es how much light ligh t from fro m aa scene scene will will reach reach the t he mines sensor ligh t or dark d ark the t he recorded recorded image image senso r and a n d how light will be. The “correct” "correct" exposure exposure for for aa given given situasituation the photograph photograp h to to tio n depends d epend s on o n how how you want the look, and latitude—a —aa an d you may m ay have have some som e exposure exposure latitude latitudeof exposures within which whi ch your yo ur results res u lts will will range of be equally satisfactory. But But with with too too much much variavariation the correct exposure, exposure, results resul ts begin begin to to tio n from fro m the look disappointing disappo inting (see (see page page 61, 6 1, bottom). botto m). The The following tell how how to to adjust adjust the the exposure exposure to to fo llowing pages tell get the effect you yo u want. wan t.

proj ected inside Your image is projected the camera onto a sensor (sometimes called the camera’s camera 's chip chi p)) which breaks it up into individual image squares, or pixels, each in a single uniform color. color. The more (and (and smaller) the pixels in the grid that forms your image, the finer the detail. age, detail. This picture grid is recorded as numbers on your camera’s camera's memory card, which can be transferred to to a computer where it is reassembled on the monitor, ready to be edited and printed.

Pixels and Resolution For For the the same same image image size, size, the the higher higher the the resolution resolution (the (the more more pixels pixels per per inch), inch), the the finer finer the the detail detail of ofthe the image, image, but but the the more more pixels pixels required. The photographs photographs required. The at at right right show showincreased increaseddetail detail with with smaller—therefore smaller- therefore more—pixels. This image more- pixels. This image has has 18 18 pixels pixels per perinch; inch;at at this this size size itit isis aa 40 40 × X 50 SO pixel pixel grid, or or 2000 2000 pixels. pixels.

M ore ore pixels pixels are are needed needed for for aa finer finerpicture. picture. M

Each Each pixel pixel isis aa square square of ofaa uniform uniforn1 color color or, or,in in aa black-and-white photograph, aa shade shade of ofgray. gray. In In black-and-white photograph, any any individual individual photograph, photograph, the the pixels pixels are are all all the the same and they they can can only only be be captured captured or or disdissame size, size, and played numberof ofcolors colorsor orshades. shades.As As played in in aa specific specificnumber you you can can see see from from the the photographs photographs on on this this page, page, an pixelated) when an image image looks looks coarse coarse ((pixelated) when the the pixels pixels are enough to to be be visible. visible. This This usually usuallyresults results are large large enough when too few few pixels. pixels. when there there are are too

18 18 pixels pixels per per inch inch

Resolution Resolution measures measures the the fineness fineness of of an an image but resolution resolution goes goes down down when when size size goes goes image but

Double Double the the resolution resolution makes makes four four times times as as many many pixels. This image image isis an an 80 80 pixels. This ×X 100 100 pixel pixel grid, or or 8000 8000 pixels. pixels. Many Many of ofthe the pixels pixels are are identical, identical, pure pure white, white, so so they they are not not visible visible as as squares, squares, but but each each must must still still be be saved saved as as part part of ofthe the file. {,le.

up. number of of very very small small squares squares can can up. A A large large number make make aa picture picture with with more more detail detai l and and smoother smoother tones tones than than one one from from aa smaller smaller number number of oflarger larger squares. squares. More More detail derai l makes makes possible possible (but (but doesn’t doesn' t guarantee) photograph. guarantee) aa higher-quality higher-qualiry photograph. We ((ppi) ppi) We measure measure resolution resolution in in pixels pixelsper perinch inch(ppi) or or pixels pixels per per cm; cm; ifif you you have have aa fixed fixed number number of of pixels pixels and and make make them them bigger biggerto to cover coveraalarger largerarea, area, the the pixels pixels appear appear more more coarse coarse and and image image qualquality your digital digital camera camera captures captures iry seems seems lower. lower. If If your a photograph photograph that that isis 2000 2000 pixels pixels across, across, you you can can make print with with aa resolution resolution of of200 200 ppi ppi ififyou you make aa print choose to 10 inches inches wide, wide, but butonly on ly100 100ppi ppi to make make itit 10 ifif you enlarge enlarge itit to to 20 20 inches inches wide. wide.

36 36 pixels pixels per per inch inch

You can create more more pixels pixels in in an an image image durduring editing. editing. Image-editing turn Im age-ed iting software software can can turn

This resolution is the the maximum that that can be be reproduced reproduced in in this this book. book. This This image is a 800 800 × X 1000 1000 pixel grid, 800,000 800, 000 pixels, nearly one million.

360 pixels per per inch

your picture picture that that is is 2000 2000 pixels pixels across across into into one one that that is is 4000 4000 pixels pixels across across by by aa process process called called reresampling. This example example creates creates more more pixels pixels and and isis called upsampling upsampling; upsampling-,; making making fewer fewer pixels pixels isis downsamdownsampling.. By pling By upsampling upsampling you you can can end end up up with with higher higher apparent resolution. resolution. But But to to do do that, that, the the software software must interpolate interpolate between between your your original original pixels, pixels,makmaking an educated guess guess at at what what the the in-between in-between pixels pixels should look look like. like. An An upsampled upsampled file file won’t won' t display coarse, coarse, larger larger pixels pixels like like the the photo photo at at top top left, it it will show show smoother smoother tones tones and and blended blended colcolors. You may upsampling useful useful when when you you may find find upsampling want to co make make aa large large print. print. But But the the software software can’t can't invent fine the weave weave of of aa jacket jacket or or fine detail, detail, like like the small smal l text text on aa sign; sign; for for that, that, you you need need to to capture capture higher resolution.

C H A P T E R 33 CHAPTER

55 55

Color in Photography COLOR C O L O R SSYSTEMS YSTEMS

A11ll colors can be created byby mixing mixing three three A

colors-—either either the additive primaries primaries primary colors blue) or or the t he subtractive subtractive primaries primaries (red, green, and blue) and yellow). Most Most colors colors we we see see in in (cyan, magenta, and of a blend, blend, or or spectrum, spectrum, of ofall all posposnature consist of any visual visual sensation sensation or or perception perception sible colors, but any of color can be matched matched with with the the right right quantites quantites of of three specifically specifically chosen primaries. primaries. of

The additive process (below, (below, center) center) mixes mixes red, red, lighr in in varying varying proportions proportions to ro green, and blue light sets and and computer computer match any color. Television sets monitors use additive color. color. Equal Equal quantities qua ntities of of neutral gray gray or, or, ififthey th ey are are the three colors appear neutral enough, white. bright enough, process (below, (below, right) right) uses uses The subtractive process cyan (a bluish green), magenta magenta (a (a purplish purplish pink), pink), a nd yellow to ro match any any color. color. Each Each color color absorbs abso rbs and ofthe the additive additive primaries. primaries. If Ifyou yo u (or subtracts) one of put cyan paint or pigment pi gm en t on on paper, paper, for for example, example, it removes red red from fron1 white wh ite light light that that shines shines on on it, it, a nd allows green and blue blue to ro be be reflected. reflected. Your Your and eye perceives that t h at mix mix of of green and and blue blue light li ght to to be cyan. Digital color systems system s separate separate full full color color into inro primary colors, each saved as as aa channel channel of of inforinfo rn1acion. Every pixel pixel has has a separate separate numerical numerical mation. the amount, a m o unt, or o r value, value, of of each each primary. prim ary. value for the

simil ar way, color films film s have have three three emulsion emulsion In a similar to only only one one color, color, to to layers, each one sensitive to into primaries. primaries. separate a full-color spectrum into wo rkin g in color digitally, digitally, you yo u have have your your When working ch oice of of two color modes modes,, RGB RGB or or CMYK CMYK(a (a third t hi rd choice modes, is grayscale, or black black and a nd white). white). common mode is grayscale, or Red, Green, Green, Blue) Bl ue) is is additive, additi ve, and and itit is is RGB (for Red, photographic work. work. CMYK CMYK preferable for most photographic co mmercial publishing publish ing and and is a standard used in commercial printing. This mode mode adds black black (abbreviated (abbreviated KK of B to to avoid confusion confusion with with Blue) Blue) to ro instead of primaries to to suit suit the the needs n eeds t h e three subtractive primaries the of of the printing industry. The The three t h ree primaries primaries rogether can make black, black, but but black black ink ink is is added added together ro the darkest shadow areas areas in in pictures pi ctures and and is is to u sed to print text text because becau se it it is is less less expensive expensive and and used ro keep neutral n eutral than than aa mix mix of of the th e other other easier to three t hree colors.

All printers use the subtractive subtractive primaries. primaries. mix ink ink or or paint, paint, pigment pigm ent or or dye, d ye, t h at mix Devices that to create creat e photographic color color on on aa reflective reflective p a p er must n1u s t use use the the subtractive s ubtrac ti ve surface like paper primaries: prim aries: cyan, magenta, m age nta, and a n d yellow. ye llow. But But even even t h o u gh all desktop d esktop photo p horo printers printers actually actually use use though CMYK inks, in ks, they t hey are a re designed d esigned to ro receive receive files fil es in in the RGB mode m ode for best bes t results; results; editing edi t ing files files in in m od e is rarely rarely needed need ed outside o utsid e the t he offsetoffsetCMYK mode printin g industry. printing

M B

R

C

Y G A color wheel shows the relationship of ofthe subtractive and additive primary colors.

56 56

LLIGHT IGHT A ND E XPOSURE AND EXPOSURE

The additive primaries produce white light when all three are mixed. Combining two at a time can make each of of the subtractive primaries.

The subtractive primaries each remove one of ofthe additive primaries. All three together make black.

C OLOR C HARACTERISTICS COLOR CHARACTERISTICS all colors colors into into three three meameaColor systems divide all surementshue, value, and and saturation. saturation. Hue H ue is surements—hue, of these; these; it it is is what what we we normally norn1ally the most intuitive of colo r of ofan object—a object- a blue blue car, car, aa green green hat. hat. name the color called lightness lightness or or luminance) luminance) isisaa Value (sometimes called or darkness darkness of ofthe the color, color, measure of the brightness or color'shue huewere we re that would wo uld be be left left ififaa color’s or of the gray that black-and-white photograph. photograph. You You removed, as in a black-and-white car and and aa green green hat hat that rhat might mighr can imagine a blue car have the same luminance. luminance. Saturation Saturation (or (or chroma) ch roma) isis of a color’s color's purity. purity. You You could could have have aa a description of brick that that are are the the same same red red hue h ue (nei(neito mato and a brick tomato ther one o ne more mo re blue or yellow yellow than than the the other). o ther). The The chat a tomato ron1ato is is aa more mo re pure—or pure- or satusatudiffe rence is that difference brick. Various Vario us factors factors can can affect affect rated- red than than a brick. rated—red below). saturation (see box below).

Maria Robledo. Cheese Still Life This photograph is enhanced by its low saturation, controlled by the photographer’s photographer's sensisensitive choices of ofsubject, film, and lighting.

color can’t can 't duplicate duplicate colors colors Photographic color only fool the the eye. eye. Light in a scene, it can only fro m an object usually usually contains contains all all the the reflected from of the t he visible visible spectrum spectrum in in varying varying wavelengths of qu antities. The daylight that t hat illuminates illuminates aa green green quantities. contai ns all wavelengths wavelengths in in more-or-less mo re-o r-less apple contains equal quantities. quanti t ies. The T he apple appl e reflects refl ects aa high high perperthe green wavelengths wavelengths and and very very little li ttle centage of the of the t he red red and and blue blue t he remainder) remainder) of (absorbing the ones, o n es, so we see green. green . To reproduce reprod u ce that chat sensation sen satio n of of seeing seeing the th e photographs are are limited limi ted to to apple, photographs green of an apple, using three very very specific primary primary colors colo rs that that do do no t necessarily contain contai n all all the th e wavelengths wavelengt hs of of the the not spectrum. Photographic Ph otographi c color colo r can can look look accurate accurate of the t he way our o ur eyes eyes identify identify color. color. But But because of photograph are are not no t actually ac tually the the the colors in a photograph those of of its its subject, su bject, in in the t he same sam e way way that that same as those the photograph itself itself is is not not actually ac tually the t he same same as as its subject.

The way photographs are are made made gives gives you you control over some important important characteristics characteristics of of their color. Remember that that the the colors colors in in aa o nly reference, reference, they they don’t d o n' t duplicate, d u plicate, photograph only those of a subject; subject; it is is up up to to you, yo u, the the photographotogracontro l that tha t difference diffe ren ce for for your your own own ends. ends. pher, to control Yo u may n1ay want wane your yo ur viewer to co believe believe strongly stro ngly in in You the accuracy of your yo ur photographs, photographs, or or itit may may be be more m ore important importa nt that that your yo ur viewer viewer have have aa specific specific emotional co them. chem. The The way way you yo u treat treat etnocio nal response to colo r has a strong effect on o n the the interpretation interpretatio n color of to find find out o ut how h ow to to o f your pictures; experiment to use of of these these important impo rtant controls. cont rols. make the best use

Characteristics of aa Color Color Photo~raph Photograph shirtt looks White balance. T Too our eyes, eyes, a white shirt shir white both both outdoors in daylight and indoors in artif ar tificial tif icial light. two light sources do not not artificial light. But the two havee the same mix of hav brains compencompenof colors; our our brains way that lets us also see blue pants sate in a way pants as the same blue in both both places. Unless Unless there are two tw o two lightt sources to compare, compare, we we ignore the differencdifferencligh es—but photogr photogr tographs aphs record record them. Regar dless of es- but photographs them . Regardless Regardless of whether you you shoot you shoot digitally or with film, ffilm, ilm, white white balbalim portant por tant influence inf luence ov oover ver the impact impact ance has an impor important ef fectiveness fectiv eness of your photogr your pho tographs. togr aphs. Even Ev en subtle and effectiv effectiveness ofyour photographs. Even shifts shif ts in color balance can create dramatic changes shi~s create dramatic emotional content. in emotional

purity- or vividness, or or intenSaturation. Satur ation. The purity—or sity—of saturation. The color saturaof a color is its saturation. color saturasitytion that exists exists in front of camera depends on ofthe camera the physical physical characteristics characteristics of ofobjects in the scene and on the kind of Saturation in of illumination. Saturation in the w ay colors are reproduced is also affected af fected by way affected by the the specif ic kind of f ilm used to capture the specific of sensor or film to capture the image, and the manner of post-processing—f ilm image, ofpost-processing—film post-processing- film development, dev elopment, image editing, and printing. Some ffilms ilms are made in different dif ferent versions, versions, producing producing more saturation saturation (adver (adv ertised er tised as “vivid” (advertised "vivid" color) or or less. Digital image editing gives gives direct control ov oover ver less. saturation (see page 98). saturation

ofcontrast important Contrast. Contras Contr ast. as t. TTwo wo kinds of contrast are impor im portant por tant in aa photogr pho tograph; togr aph; both both are established photograph; established by the the kind kind of ofillumiillumination on the scene and can be altered by your techyour by your technique. niq ue. Over Ov erall er all (or global) contrast, contrast, or rrange, ange, nique. Overall or dynamic range, is the difference difference between between the lightest and darkest parts par ts of range you you can capture cap ture ofa scene or image. The range capture vvaries; aries; all films films and digital sensors have hav different limhavee different limits on the range range that can be captured cap tured (see captured (see page 73). Local contrast contrast is what makes photogr pho tographs togr aphs look photographs look crisp or sofi, soft, and has to do with soft, trtrananwith the edges and and transitions of affected by qquality uality ofcolor and tone. It is affected by the quality of the lens (and how clean that lens is), the kind of kind of of ffilm ilm or sensor used, and by digital editing.

C HAPTER 3 CHAPTER

57 57

White Balance Y

Y our light source makes aa difference difference when when photographing in in color. color. We We identify identify aa wide wide you are photographing of light as “white,” "white," or or having having no no color color of of variety of perception that that daylight daylight isis its own. Despite our perception "white" or “neutral” "neutral" light, light, its its color color is is constantly constantly “white” changing throughout the the day. day. Midday Middaylight lightisis more more morning and and late late afternoon afternoon early morning blue (cooler); early red (warmer). (warmer). Other Other light light sources, sources, like like light is more red light of ofaa specific specific color color light bulbs, also emit white light balance-—the the mixture mixture of ofwavelengths wavelengths balance or white balance—the balance of different colors that that it it contains. contains. This This quality quality of of white light sources is is also also called called its its color color temtemof is measured measured in in degrees degrees Kelvin Kelvin (K), (K), perature,, and it is perature temperature scale scale like like an international-standard temperature Celcius (C) that that starts starts with its its zero zero at at absolute absolutezero zero the freezing freezing point point of ofwater. water. rather than at the ord inary incandescent incandescent lightlightLight from an ordinary temperature of of about about 2800K, 2800K, bulb, with a color temperature less blue blue and and more more yellow yellow has proportionately less at 5500K. SSOOK. You You can can see see and red than does daylight at if you turn turn on on an an indoor indoor lamp lamp in in aa chis difference if this the light light from from the the lamp lamp looks looks quite quite daylit room: the with no no daylight daylight for for comparison, comparison, yellow. At night, with lamplight not not as as yellow yellow but but as as you see the same lamplight ignore color color balance balance when when we we white. Our brains ignore perceiving either either daylight daylight or or lamplamplook at a scene, perceiving "white" if if there there is is only only one one kind kind of of light light light as “white” there are are two two differently differently balanced balanced present. Unless there light sources in in a scene (see (see the the photograph photograph on on the the opposite page) page) color photographic photographic images images can can be be if desired, desired, to to match match the the color color temperatemperaadjusted, if of each picture’s picture's light light source. source. ture of

adjust themselves themselves for for Digital cameras can adjust color temperature (in digital photography itit into each each balance).. Built Built into is usually called white balance) the ability ability to to measure measure the the color color digital camera is the of whatever light light is is illuminating illuminating the the temperature of scene, and to adjust its its white balance balance for for each each one of of the the camera’s can1era's photograph. You can choose one kinds of of light, light, measure measure and and set set presets for several kinds manually before before each each shot, shot, or or the white balance manually to adjust itself itselfautomatically. automatically. Use Use aa set the camera to (page 218) 2 18) to to shoot shoot color colorfilm film color conversion filter (page other than than 5500K. SSOOK. under any source other

Include a standard color color for for more more accuracy. accuracy. card or or aa standardized standardized Shoot a color-neutral gray card o n an adjacent frame frame in in the the same same light. light. color chart on to match match it it later later when when you yo u edit ed it the the You'll be able to You’ll the colors colors at at once. once. A A chart chart (or (or file to correct all the target)),, coupled with software, software, can can create create aa camera camera target), target profi le (opposite page, page, top top right) right) you you can can use use to to profile in aa group group of ofphotographs. photographs. auto-correct the color in

For the best results, capture capture your your pictures pictures in in Camera Raw format (page 85) which lets you of sensor sensor data data during during control the interpretation of balance adjustment adjustment is is part part of of editing. The white balance that is is applied to to raw raw sensor sensor data data the processing that compensate then then for for the the after capture, so you can compensate effects of of different light sources sources without without degraddegrading the quality of of your image. image. If If your your camera camera format, white wh ite balance balance isis captures in JPEG or TIFF format, applied by the the camera.

because the light from a blue sky camera's white Setting a digital camera’s has a higher color temper tem perature per ature than balance to daylight (or using color temperature film) is correct for the relatively direct sunlight. If/(you you use a daylight you white balance (or color film) film) in the ofmidday light bluish color balance of (5500K tem perature), per ature), as in w armer light of (SS00K color temper temperature), warmer ofan incandescent the left left photo. photo. In open shade (second bulb (third photo. (third photo, photo, about 2800K), photo) pho to) the results are more blue, your picture may look more reddish your

58 58

LLIGHT IGHT A ND E XPOSURE AND EXPOSURE

than you you expect. you expect. The fourth fourth photo photo w as taken under fluorescent fluorescent light, was which tends to have have proportionately proportionately more green than daylight. In each, car dboardd was dboar was held a piece of of white cardboar cardboard behind the man, and he is wearing wearing the same gray gray shirt. shir shirt.t.

White light takes many forms. In ev er-er In addition to to ever everyou may encounter scenes illumiyou changing daylight, you variety of standard bulbs nated by a wide variety of standard bulbs in domestic domestic ffixtures. ixtures. This chart chart illustrates illustrates the and commercial fixtures. the tem peratures per atures for sever sev eral er al common sources. A light color temper temperatures several light bulb may be measured by its brightness (in (in lumens; w attage only measures the power pow er itit consumes), its wattage power its tem perature per ature (if not a specific specif ic number, number, its “whitecolor temper temperature (if not "whiteness” ness" may be named like those at right), and aa Color Color Rendering Index, Inde x, or CRI, Index, CR/, a scale from from 0 to100. to 100. YYou ou can achieve achieve pleasing and accurate accurate color your your color in in your photogr pho tographs togr aphs made in most sources, although mixed mix ed photographs mixed sources (below) or a CRI CR/ below below about 80 80 will will make make accuracy more diff dif f icult to achieve. achieve. accuracy difficult

Cool or Commercial White White Bulb Middayy Day Midda Daylight/Electronic Flash Dayylight Bulb Da

Neutral or Natural White White Bulb

War arm m White White Bulb Incandescent Bulb

Candle

Colors can be accurately interpreted with with a camera profile profile (see page 84). Photograph Photograph a color color chart chart like the the ColorChecker ColorChecker Passport shown and open it with the software software supplied supplied with with the the chart. chart. Follow the simple on-screen steps to to generate aa profile profile that can be used to correct color—in color- in one step, for for any any image image made in the same lighting conditions. Most Most profiling profiling software software is made for interpreted, not raw, files files but but Adobe Adobe Camera Camera Raw, Raw, Lightroom, and Photoshop Photoshop can apply aa profile to to DNG ONG files files using the chart above and its software.

Gueorgui Pinkhassov. Murmansk, Russia, Russia, 2006. 2006. Mixed light can suggest mixed environments. Warm (lower (lower color temper tem perature, per ature, or temperature, or more red) light light from the interior incandescent lamp lamp presents aa sharp contrast with the cool (higher color temperatempera-

ture, more blue) dusk daylight illuminating illuminating this this winter scene. scene. Because the port of ofMurmansk on the Kola Bay remains ice-free year year round, itit provides a safe harbor for Russian Russian (and, (and, previously, Soviet) ballistic missile submarines like this one. C HAPTER 3 CHAPTER

59 59

Using Histograms A histogram is a graph that that shows shows the the A

brightness values (tones) (tones) of of all all the the pixels pixels in an image. The brightness levels levels in in an an image image are divided divided into into aa disdisan d white are between black and crete number, often 256, 256, of of different different tones; tones; the the of each bar in in the the chart chart represents represents the the height of of pixels of of a particular particular brightness brightness level level number of chat occur anywhere in in the the image. image. Usually Us ually colors colors that single display, display, black black is is disdisare merged into a single played as 0, middle middle gray gray 128, 128, and and white wh ite 255. 255. scen es, a rich rich image image uses uses all all of of the the For most scenes, con es, from from the the subtle su btle highlight highlight values val ues of of aa 256 tones, the deep shadows shadows on on the t he side side of ofan an white cloud to the old o ld barn. Empty space on on one o ne end end of ofaa histogram histogram m eans a digital image image has h as no no bright bright highlights highlights or or means n o dark shadows; it it can can be be aa sign sign of ofaa careless careless scan scan no image from from aa digital digital camera. camera. or a poorly exposed image Empey space on both both sides of of aa histogram histogram indiindiEmpty cates a subject with aa narrow narrow dynamic dynamic range. range. ch apter, some son1e histograms hisrogran1s are are disdisIn this chapter, their corresponding correspon ding pictures pictures to to alo n g with their played along h ow the the information information conconhelp you understand how tai ned in them rhetn can be be intepreted intepreted and an d used. u sed. tained

your adjustments adjustments Histograms can guide your during image editing editing,, in scanning software in setting your camera camera exposure. exposure. programs, and in A histogram of of any a ny recorded record ed image image can can be be disdisco direct your lightness, lightness, contrast, contrast, and and color color played to adj ustments. The software displays displays aa histogram histogram adjustments. Cu rves, pages pages 96–97), 96- 97), and a nd you yo u (for example, see Curves, the tones tones in in the the image image according according to to redistribute the presents. the information it presents.

Shadows

Pure Black 0

Highlights

Middle Gray 128

Pure White 255

Histogram: A graph of of a digital image. A single (or (or combined) histogram shows the brightness values of ofall all the the pixels in an image. The height of ofeach section represents the the total number of ofpixels of ofa given brightness in the the whole whole photo. photo.

60 60

LLIGHT IGHT A ND E XPOSURE AND EXPOSURE

Christine Chin. Indian Paintbrushes, Colorado, 2004. A color color photograph can have one histogram for for each channel, plus plus a combined one that merges them. In In the the R, R, G, G, and and B8 histohistograms for this photograph, shown above, you can see see tall tall bumps bumps from a cluster of oflight blue values in the the sky, medium-toned medium-toned green values from the foliage, and darker reds from from the the flowers. flowers. At the right end of ofthe histogram, the the nearly nearly identical identical bumps bumps in the very bright highlights for all three channels are from from the the neutral-colored snow. The three channels are shown below below displayed simultaneously. ously. Where two additive primaries overlap itit shows shows the the resultresulting subtractive primary (page 56 ). A digital camera generally 56). generally displays a single merged histogram (left). (le~)-

Bohnchang Koo. Chae Chae Shirah, 2004. A histogram can be the best light meter. Koo shot the Korean movie star for a magazine using using his DSLR in the indirect light of ofan outdoor garden. With consistent lighting and the time to take a test shot, the camera’s camera's histogram is your most accurate exposure guide.

Digital cameras can be be set set to to display display aa hishistogram of of an image you have have just just taken taken immediimmediately after exposure. It It will will tell tell you you ififyour you r picture picture was over- or underexposed underexposed so so you you can can adjust adjust your your Ifthe the situation situation allows, allows, you you can can shooting strategy. If take a test exposure, review review the the histogram, histogram, correct correct settings, and and even even delete delete the the test test your exposure settings, the memory memory card card before before making maki ng your your image from the intended photograph.

The histogram that that appears appears on on your your camcamera’s era's monitor can be be used used instead instead of of aa light light meter reading. Like a light ligh t meter (also (also called called an an exposure meter, n1eter, see page page 62) 62) itit can can provide provide very very exposure, including including accurate information about exposure, separate graphs showing showing the the values values of of each each priprimary color, but it is is only only available available after after the the picpicmade. The T he examples examples below below show show ture has been made. you how to use the the histogram histogram to to adjust adjust your your next next exposure.

Expose to the right. right. Generally, Generally, aa digitally digitally should be be given given as as much m uch captured photograph should push ing important important possible without pushing exposure as possible highlights past the the right right end end of of the the histogram histogram (called clipping clipping, clipping,, see below). below). If Ifthere there is is empty empty space space histogram, it it should sho uld be be at at the the left. left. Because Because in the histogram, digital sensors are linear linear and and our our eyes eyes are are not, not, tones are captured with with more more detail, detail, leavleavlighter tones for later later adjustment adjustment during during editediting more room for ones. ing, than darker ones.

A camera’s camera's histogram is is made made from from aa JPEG JPEG con1pletely accurate. accu rate. Even Even preview so it is not completely if you shoot only o nly raw raw files, files, the the camera’s camera's built-in built-in if makes aa small small jpeg jpeg for for the the conversion software makes preview image it it displays on on the the monitor. monitor. The The histogra1n is made n1ade from from this this preview, preview, but but the the conconhistogram version process clips aa little little highlight highlight detail. detail. You You later in in aa more more careful careful conconcan extract that detail later version of of your camera camera raw raw file file (see (see page page 85) 85) but but won' t be enough to to save save an an overexposed overexposed image. image. it won’t Don't forget how to use use your your light light meter. meter. As As Don’t usefu l as the histogram is, is, there th ere are are many many situasituauseful tions- especially the th e fast-moving fast-moving ones—in ones- in which wh ich tions—especially you must be ready ready to to shoot shoot first, first, using usi ng your your light light T he remainder remainder of of this this chapter chapter meter as a guide. The But if if you have have the the luxuries luxuries of ofprepretells you how. But and enough enough time time to to make make aa test test dictable lighting and two, you yo u can can learn learn even even more more with wit h aa exposure or two, than you can can with with aa light light meter meter and and histogram than perfectly exposed. exposed. make each image perfectly

grouped at the left Underexposure shows tones grouped ofthe histogram with little or nothing nothing on the the end of right. right. When tonal values pass one end end of ofthe the histohistogram and are discarded it is called called clipping clipping..

Overexposure clusters all the the information at the the ofthe histogram, indicating indicating that that more subject subject right of tones exist to the right of ofthe cutoff cutoffline but but were were not recorded.

Normal exposure for this scene creates aa histohistogram with tones distributed like this; this; it shows that that all tones in dark areas (at left) and in light light areas (right) have been recorded. CHAPTER C HAPTER 3

61 61

Exposure Meters WHAT D IFFERENT T YPES D O WHAT DIFFERENT TYPES DO

E

E xposure meters vary vary in in design, des ign, but but they they all all perform the same basic basic function. function. They measure the amount of of light; light; then, then, for for aa given given sensor sensor or film sensitivity sensitiviry (ISO), (ISO), they they calculate calculate f-stop f-stop and and shutter-speed combinations that that will will produce produce aa for a scene scene that that has has an an average average correct exposure for distribution of of light light and dark. dark.

cameras measure measure reflected reflected Meters built into cameras light (see opposite page, page, top top center). center) . The The lightligh tpart of of the the meter meter is is aa photoelectric photoelectric cell. cell. sensitive part When the metering system system is is turned turned on on and and the the of the t h e camera is is pointed pointed at at aa subject, subject, the the lens of the light light reflected reflected from from that that subsubcell measures the ject. With automatic exposure operation, operation, you you set set either the aperture or the the shutter shutter speed speed and and the the can1era adjusts the the other to to let let in in aa given given amount amount camera of of light. Some cameras set both both the the aperture aperture and the shutter shurter speed for for you. In In manual manual expoexpothe aperture aperture and and the the sure operation, you adjust the based on on the the meter’s meter's viewfinder viewfinder or or shutter speed based readout. data-panel readout.

Hand-held meters meters measure measure reflected reflected light ligh t or or incident light (see (see opposite page, page, top top left left and and right). When the th e cell cell of of aa hand-held hand-held meter meter (one (one in to a camera) camera) is is exposed exposed to to light, light, that is not built into needle across aa scale scale of ofnumbers numbers or oractiactiit moves a needle brighter the the light, ligh t, the the vates a digital display. The brighter higher the reading. The meter meter (set (set for for your your ISO) ISO) then calculates and displays displays recommended recommended f-stop f-stop and shutter-speed sh utter-speed combinations.

Meters are designed to to measure measure middle middle gray. A reflected-light meter meter measures measures only only one one thing-the amount of of light—and ligh t-and itit calculates calculates for for thing—the only one result—an resu lt- an exposure that that will will reproduce reproduce th at overall level level of of light light as as aa medium-gray medium-gray tone tone that photograph. The The assumption assumption is is that that in the final photograph. most n1ost scenes, which consist of of aa variety variety of of tones tones medium, and and very very light, light, averaverincluding very dark, medium, age out our to a middle tone, tone, one one with with equal equal color color values. Most, in fact, fact, do. Pages Pages 68–73 68- 73 tell tell how how to to use a meter to measure measure an an average average scene scene and and what what that are not not average. average. to do for scenes that

The scene visible in the viewfinder

into aa camera, A through-the-lens (TTL) meter, built into shows in the camera’s camera's viewfinder viewfinder the area that that the the meter meter is reading. reading. You can see the details of ofthe the scene, but but the the camera’s camera's metering metering system does not. Many Many “see” "see" simply simply the overall light level. level. Whether the scene is very very light or or very dark, the meter always calculates aa shutter shutter speed speed and aperture combination to render that light level level as middle gray in the picture. Some meters (as (as shown opposite, bottom) are more sophisticated sophisticated and and favor favor the the exposure of ofcertain parts of ofthe image. A TTL meter is usually coupled to the camera to to set set the the exposure automatically. This This viewfinder viewfinder displays, below below the image, the shutter shutter speed and aperture to to which which the the camera is set. It also signals under- or or overexposure when when you choose an aperture or you or shutter speed speed for for which which there there is no corresponding corresponding setting setting within the range range of ofthose those available on your your camera. What the camera's camera’s sees~ metering system ~ “sees”

62

LIG HT A ND E XPOSURE GHT AND EXPOSURE

A hand-held meter is separate from the camera. After measuring measuring the amount of oflight, the meter’s meter's calculator dial or display panel shows the recommended f-stop for your selected shutter-speed and ISO. ISO. This type of ofmeter meter can read either incident or or reflected light depending on the position of ofthe small dome on the meter.

Reading Incident Light

Reflected Reading Reflected Ref lected Light

ﾷＭ

＠

Hand-held Meter

the amount amount of oflight light A reflected-light ref1ected-light meter measures the reflected from an on object. It can be be hand hand held held (left) (left) or or built built into a camera (right). (right). To make a reading, point point the the meter meter it. specific part part of ofit. at the entire scene or at a specific

An incident-light meter measures the amount amount of oflight light falling on it—and it- and so, the amount of oflight falling falling on on aa subject in similar light. To make a reading, point point the the meter away from the subject, toward toward the the camera.

htin What measure? Meter Wei Weighting: What part part of of aa scene does a reflected-light meter measure? Averaging Meter

An averaging or overall meter reads most of ofthe image area and computes an exposure that is the average of ofall the the tones tones like the in the scene. scene. A hand-held meter, Iike one shown opposite, typically makes an overall reading.

A center-weighted meter meter favors favors the light level of an image, which ofthe central area of ofan which is often oft.en the most important one to to meter. meter. Cameras with built-in meters usually use use some form of ofcenter weighting.

(X) Spot Meter

A spot meter reads only a small part part of of the image. image. Very accurate exposures can be calculated with a spot meter, but it isis important to select with care the areas to to be read. read. Hand-held spot meters are popular with with photographers who want exact measurement and control of ofindividual areas. Some cameras with built-in meters have aa spot spot metering option.

Center-weighted Center-w eighted Meter

0

Multi-segment Meter

A multi-segment meter is the most most sophisticated of ofthe meters built built into aa camcamera. era. It divides the scene into areas that that are metered individually, then analyzed against against a series of ofpatterns stored in the camera’s camera's memory. The resulting exposure is more more likely to avoid problems such as underexpounderexposure of ofa subject against a very bright bright sky.

C HAPTER 3 CHAPTER

63

Exposure Meters H O W TO TO C ALCULATE A ND A DJUST HOW CALCULATE AND ADJUST AN EXPOSURE MANUALLY AN E XPOSURE M ANUALLY

H

H oow w do you calculate and and adjust adjust an an expoexposure su re manually? ma nually? Even if you yo u have have an automatic a u tomatic expos ure camera, cam era, it it will will help h elp you you to to know know how how exposure a u tom a tic cameras cam eras do d o not not expose expose to do so. Many automatic correctly correc tly for fo r backlit backli t scenes scen es or or other o th er situations situations wh ere the overall illumination illuminatio n is is not no t “average,” "average," where yo u will wi ll need n eed to to know know how how much much and an d in in what wh at a nd you and d irection to to change the th e camera’s can1era's settings setti ngs to to get get direction yo u want. the results you T his page shows sh ows the t he way aa hand-held ha nd- held meter m eter This works. likely you yo u will will never never use use one o n e or or even even wo rks. It is likely o n e in your yo ur hand. hand. But But once o nce you you grasp gras p its its h old one hold o perati on, you yo u will know kn ow how h ow any any meter meter funcfuncoperation, tions, tio n s, whether wh eth er built buil t into into aa camera cam era or o r separate separa te hand-held. It’s It's also useful usefu l to to understand u nd erstand that that and hand-held. the t he functions of of your yo ur camera cam era and an d those t hose of ofaa light ligh t yo ur camera, cam era, are are indein dem erer, even eve n the th e one o n e inside ins ide your meter, pend ent from one o ne another. an o ther. Pages Pages 68–73 68-73 tell tell how h ow pendent m eter for for different d ifferen t types types of ofscenes. scenes. to use any meter

= Intensity Intensity ×X Time. Time. Exposure Ex posu re isis aa Exposure = combinatio n of of the th e intensity intensity of of light light that tha t reachreachcombination es the light-sensitive ligh t-se nsit ive surface su rface (controlled (con trolled by by the t he of the aperture) ape rtu re) and an d the the length len gth of of time time the the size of light ligh t strikes stri kes it (controlled (con trolled by by the the shutter). shutter). You You t he exposure exposu re by by changing chan ging the t he shutter shu tte r can adjust the speed, o r both. both. speed , aperture, or

Exposure changes chang es are measured meas ured in in stops, stops, aa d o u bling (or halving) of of the th e exposure. exposure. A A change cha nge doubling (f-stop) to to the the next next larger larger aperaperfrom one aperture (f-stop) fro m f/5.6 f/5.6 to to f/4, f/4, doubles d o ubles ture opening, such as from li ght reaching reachin g the t he sensor (or (or film) film ) and and results results t he light the A change cha nge from fro m one one o ne stop sto p more m o re exposure. exp os ure. A in one shutter s hu tte r speed to to the th e next nex t slower s lower speed, speed , such s uch as as from 11/zso ⁄250 ⁄125 co 1l/12s in one o ne stop sto p 250 sec. to 125 sec., also results in more m o re exposure. ex posu re. A change ch an ge to to the th e next n ext smaller s m aller a perture or the next next faster faste r shutter shutter speed speed halves halves aperture t he light ligh t and an d produces p roduces one o ne stop stop less less exposure. exposure. the Doubling Doubli ng the illumination illumi nation in in aa room roo m would wo uld also also be referred to as a one-stop one-stop change. change. wo rth your yo u r effort to to memorize mem ori ze the t he f-stop f-sto p It is worth and shutter-speed sh utter-speed sequences, sequen ces, at at least least the t he wholewh o lethe box box on o n page page 26), 26), so so you yo u know know stop ones (see the

64 64

LLIGHT IGHT A ND E XPOSURE AND EXPOSURE

Power Switch Mode Switch Switch Changes from Changes from from continuous light continuous light (like daylight) daylight) to to electronic electronic electr onic flash. f lash. flash. The The f-stop f-stop settings settings aree one ar one stop stop apart. apart. f/f/8 apart. 8 in half as lets in as much much light light f/ 5.6. Remember as f/5.6. Remember that that number,, the lower the the f-f-number, f-number the larger larger the the lens lens aperture, apertur aper ture, tur e, and and so so the the moree light mor light let let into into the the camera. camera. camer a.

ISO button; button; speed speed rratings atings double double each each time the the sensitivity sensitivity of the sensor (or of (or of of film) f ilm) film) doubles. A setting doubles. setting of of ISO ISO one stop stop faster fast fast aster er than than 400 is one a setting of ISO ISO 200. 200. ItIt needs needs only half as as much much light light as as does does ISO ISO200. 200.

whi ch way to move m ove the the controls con trols when when you yo u are a re which a n exposure exposu re you yo u want wan t to to bracket bracket or or faced with an otherwise adjust.

Bracketing helps ifif you are are not not sure s ure about about the exposure. To bracket, you yo u make m ake several photograp hs of of the t he same sam e scene, scen e, increasing increasing and a nd photographs the exposure exposu re by by adjusting adjusting the t he aperape rdecreasing the shu tte r speed. speed. Among Am ong several several different d iffe ren t ture or shutter that exposu res, there t here is likely likely to to be be at a t least least one o ne that exposures, is correct. It’s Ir's not not just j u st beginners beginners who wh o bracket b racket exposures. exposu res. Professional Professio nal photographers ph otographers often o ften do do it as protection against having having to to repeat repeat aa whole wh o le shooting session because none n one of of their th eir exposures exposures qui te right. righ t. was quite To T o bracket, first fi rst make m ake an a n exposure exposu re with with the t he a perture and shutter shu tte r speed speed set set by by the th e automatic auto m atic aperture m an ually set by by you yo u at at the t he combination com binati on system or manually you think t hin k is the right righ t one. o n e. Then T hen make m a ke aa second second s top more 1nore exposure expos u re and and aa third third shot with one stop less exposure. exposu re. This T his is is easy easy to to shot with one stop less yo u set the th e exposure exposure manually: m an ually: for for one one stop stop do if you more mo re exposure, expos ure, either eith er set set the th e shutter shu t ter to to the th e next n ext

Shutter speeds speeds aree one stop ar stop apart. apart. apar t. A shutter shutter shutter 125 sec. speed sec. speed of 11/12s lets in twice as as in twice much as aa much light as shutter shutter speed speed of of 1½so 250 sec. sec. s Reads fraction fractions fractions between the in between the f-stop whole f-stop settings. settings.

A hand-held exposure A meter. Light striking this meter’s meter's light-sensitive photoelectric cell results in the display of ofan f-stop fstop and a shutter speed on its electronic display window. You set the ISO and shutter speed, and it calculates the correct aperture for a normal exposure in light of ofthat intensity. An automatic exposure camera performs the same calculation for you, you, using a light meter built into the camera. Most current hand-held meters will also calculate using exposures when you you are using electronic flash (see pages 146–149) 146- 149) or mixing flash with daylight. daylight.

Bracketinsi: Exposures Bracketing Exposures Bracketing produces prod uces lighter and darker versions of ofthe the for aa scene scene isis 1¼o same scene. Suppose an exposure for ⁄60 60 sec. f/ 5.6 aperture. apertu re. shutter speed at f/5.6 Original exposure 1/ 250 1/ 125 1/250 1/ 8 1/15 1/ 15 1/30 1/ 60 1/125 1/ 30 1/60 1/8 f/16 f/5.6 f/2.8 f/ 16 f/11 f/ 11 f/8 f/ 8 f/ 5.6 f/4 f/ 4 f/ 2.8

1/ 500 sec. sec. 1/500 f/2 f/ 2

less exposure, exposure, which which would would darken darken To bracket for one stop less speed at 1¼o the scene, keep the shutter speed ⁄60 60 sec. while changing f/ 8. (Or keep keep the the original original f/5.6 f/ 5.6 to the next smaller aperture, f/8. cha nging to the next next faster fas ter shutter shutter speed, speed , aperture while changing 1Vi2s ⁄125 125

sec.) sec. )

Bracketed for one stop less less exposure 1/ 125 1/250 1/ 250 1/8 1/ 8 1/15 1/ 15 1/30 1/ 60 1/125 1/ 30 1/60 f/16 f/5.6 f/2.8 f/ 16 f/11 f/ 11 f/8 f/ 8 f/ 5.6 f/4 f/ 4 f/ 2.8

1/ 500 sec. sec. 1/500 f/2 f/ 2

more exposure, exposure, which which would would To bracket for one stop more at 1¼o ile keep the shutter shutter speed speed at lighten the scene, keep ⁄60 while 60 sec. wh changing to the next larger larger aperture, aperture, f/4. f/ 4. (Or (Or keep keep the the origiorigi-

f/ 5.6 aperture while changing to to the the next next slower slower shutter shutter nal f/5.6 speed, 1½o ⁄30 sec. ) 30 sec.)

Bracketed for one stop more more exposure exposure 1/8 1/ 8 1/15 1/ 15 1/30 1/ 60 1/125 1/ 250 1/ 30 1/60 1/ 125 1/250 f/16 f/5.6 f/2.8 f/ 16 f/11 f/ 11 f/8 f/ 8 f/ 5.6 f/4 f/ 4 f/ 2.8

1/500 1/ 500 sec. sec. f/2 f/ 2

slower speed or the the aperture to to the the next next larger larger f-n u mber); for for one one stop stop open ing (the next smaller f-number); opening less exposure, either set the th e shutter shutter to to the the next next the aperture to to the the next next smaller smaller faster speed or the opening larger f-number). f-number). open ing (the next larger an automatic automatic How do you bracket with an exposure camera? In ln automatic operation, operation, if if you change to to the th e next next larger larger aperture, aperture, the the camera camera may simply shift to the the next next faster faster shutter shutter speed, speed, resulting in the exposure. Instead, Instead, the same overall exposure. auto matic sysyou have to override the the camera’s can1era's automatic automatic systo do do so. so. Some Some cameras cameras how to tem. See page 66 for how can be set to make make three th ree bracketed bracketed exposures exposures in in press the the shutter sh utter once. once. succession when you press Jack Delano. Union Station, Jack Chicago, Chicago, 1943. 1943. Bracketing your exposures is useful your when you you are not sure ifif an exposure is correct or ifif you want to see the results you from different exposures of of the same scene. scene. Judging Judging the exposure for this kind of of extremely contrasty extremefy contrasry scene can be very difficult; bracketed you a choice. exposures give you With more exposure in the photograph at left, detail in the interior would have been more visible but the beams of sunlight would lose their of drama. Less exposure would drama. darken everything so people on the benches would disappear entirely. entirefy.

C HAPTER 3 CHAPTER

65

Overriding an Automatic Exposure Camera M any cameras with automatic automatic exposure exposure M

of overriding overriding the the automatic automatic have a means of to increase increase the the exposure exposure system when you want to picture or decrease decrease the the exposure exposure to to to lighten a picture in exposure exposure is is measured measured in in darken it. The change in in exposure exposure will will double double stops. A one-stop change in the amount of oflight light reaching reaching the the sensor sensor (or halve) the fi ln1. Each aperture or or shutter-speed shutter-speed setting setting isis or film. the next next setting. setting. one stop from the

the picture. picture. It It cannot cannot be be used used to to and lightens the decrease exposure. Changing the the ISO ISO setting setting on on aa ISO setting. Changing

indicator to +1 or +2 +2 increases increases the the exposure exposure by by one or two stops and lightens lightens the the picture. picture. Moving Moving it to –1 - 1 or –2 - 2 decreases the the exposure exposure and and darkens darkens the picture. (Your (Your camera camera may may have have aa button button you you whi le making making this this change). change). must hold down while

digital camera will change change either either aperture aperture or or shutshutnot make make the the picture picture lighter lighter ter speed but will not will need need to to use use the the butbutor darker. Instead you will menu item ite1n that that controls controls exposure exposure ton, dial, or menu can set set the the camera camera to to expose expose compensation. You can at aa fixed fixed amount amount more more or or all your photographs at meter indicates, indicates, or or you you can can make n1ake an an less than the meter for one one picture picture at at aa time. time. exposure change for film camera camera doesn’t doesn't Setting the ISO on aa film change the light sensitivity sensitivity of ofthe the film, film, so so you you can can change the exposure (if (if the the camera camera allows allows you you to to set an ISO manually) manually) by by changing changing the the film film speed speed setting. The camera responds responds as as ifif the the film film were were than it it really really is. is. Doubling Doubling the the film fi lm slower or faster than speed (for example, from from ISO ISO 100 100 to to ISO ISO 200) 200) picture by by decreasing decreasing the the exposure exposure darkens the picture one stop. Halving Halving the the film film speed speed (say (say from from ISO ISO lightens the the picture picture by by increasing increasing 400 to ISO 200) lightens stop. the exposure one stop.

Backlight button. If If aa camera camera does does not not have have

Manual mode. With With an an automatic automatic camera can1era that that

dial, it it may may have have aa an exposure compensation dial, backlight button. button . Depressing Depressing the the button button adds adds 1⁄2 stops, of exposure, 11 to to 111/i a fixed amount of

has a manual mode, mode, you adjust adjust the the shutter shutter speed speed and aperture yourself. You can can increase increase or ordecrease decrease the wish. t he exposure as you wish.

Exposure lock. An exposure exposure lock lock or or memory memory locks in in an an exposure, exposure, so so you you switch temporarily locks n1ove up close or point point the the camera camera in in aa differdiffercan move co take rake a reading reading of ofaa particular particu lar area, area, ent direction to lock in the desired setting, step step back, back, and and then then the entire scene. scene. photograph the Exposure compensation. compensation_ Moving Moving this this dial dial or or

One or more means of ofchanging the most t he exposure are found on most cameras. cameras. These features let you override automatic exposure when you want to do so. Don’t you Don't forget to to reset the camera to its normal normal mode ofoperation after a~er the picture isis made. of

Exposure lock

Backlight button Exposure compensation dial

+2 +1 0 –1 –2

400

speed/ ISO dial Film speed/ISO

66 66

LLIGHT IGHT A ND E XPOSURE AND EXPOSURE

Manual mode

Todd Todd Hido. Hido. #2423a from the the series House House Hunting Hunting,, 1999. 1999. You You can can use use manual manual mode mode to set the shutter speed and aperture for for photographs photographs in in low low light, light, like like this this winter winterscene scene from from Hido’s Hido 's series of ofhomes at night, or or for for any other other situation requiring requiring aa very very long longexposure. exposure. CHAPTER C HAPTER 3

67

Making an Exposure of of an Average Scene Deborah Trailofof Deborah Willis. Willis. Trail Tears, Tears, 2001. 2001. Scenes Scenes in in difdif fused fused light light can can be be exposed exposed well well with with an an overall overall readreading, ing. for for example example an an overcast overcast day, outdoors in the shade day, outdoors in the shade like like this, this, or orindoors indoors when when the the light light isis coming comingfrom from several several light light sources. sources. Diffused Diffesedlight light isis indirect indirect and andsoft. so~. Shadows Shadows are not as dark as they are not as dark as they would would be be in in direct direct light. fight. Willis, Willis, aa long-time long-time resident resident of ofNew New York York City, City, responded to the the spontanespontaneresponded to ous memorials around ous memorials around her her city city with with her her series series 911 911 The Day Day After, After, 9/12/2001, 9/ 12/ 2001, that that includes includes this this photograph. photograph.

W

W hat exactly exactly do do you you need need to to do do to to proproduce aa good exposure? exposure? How How do do you yo u choose ch oose one that lets lets just just enough enough light light into into the the camera cam era so so on e that that that the the image image is is neither neither underexposed, underexposed, making making the the picture picture too too dark, dark, nor nor overexposed, overexposed,making m ak ingthe the picture picture too too light? li ght? All All meters meters built bui lt into into cameras, cameras, and most most hand-held hand-held meters, meters, measure measure reflected reflected light: light: the the lightness lightness or or darkness darkness of ofobjects objects (but (b utnot not their their color). In In many many cases, cases, you you can can simply simply point point the the camera camera at aa scene, scene, activate activate the the meter, meter, and and set set the exposure (or (or let let the the camera camera set set it) it) accordingly. accordingly. the

A reflected-light reflected-light meter meter averages averages the the light light entering its angle a ngle of of view. view. The The meter meter isis calibrated calibrated enterin g its on the the assumption that t hat in in an an average average scene scene all all the the tones tones or values—dark, values- dark, medium, m edium, and and light—will ligh t- will average ave rage out to to the the value value of of aa medium medium gray. gray. So So the meter m eter and its its circuitry circui try set, set, or or recommend, recommend, an an exposure that that will record record all all of of the the light light reflecreflectances tan ces that that it it is is reading reading by by centering centering them t hem around around a middle gray. This works well ifif you are are photographing photographing an an “average” that has has an an average average distridiscri"average" scene, one o ne that

68

LLIGHT IGHT A ND E XPOSURE AND EXPOSURE

bution bution of of light light and and dark dark areas, areas, and and ififthe the scene sceneisis evenly evenly illuminated illuminated as as viewed viewed from from camera camera posiposition, the light ligh t isis coming comi ng more more or or tion, that chat is, is, when when the less less from from behind beh ind you yo u or or when when the the light light isis evenly evenly diffused the entire entire scene scene(like (likethe thephotograph photograph diffused over over the above). See See opposite opposite for for how how to to meter m eter this this type type of of average ave rage or o r low-contrast low-contrast scene. scene.

A meter meter can can be be fooled, fooled, however, however,ififyour yoursubject subject is is illuminated illuminated from from behind behind (backlit), (backli t), surrounded surrounded by by a much much lighter ligh ter area, area, such such as as aa bright bright sky, sky, or orby by a much much darker darker area, area, such such as as aa large large dark dark shadow. shadow. Even Even a flatly flatly lit lit scene scene can can present present an an exposure exposure challenge ifif it it is is not not aa good good balance balance between between light light and dark areas. See See pages pages 70–73 70- 73 for for what what to to do do in in such cases.

A digital digital camera’s camera's preview preview or or an an editing editing histogram of ofthe the scene scene on this this page page would would look look like the left. the one at at left. A A histogram is aa visual visual display display of ofthe the way way tones tones are are distributed in an image. Flat, Flat, even even illumination usually usually makes makes aa histogram that fits all tones histogram that fits all tones comfortably within within the the available latitude. This This one one shows aa decline decline to to the the baseline baseline at at both ends indicating indicating that that all the tones have been been captured. captured. The The rise rise at at the the left le~ indicates slightly more more dark tones than middle or or light ones. Overall Overall it is relatively relatively flat, characteristic of characteristic ofan average subject in soft soft light, the the result of ofan almost equal equal distribution of oftones from from dark to light.

into a camera for for exposure exposure of of an an average average scene scene Using a meter built into it in in the the camera. camera. Some Son1e film film cameras cameras do do this th isautoautoSelect an ISO and set it load the the film. film. matically when you load

11 2 33

mode: automatic automatic (aperture (aperture priority, priority, shutter shutter Select the exposure mode: priority, or programmed) or or manual. manual. Activate Activate the the meter meter as as you you look lookat at the subject in the the viewfinder.

The camera can1era will will n1ode, you you select select an an aperture. aperture. The In aperture-priority mode, make sure sure that chat itit isis fast fast enough enough to co prevent prevent select a shutter speed; make of the image in1age caused by by camera can1era or or subject subject motion. n1otion. In In shuttershutterblurring of shutter speed. speed. The The camera camera will will select select an an priority mode, you select aa shutter it gives gives the the desired desired depth depth of offield. field. In In programmed programmed aperture; make sure it (fully automatic) mode, mode, the the camera camera selects selects both both aperture aperture and and shutter shutter manual mode, mode, you set sec both both aperture apercure and and shutter shutterspeed speedbased based speed. In manual the viewfinder. on the readout in the

Calculat ing exposure of of an average average scene scene with with aa hand-held hand-held reflectedreflectedCalculating light meter Set Sec the ISO or film speed into into the che meter. meter.

11 22 3 4 4

meter's photoelectric photoelectric cell cell at at the the subject subject at at the the same same angle angle Point the meter’s the meter meter to co measure measure the the amount amount of oflight light seen by the camera. Activate the reflected by the subject.

Line up the number registered registered by by the the indicator ind icator needle needle with with the the arrow arrow on the meter’s meter's calculator calculator dial. dial. (Some (Some meters meters do do this chis automatically.) automatically.) to one of of the the combinations combinations of of f-stops f-stops and and shutter shutter Set the camera to the meter. n1erer. Any Any combination cotnbinarion shown shown lets lees the the same same speeds shown on the quantity of of light into into the the camera camera and and produces produces the the same same exposure. exposure.

of an average average scene scene with with aa hand-held hand-held incidentincidentCalculating exposure of light meter Set Sec the ISO or film speed into into the the meter. meter.

11 22

chat the the same same light light isis falling falling on on the the meter’s meter's phophoPosition the meter so that toelectric cell as is falling falling on the the part part of ofthe the subject subject seen seen by bythe thecamera. camera. To do this, chis, point point the the meter’s meter's photoelectric photoelectric cell cell away away from from the the subject, subject, from the the camera camera lens. lens. Activate Activate the the meter meter to to in the opposite direction from measure the amount of light falling oflighc falling on on the the subject. subject.Make Make sure surethe thesame same chat is falling on the the subject subject is is falling falling on on the the meter. meter. For Forexample, example, light that take the subject cake care not to co shade the the meter meter ififche subject isis brightly brightlylit. lie. Proceed Proceed as as seeps 3 and 4 for for reflected-light reflected-light meter. meter. in steps Julia Sapir

C HAPTER 3 CHAPTER

69

Exposing Scenes that are Lighter or Darker than Average "I tt “I

dark." Sometimes Sometimes even even came out too dark.” photographers complain complain that that they they experienced photographers carefull y, but but the the picture pi cture still still metered a scene carefully, was n't properly exposed. All aa meter n1eter does does is is meam eawasn’t ligh t. It doesn’t doesn't know know what what part part of o f aa scene scene sure light. yo u are interested in in or whether wh eth er aa particular particular object object you sho uld be light or dark. dark. You have h ave to to think think ahead ahead should of the meter and sometimes change chan ge the the exposure exposure of it recommends.

light overall, such such as as aa snow snow Scenes that are light scen e, can look too too dark in in the the final final photograph photograph scene, if you yo u make just ju st an overall reading reading or or let let an an autoautoif make one o ne for fo r you. you. The The reason reason is is that th at matic camera make n1eter will make make its its usual usual assumption ass umption that that itit the meter po inted at a scene consisting of of light, light, medium, n1edium, is pointed d ark tones to nes (one that that averages averages out o ut to to middle middle and dark t he exposure exposure accordingly. accordingly. gray), and it will set the wi ll underexpose underexpose aa scene scene that that consists consists But this will of light light tones, tones, called called high-key, high-key, resulting res ulting in in aa mostly of photograph. Try Try giving giving one one or or two two stops stops too-dark photograph. to such such scenes. scenes. extra exposure to

An underexposed (too dark) photograph can result result when when the light is coming coming from behind the subject or or when the subject is against a much brighter background, such as the the sky. The The problem is that a meter averages all the the tonal tonal values values that that strike its light-sensitive cell. cell. Here the photographer photographer pointed pointed the the meter meter so that it included the much lighter lighter tone of ofthe the sky sky and and clouds clouds as well as the sculpture. The resulting ⁄250 sec. shutter resulting exposure of of1½so f/ 11 aperture produced a correct exposure for for an an averspeed at f/11 age scene but not a correct exposure for this scene. for

70

LLIGHT IGHT A ND E XPOSURE AND EXPOSURE

are less less common, common, Scenes that are dark overall are d o occur. When Wh en the the meter m eter sees sees an an entire entire scene scene but do that is very dark, called low-key low-key,, itit assumes ass umes itit isis ave rage scene and and lets lets in in more more light. light. a dimly-lit average If your yo ur main subject is not not as as dark dark as as the th e backbackIf gro und, it will be rendered rendered too too light. light. Try T ry reducing reducing ground, ex posure one or two two stops. s to ps. the exposure

You can make some adjustments adjustments in in tone tone yo u edit your yo ur pictures. pictures. But But good good later, when you yo u want want are are easier easier to to get get results and the effect you yo u first use u se the the camera can1era to to capture capture the the corcorif you Bracket your yo ur exposures exposures (page (page 64) 64) rect exposure. Bracket if you are not sure, especially especially if if you yo u notice notice that that if average- equally light light and and dark. dark. the scene is not average—equally If TIFF or or JPEG files, files, If your camera is capturing TIFF you Shooting Camera Camera Raw Raw yo u have little leeway. Shooting fi les gives you a better better chance chance at at retrieving retrieving an an files slightly overover- or or underexposed. underexposed. image that was slightly a n image that was was captured cap tured with with the the correct correct But an be your your best best bet bet for for making m a king exposure will always be o f the highest hi gh est possible possible quality. quality. a print of

A better exposure for contrasty scenes results from from moving moving up close to meter only the main subject, as shown above. This This way you you take your your meter reading from the the most most important important part part of scene—here, ofthe scenehere, the dinosaur’s dinosaur's head. The The resulting resulting exposure of ⁄60 sec. sec. at f/11 of11/40 f/11 let in two more stops of ofexposure and and made made the final picture (right) lighter. The sky is more realistic realistic and and the the important part of ofit, the figure, figure, is not not too dark.

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Jerome Liebling. Jerome Uehling. Miami Beach, Florida, Florida, 1977. 1977. Some scenes need more care in metering, like this handball player in a shaft of ofsunlight. An average meter reading reading would see mostly mostly the dark court and suggest an exposure that that would would

make the sunstruck areas too light. Its Its histogram (left) shows mostly dark tones clustered at at the the left end of ofthe graph. An averaging averaging meter meter would would try to move the large mass of oftones tones toward the the center, overexposing overexposing and clipping clipping the highlights. highlights.

C HAPTER 3 CHAPTER

71 71

Backlighting T

Lou Jones. Jones. Dancers Rehearsing, Rehearsing, 1985. Careful exposure Boston, 1985. is required in backlit scenes like this one ififyou you want to retain detail in the shadowed side of ofthe subject.

T he most common exposure exposure problem problem is is aa much lightlightbacklit subject, one that is against a much er background, such as as aa sunny sunn y sky. sky. Because Because the the n1eter averages all the t he tonal tonal values values it it sees—light, sees- ligh t, meter dark-in the the scene, scen e, itit assumes ass umes the the m edium, and dark—in medium, bright. Consequently, Consequently, itit sets sets entire scene is very bright. an exposure that that lets lets in in less less light, light, which wh ich makes makes and your yo u r main 1nain subject subject the entire picture darker and d ark. too dark. make an effective effective silhouette, silhouette, Backlight can make but you yo u shouldn’t shouldn't render render your your subject subject in in blackblackthat's the t h e effect effect you you want. want. To To show show n ess unless that’s ness yo ur main m a in subject su bject with with detail detail in in the the shadowed shadowed your photograph at at right, ri ght, make make sure sure to to side, like the photograph m eter the th e part of of your yo ur subject subject facing facing the the camera cam era meter backli ght shine sh ine into into the the meter, m eter, without letting the backlight you want want aa silhouette silhouette as shown below. When you against a bright background, backgrou nd, try try giving giving aa stop stop or or than the the meter meter recommends recommend s for for two less exposure than the main subject.

Using a Meter Move in close to meter a high-contrast scene. With a built-in meter, move in (without blocking the light) until the important area just fills the viewfinder. Set the shutter speed and aperture and move back to your original position to take the picture.

With a hand-held, reflected-light meter, move in close enough to read the subject but not so close as to to block the light. A spot meter, which reads light from a very ve,y narrow angle of ofview, is particularly useful for metering metering high-contrast scenes.

72

LLIGHT IGHT A ND E XPOSURE AND EXPOSURE

A substitution reading, such as one taken taken from from the the palm palm of of your hand or a gray card, will give you an accurate reading your reading ifif you can’t you can't get close enough to a subject or—as or- as in this this scene— sceneyou can’t you can't easily find an area of ofaverage reflectance. Make Make you are metering just the palm (or sure you meteringjust (or the the card) card) and not not the sky or other background of a different tone. A hand-held of a hand-held reflected-light meter is shown, but but you can also use use aa meter meter built into a camera. IfIfyou you meter from the palm of your hand, try ofyour try the exposure exposure recommended by the meter you have very meter ififyou very dark skin, but but give one stop more exposure ififyou have light skin, as here. here. IfIfyou you make a substitution reading reading from aa photographic photographic gray gray card, card, use the exposure recommended by by the meter. meter.

Exposing Scenes with High Contrast

Ray K. Metzker. Frankfurt, 1961. 1961. A high-contrast scene must be A you can see from exposed carefully, as you from the histogram shown below. It would take only a little overexposure to push the highlight tones (at the right) beyond beyond the end of ofthe graph, making them all all a uniform white. Similarly, a little underexposure would clip the dark tones, making them all black.

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J H igh-contrast scenes are are difficult difficult to to expose expose H

correctly because the range of oftones cones in in aa contrasty contrasty of wide or or high high dynamic dynamic scene (also called a scene of exceed the the latitude latitude (the (the range)) can meet or even exceed range of tones cones that t h at can be be captured captured simultanesimultanerange of of the sensor or film. film. Even Even aa small small exposure exposure ously) of with detail derail missing missing (clipping) (clipping) error will leave you with As always, always, itit is is safsafin your highlights or shadows. As ro bracket. est to

Try not to underexpose underexpose with with film; film; the rhe shadow shadow areas suffer most from from exposure exposure error. error. Films Fi lms have have in the the highlights. highlights. Don’t Don't overexpose overexpose more latitude in they typically typically capture capture aa with digital cameras, they tonal range greater than than negative negative films, films, but but with with highlights. Precise Precise metering metering isis less latitude in the highlights. contrasty light. light. more important in contrasty To expose the main main subject subject correctly correctly in in aa contrasty scene, measure the light light level level for for that that part of of the scene only. If If you you are are photographing photographing a person or other ocher subject against against aa much much darker darker or lighter background, move move in in close close enough enough to to exclude the background from from the the reading reading but but not not so close that you meter meter your own own shadow. shadow. If Ifyour your main subject is a landscape landscape or or other other scene scene that that includes a very bright sky, sky, tilt tilt the the meter n1eter or or camera camera exclude most most of ofthe the sky sky from from down slightly so you exclude

Bu r suppose a bright bright sky sky with with interinterthe reading. But in which which you you want want to to see see esti ng clouds is the area in esting detail and there are much much darker darker land land elements elements it (see (see page page 9, 9, bottom bottom center). center). silhouetted against it If If so, the sky is is your main main subject, subject, the the one one you you sh ould meter merer to determine your your camera camera settings. settings. should possible ifif you you can’t can't A substitution reading reading isis possible to the the important important part part of ofaa move in close enough to Find an object object of of about about the the same same contrasty scene. Find simi lar light and read read it it instead. instead. For For exact exact tone in a similar exposures, you can meter n1erer the the light light reflected reflected from from aa gray card, that is is a standard 18% 18%reflectance reflectance card, a card that middle gray (meters are designed designed to to calculate calculate of this this tone). tone). You You can can also also exposures for subjects of reflected by by the the palm palm of ofyour your hand hand meter the light reflected Hold the the card card or or your your hand hand in in (see box, opposite). Hold is falling falling on on the the subject. subject. the same light that is

How do you set set your your camera camera after after you you have have high-contrast scene? scene? If metered a high-contrast If your cammanual exposure mode, mode, set set the t he shutter shutter era has a manual speed and aperture to to expose expose the the main main subject subject correctly, using the t he settings from from aa reading reading made 1nade substituti on reading. read ing. In In autoautoup close or from a substitution matic operation, you must must override override the the automatic automatic 66). Don’t Don't be be afraid afraid to to do do this; this; circuitry (see page 66). only on ly you know the picture picture you want. want. C HAPTER 3 CHAPTER

73

HDR HDR H IGH D YNAMIC R ANGE HIGH DYNAMIC RANGE

H

H ow do you capture a scene scene when when the the great for for your your camera? camera? What contrast is too great the highlights high lights are are too coo bright bright and and do you do when the coo dark to co be be captured captured at at the the same same the shadows too of tones tones aa sensor sensor or or film fi lm can can time? The range of monitor can can display d isplay or or aa printer printer can can capture (or a monitor its dynamic range. range. When When exposexposprint) is called its too much much contrast—too contrast- too great great aa ing a scene with too dynamic range—you range- you can only only make make sure sure the the most most recorded, you you can’t can't capture capture important tones are recorded, of them th em in one picture. picture. all of

Photographers have have always always had had to to work work of the the medium. medium . In around the limitations of th century, photographers used 19,h used aa separate separate the 19 negative to co add clouds to co aa print print because because the the of the the period period couldn’t couldn't record record detail detai l materials of in a landscape and sky sky at the the same same time. time. Studio Studio photographers p hotographers learn learn to co arrange arrange lights ligh ts so so the the range of of their their subject subject doesn’t doesn't exceed exceed brightness range the range they can capture.

Software gives us us a chance chance to to overcome overcome the the limited range a sensor can capture. HDR (high (high images can be be assembled assembled from from dynamic range) images a bracketed sequence of of exposures. Photoshop’s Photoshop's Merge to HDR feature, as as well well as as several several separately separately and plug-ins, plug-ins, automate automate the the available applications and process by blending the the light light areas areas in in the the lesslessexposed frames with the the shadow shadow areas areas in in the the greater exposures. Five to to seven seven frames frames of of aa still still

Five exposures were made to capture ofthis full detail in all the areas of desert canyon, from 1½a sec. to 6 sec. ⁄10 sec.

74

subject bracketed one stop stop apart apart (see (see page page 64) 64) will will results. Although the the programs programs will will give the best results. try cry to line up exposures that that don’t don't overlap overlap perperfec tly, it is always more 1nore effective effective to to use use aa tripod. tripod. fectly, using shutter shutter speed speed rather rather Bracket the exposures using co avoid depth-of-field depth-of-field variation variation than aperture to between frames.

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Sensor limit for low light. lig ht. A digital sensor can only capture the the fixed fixed the range of brightnesses shown within the

histogram displayed on your your camera’s camera 's monitor. tor. With a very contrasty scene like the one below and opposite page, top, some tones will fall outside that range. These out-of-gamut (page 82) tones are not actually displayed by by

The aperture was kept the same in all so they could be merged (see the opposite page) with no depth-of-field variations.

LLIGHT IGHT A ND E XPOSURE AND EXPOSURE

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Sensor limit for bright brig ht light. lig ht.

a camera the way they are illustrated illustrated above, but are clipped—all clipped-all tones to the right of ofthe the sensor’s range are captured as pure white and sensor's and everything to the left le~ as pure black. Without Without the ability to merge bracketed HDR HOR frames, frames, your only option is to choose (by selecting your selecting an exposure) which partial range of oftones you record.

Billy L. Crafton. Cra~on. Textures of the Lower Antelope Slot of Canyon, Page, Arizona, 2008. Deep in this canyon there is only dark shadow and hard hard sunlight. Using five merged HDR HOR exposures was the only way Crafton Cra~on could keep full detail in the eroded rock. He prefers to display the photograph rotated 90º 900 from the way he took it, shown opposite, to momentarily disorient viewers.

Di ital Noise Digital IInn a digital photograph, the lower the light, light, the the more more the the noise. noise. AA sensor’s very small small sensor's photosites are less less accurate when they they measure measure aa very of light, and a nd in every photograph photograph some some will wi ll randomly randomly gengenamount of brightness are unrelated unrelated to to the the subject. subject. erate pixels whose color and brightness Because noise increases as the light light level level decreases, decreases, there t here will wil l always always of an image. image. And, because because noise noise in in shadows shadows be more in dark areas of appears as bright bright sparkles of of color color in in a dark dark field, field, itit isis most most noticenoticeable there, too.

Longer exposures increase noise. You use use aa long long exposure exposure when when because of ofaa very little illumination reaches reac hes the the sensor—perhaps sensor- perhaps because very small aperture or a dimly lit lit subject. HDR HOR photographs photographs for for of the great range range of of brightnesses, brightnesses, are are often often very very example, because of dimly dim ly lit in the darker areas and require require longer longer exposures. exposures. One One kind kind of noise, heat-generated electrons called dark dark noise, noise, accumulates accumulates of over time, and so forms a more more noticeable noticeable part part of of an an image image made made with a long exposure.

Higher ISO settings increase noise. noise. A A photosite photosite does does not not change change se nsitivity- the way it responds responds to to photons photons falling fa llin g on on itit by by colcolits sensitivity—the lecting and counting electrons—when electrons- when you you adjust adjust the the ISO ISO number number to a higher setting. setti ng. The camera’s camera's circuitry circuitry simply simply amplifies amp lifies the the data data collected. co ll ected. With a higher ISO, ISO, you shoot with with aa smaller smal ler aperture aperture or or receives less less illumination illum ination overall. overal l. higher shutter speed, so the sensor receives The kinds of of noise that are always present present at at aa low low level level are are then then amplified more than they would be be at at aa lower lower ISO, ISO, and and form form aa part of of the image. image. more noticeable part

Some noise can be removed. Some digital digital SLR cameras cameras have have aa setsetting for Long Exposure Exposure Noise Noise Reduction Reduction that that works works on on the the principle principle that some kinds of of noise, no ise, notably notably dark noise, noise, are predictable. predictable. A A long exposure is followed automatically automatica ll y by by an equally equa ll y long long expoexposure with the shutter closed. Noise Noise generated during during the t he second second first. Also, Also, several several software software exposure is then subtracted from the first. programs, separate applications as well wel l as Photoshop Photoshop plug-ins, plug-ins, are are available help reduce noise, noise, both both in in digitally digitally captured captured and and in in availab le to help scanned images.

Digital images can be degraded by noise, usually appearing as random light pixels that appear in dark areas. Noise increases with longer exposures.

C HAPTER 3 CHAPTER

75

M ARTHA R OSLER MARTHA ROSLER House Invasion, from the series House Beautiful: Bringing the War Home, 2008. Rosler Rosier collages New Series, 2008. the ads in mainstream magazines to critique the culture that reads them. Made as traditional cut-and-paste collages, lages, early pieces in this series from the 1960s juxtapose smug suburban 1960s juxtapose of the consumerism with the horrors of Vietnam War. War. More recent images are digitally composited from from scanned magazine pages. pages. Rosler Rosier says she wanted “to "to go back to something that I had done many years years before in exactly the same way…because way... because we have sunk back to that same level, of of a kind of of indifferent relare/a• doing." tionship to what our country is doing.”

Equipment and Materials You’ll . . . . . . . . . . . . . . . . . 78 You'll Need ................... 78 80 Pictures are Files ............... . . . . . . . . . . . . . 80 82 Digital Color . .................. . . . . . . . . . . . . . . . . 82 Modes, gamuts, spaces, 82 and profiles . ................... . . . . . . . . . . . . . . . . . 82 83 Channels.. ...................... Channels . . . . . . . . . . . . . . . . . . . . 83 Calibrating/or 84 Calibrating for accuracy. accuracy . .......... . . . . . . . . 84

Working with Camera 85 Raw .......................... . . . . . . . . . . . . . . . . . . . . . . . . 85 86 Stay Organized . ................ . . . . . . . . . . . . . . 86 Setting up a workflow. workflow . ............ . . . . . . . . . . 86 86 Photographer's workflow workjlow Photographer’s 87 programs programs.. ..................... . . . . . . . . . . . . . . . . . . . 87 88 Importing an Image ............ . . . . . . . . . . 88 89 Scanning ...................... . . . . . . . . . . . . . . . . . . . . 89

4

Di ital Workplace Work lace Basics Digital you.'ll learn… learn .. . In this chapter you’ll of aa workspace for for •• to identify the components of its programs, programs, digita l photography: photography: a computer, its digital and its peripheral devices. best file file format format and and resolution resolution •• how to determine the best may have have for aa photograph. photograph. for each use you may plan an efficient series of of steps to to lead lead you you from from •• to plan deciding to make make a photograph photograph to co making making sure sure you you don't ever lose lose it. don’t

A A

fter capturing an an image image and and before before printing printing it, it, your your photophotocomputer file, file, and lives its life in in aa computer. computer. graph exists as a computer photographs by by manipulating manipulating the t he binary bi nary world wo rld of of Computers alter photographs rectan gle of o f film, filn1, or o r liter liter of ofdeveld evelo n es and an d zeroes; ze roes; there there is is no no darkroom, d arkroom, rectangle ones o per. Software programs programs for fo r editing editing photographs photographs contain contai n commands commandsthat charare are oper. inheri ted from—and from- and tools tools that rhar are are modeled modeled after—the after- t hetraditional t raditionalprocesses processesof of inherited photography. You apply apply “filters” "filters" or or use use “burning "burning and and dodging” dodging"tools. tools. It’s It'suseusephotography. necessary- to know know where where those t hose terms terms came camefrom. from . ful - bur not necessary—to ful—but yo u will need, need, however, however, to to control control all all the t he stages stages between between capture capture What you and o u tput, is a reasonable reason able comfort comfort level level with with using u sing aa computer. cmn p u rer. Digital D igitalcamcama nd output, hundreds of of photographs photographs on on one one reusable reusable memory memory card; card;the rhe eras can record hundreds computer compute r facilitates saving saving and and tracking trac king them. them . Computer Computer software software lets lets you yo u separately and precisely precisely control control tones to nes and and colors colors for for individual individual areas areas of ofan an ofrhem), and save save each each successive successive stage stage of ofthe theprocess. process.You You image (or a group of them), and can then th en send your yo ur choices cho ices to to aa desktop d esktop printer—connected printer- con nected to to your yo u r computcompu tprints. By By the the time time you yo u are are aa proficient proficient digital digital er- to make exactly exactly repeatable repeatable prints. er—to photographer, photographer, you and your monitor moni to r and and keyboard keyboard will wi ll be bewell well acquainted. acq uainted .

Meggan Gould. From From the series Screenshots 2007–09. Scree nshots,, 200709. Your workspace reflects your your ;ndividuality . Mass-produced individuality. objects like your your computer and its monitor begin life with little character. character. As a digital you’ll photographer, you 'II spend enough time with yours yours that your personality will gradually your transfer to them and to the surrounding workspace. Gould asks, “What "What do our home screens reveal about us?” us?"

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77

You'll Need Equipment and Materials You’ll CAPTURE Digital camera does not film. It electroniuse film. cally records an an image image in a numerical form form that can be sent to to the the computer directly as as information. digital information. Scanner reads a conventional negative, slide, slide, or print and converts converts it it into digital form. form. See page 89.

lets Image-editing software lets you select editing comcommands that change change the the image. Adobe Photoshop Photoshop is is the dominant produce. product. Photoshop Elements has only some of the features presented in in book. You may also this book. also photographer's choose a photographer’s

shop on STORAGE sh op CS6 Extended Extended on an Apple Macintosh Macintosh AND computer; the Standard Standard TRANSMISSION TRANSMISSION and Windows editions editions look nearly identical. identical. Hard disk ((HDD HDD or hard This book is about image files drive)) stores image drive files photogtaphy. It can't photography. can’t uter. within the comp computer. owner's replace the owner’s Solid state drives (SSD), (SSD (SSD SSD), ), manual for your camcamessentially the same same as as in-depth era or an an in-depth camera memory cards, cards,

Computer

Monitor Printer

EDITING EDITING Computer is the heart of a digital-imaging of system. It processes the the image and drives the the monitor, printer, and and other devices to which which it is attached. attached. You'll You’ll need a recent Apple or Windows-compatible Windows-compatible computer. The more computer. more powerful and and faster faster models are preferable; preferable; editing photographs is among the more more demanding uses for for comp uter. Adding a computer. more memory (RAM) (RAM) will make any comcomperform image puter perform image faster. editing faster. Computer monitor image you displays the image you are on and and a re working on us software shows vario various software tools and options. options. Should be calibrated calibrated (see page 84). 84).

78

External hard drive

Scanner

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Memory card reader

Digital camera

ication workflow appl application like Adobe Photoshop Photoshop Lightroom or Apple Apple Aperture. See page 87. 87. Editing software on-screen menus to uses on-screen to list commands and and to to call for dialog boxes that monitor. open on the monitor. Most dialog boxes boxes and and other illustrations on on the pages of this book book Photowere made with with Photo-

D IGITAL W ORKPLACE B ASICS DIGITAL WORKPLACE BASICS

imagereference for imageediting software. software. You You will need a book book (or the the screen-display or online online for your equivalent) for ch osen software, either chosen the one that comes comes rhe program program or with the one of good of the many good publications or webwebbased tutorials that derail all cover in detail all its tools controls. too ls and controls.

perform the same functions faster but expensive. are more expensive. External drives can can be be added simply by conconnecting with a cable. cable. Cloud storage lets you you use remote storage storage via the Internet. Only a limited number of pictures can stored can be stored internally on a single single drive. See box page 80. 80.

Optical OpticaJ storage medium medium such as a DVD or Bluray disk lets you you expand expand your storage or rake take location. files to another location. Modem, cable, Wi-Fi, or connection ethernet connection anoth er computer to another o r a network of them them or send and lets you send and receive digital image to the files. Connecting to the Internet lets you you transtransmit images worldwide. worldwide.

OUTPUT Printer transfers the paper. Print image to paper. quality, cost, and and perpermanence vary widely. widely. Printers may be the inkjet, laser, or dyedyesublimation type. type. Web site lets others oth ers see your photographs disdisplayed on their monimonitors, phones, or tablets. tablets.

You don't don’t need to to own own these items yourself. yourself. If you are in a class, aa If wi ll be provided. provided. lab will Othenvise, many Otherwise, schools and libraries provide access to comcomputers, scanners, and and printers. Service bureaus bureaus (often in shops that do do copying) rent time on on computers, scan scan and and print images, and help you use their services. services.

Carrie Mae Weems. A Broad and Expansive Sky—Ancient Sky- Ancient Rome, from Roaming, 2006. 2006. Enter- Ancient When and Where II Enter—Ancient Rome, Rome, from Roaming, 2006. 2006. ofWeems’ Weems' This series, like much of work, is part photography and and part performance. It began in Rome when she found herself herselfbefore monuments and palazzos “thinking "thinking ofpower.” power." Her figabout questions of ure appears in each, taking taking up little of the frame, of frame, to lead the viewer into the spaces she investigates. Resisting the commonplace urge to acquire an array of ofequipment, "/ move around with an she says “I old beat-up camera…and camera ... and as much film film as II can carry. Then IIjust trust I'm doing with that II know what I’m it's this little black box and that it’s going to be okay.” okay." Her negatives are scanned (page 89) to generate image files for printing.

C HAPTER 4 CHAPTER

.(

79

Pictures are Files Y

Y our computer stores stores each each picture picture as as aa file file of binary binary numbers numbers (ones (ones and and com p rising a string of comprising zeroes) for pixels and a nd greater greater fo r each pixel. pixel. More pixels d epth (the amount a mo unt of of information inform atio n per per pixel) pixel) bit depth m ean more potential sharpness, sha rpness, color colo r quality, q uali ty,and a nd mean to nal range ra nge in the the image—and image- a nd the the bigger bigger the the size size tonal th e image im age file fi le in in the the computer. com puter. Generally, Generally,better better of the cameras capture a higher higher pixel pixel count coun t and and greater greater bit depth, dep th, hence larger files. fi les.

Increased Inc reased file size causes your your computer computer to to m ore time time executing execu ting each each command comman d you you give give take more it. Larger Large r files fi les require requi re more m ore computer com p u ter memory, m em ory, m ore room roo m to to store. store. You You may n1ay have have to to and take more an d size size of of the th e picture picture you yo u balance the quality and want against the the practicality practicality of of the the file file size size for for yo ur particular computer. comp u ter. You You can can find fin d out ou r more m ore your instructo r at at school school or or an an image-editing image-edi t ing from your instructor m a nual. software manual.

David Taylor. Pedestrian Fencing, Fencing, Desierto de Altar/ Altar/ Yuma Desert, 2009. This Mexico- US view of the Mexico–US barrier fence is made from (He (2GB), (2GB), a very large file stitched from ten separate exposures that each recorded a section of ofthis wide view. Taylor’s yields Taylor's 4 ×x 5-foot print yields information from very close inspection as well as from afar.

About File Sizes Sizes Fi le sizes are measured measured in in bytes bytes (8 (8 bits). bits) . AA File 12-megapixel camera's recording record ing chip chip might migh t 12-megap ixe l camera’s of pixels—that’s pixe ls- t hat's 12 12 have a 3000 ×x 4000 grid of mi llion pixels. pixe ls. IfIf each pixel pixel uses uses 88 bits bits (one (one byte byte million va lues) for for each eac h color co lor (red, (red, or 256 possible values) prod uce aa green, and blue), each image image will will produce file . 36-megabyte file.

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D IGITAL W ORKPLACE B ASICS DIGITAL WORKPLACE BASICS

Bit Byte Kilobyte Megabyte Gigabyte Terabyte

Small est un it of digi tal in fo rmation, Smallest unit digital information, can only be be two lu es: 11 or two va values: or 00 bits, can ca n be be 256 256 different d ifferent values valu es 8 bits, (1 K or KB) KB) 1,000 1,000 bytes bytes (1K MB) 1,000,000 1,000,000 bytes bytes (1M or MB) 1,000,000,000 bytes bytes (1G or GB) 1,000,000,000 1,000,000,000,000 bytes bytes (1T or TB) 1,000,000,000,000

(Th e numbers numbers are rounded ro und ed off. off. A A kilobyte kilo byte (The actually actua lly contains contai ns 1,024 1,024 bytes, bytes, aa megabyte megabyte 1,048,576.) photograph on on the the Internet Intern et A file for a photograph print o ne for for an a n 88 ×x 10-inch 10-inch print might be 90K, one or more. more. o ne for a poster poste r 200MB 200 MB or 18MB, one

Bit depth controls how how smooth smooth the the tones tones will be. Computers operate on on bits, bits, numbers numbers that that

File Formats

can only be a one or a zero. zero. An An image image with with aa bit bit depth of of one can only only have have two two different different colored colored pixels, usually black and white. A A bit bit depth depth of oftwo two

of file formats when when You have a choice of you create or save a digital digital image. image. Some Some need aa three-letter three- letter suffix suffix (file (file computers need end of of the the file’s file 's name name extension) at the end Here are are the the imporimpor-to identify the type. Here impor tant ones.

.psd is Adobe’s Adobe 's proprietary proprietary format format for for only be be opened opened and and documents that can only Photoshop. IfIf you are are using using edited in Photoshop. fi le, there are are few few Photoshop to edit a file, use any other other format format until until reasons to use is complete and and you save save your editing is fi le for a specific purpose. pu rpose. the file photos .jpg (written JPEG) compresses photos smal ler file. You can can choose one one into a smaller of several quality levels levels for for progressively progressive ly of sma ller files; fi les; a low low quality quality may may allow allow an an smaller image saved as a JPEG to to be be reduced reduced to to its original original size. size. as little as one-twentieth its Th is kind of of compression, which which dis dis-This cal led lossy. lossy. Every Every cards information, isis called resave aa JPEG its its time you open and resave another forfor-quality deteriorates; choose another for with smaller smaller file file mat for editing. JPEGs JPEGs,, with times, sizes making faster transmission times, displaying photographs photographs are common for displaying on the Web or sending sending snapshots snapshots over over Internet. Digital Digital cameras offer offer this th is the Internet. fi le option option to to fit fit more more phopho-format as a file pho memory card. card. A A JPEG J PEG can can tographs on a memory on ly hold an 8-bit pixel pixel depth. depth. only

is aa nearly nearly universal universal .tif (written TIFF) is format that allows aa photograph photograph to to be be computer by by nearly nearly every every opened on any computer photographs. program that works with photographs. makes no no changes changes Saving a file as a TIFF makes ), nor nor does its its to it (it is called lossless lossless), ), optiona l compression mode mode (LZW). (LZW). A A optional be 8- or 16-bit. 16-bit. T IFF can be TIFF .NEF, .PEF, .PEF, etc.) etc.) Camera Raw (.CR2, .NEF, to aa single set set of of files do not conform to like JJPEGs PEGs or orTIFFs. Raw is is aa standards like TIFFs. Raw fo r the the individual individua l and and propro-generic term for pro digital camera camera propro-prietary way that a digital pro duces unprocessed data, data , before before settings settings ba lance are applied. Starting Starting like white balance al lows more more precise precise editedit-with a Raw file allows edit lets you keep keep your your picpic-ing control and lets pic high-bit (12 or 16 16 bits bits per per tures in the high-bit ((12 12 or pixel) pixe l) format fo rmat that better better digital digital cameras cameras captu re. You can open raw raw files files with with capture. manufacturer, software from the camera manufacturer, first. but try your editing software first. Negative) is is an openopen.dng (Digital Negative) publicly available) ava ilab le) source (no owner, publicly by Adobe in in the the hope hope format developed by makers would standardize standardize that camera makers their now-proprietary formats. fo rmats. Adobe’s Adobe' s utility, will let let software, or their free utility, Raw file file into into aa you convert any Camera Raw eventually become become the the .dng, which may eventually Raw format. format. standard Camera Raw

means you can have have four four colors—adding colors- adding aa dark dark The pixels pixels in in an an 8-bit 8-bit and a light gray for example. The fi le can have have 256 256 different different values: values: black, black, picture or file white, and 254 shades of of gray gray in in between. between. The human eye can distinguish only onlyabout abouttwo two hundred different shades between between black black and and white, white, so a photograph with 8-bit 8-bit pixels pixels (each (each having having 256 256 possible tones of ofgray, gray, including including black black and and white) white) isis black-and-white picture picture (see (see the the phopho-enough for a black-and-white pho tograph bottom right). right). But But for for aa full-color full-color image, image, that much much is is needed—256 needed- 256 different different valval-three times that val of three three component component colors, colors, red, red, green, green, ues for each of and blue (see page page 56). 56). Each Each pixel pixel in in aa full-color full-color is usually usually stored stored as as aa 24-bit 24-bit number. number. photograph is

High-bit files let let you make make more more adjustments. adjustments. Some cameras can1eras and scanners can can capture capture up up to to 16 16 can't see or or print print such such fine fine disdis-bits per color. You can’t dis tinctions (16 bits is is 65,536 65,536 values between between black black having more more data data lets lets you you make make and white) but having without losing losi ng quality. quality. extreme adjustments without

Raw files preserve preserve all all the the capture capture Camera Raw If you are are using using TIFF T IFF or or JPEG data with no loss. If files from cam fron1 your camera, you are are accepting accepting the the camcan1-of what its its sensor sensor captured, captured, era's interpretation of era’s along with some loss cam loss of oforiginal original data. data. IfIfyour your camcam-era lets you download raw raw files fi les in in the th e camera’s camera's own own format (see box at left), left), you can can then then control control the the interpretation of of sensor data (color (color balance, balance, tonal tonal relationships, etc.), tailoring tailoring it it to to make make an an image image file that is exactly what you you want. want. More More on on page page 85. 85.

lncreasin Bit Depth Increasing Depth

1-Bit For the same image size, higher bit depth reproduces more tones tones but requires more pixels. A bit depth of ofone (left) can reproduce only black or white. A bit depth of of

2-Bit two (center) adds two gray shades. An 8-bit image (right) can reproduce all the grays we can perceive between black and white. A 16-bit 16-bit image divides the tones between black and

8-Bit white even more finely than our eyes can distinguish, allowing allowing more adjustment. For a full-color image, each 8- or 16-bit 16-bit pixel has at least three 8segments, one for each primary color. CHAPTER C hapter 4 4

8181

Digital Color MODES, GAMUTS, AND M ODES, G A M U T S , SSPACES, PACES, A N D PPROFILES ROFILES C olor in digital imaging imaging shows shows its its working working C

parts to the user; u ser; the controls and and procedures procedures co adjust color are visible visible and and systematic. systematic. used to Understanding how h ow digital imaging imaging deals deals with with color will give you better better control control of oftools cools that chat can can gee the final final image image you you want. wane. help you get

Every digital image has mode, has aa color color mode mode,, aa means means of defining the the colors in in an an image. image. Black-andBlack-andof white usually stored stored in in aa mode mode whice photographs are usually called grayscale, grayscale, which saves saves only only light light or or dark dark tones, cones, not color. The luminance or or value value (lightness (lightness or darkness) of of a grayscale pixel pixel is is described d escribed by by one number, between 0Oand and 255. 255. im age has has color color information information that that Whe n an image When needs to be stored for for each each pixel pixel along along with with its its several options options are are available. available. value (or lightness), several The most common in in digital digital photography photography isis the the RGB mode in which all colors are are made made by by comcomth e primary colors colors red, red, green, green, and and blue blue bining the (more about primary primary colors colors on on page page 56). 56). CMYK CMYK magenta, yellow, yellow, and and K K for for black), black) , mode (cyan, magenta, used by graphic artists, combines combines the the ink ink colors colors used in commercial printing. printing.

to describe describe the the Three numbers are enough to color of of any pixel pixel in in an an RGB RGB color color image. image. In that chat mode, one number number (between (between 0O and and 255) 255) of the the amount amo unt of of red red in in aa given given is a measure of pixel, one is the amount amo unt of of green, green, and and one one is is of blue. blu e. A A pixel pixel that chat is is part pare of of the the the amount of of a slightly slighcl y warm-toned warm-co ned concrete concrete buildbui ldimage of might be be described described as as ing in afternoon sunlight might pixel contains contains some some red, red, 186, 144. 144. That pixel 202, 186, even less less blue. blue. (If (If all all somewhat less green, and even three numbers were the the same, same, the the color color would would be be a neutral gray.) You can’t can't print print all the the colors colors you you can can see. see. display devices—cameras, d evices- cameras, All digital capture or display printers- are slightly sli gh tlylimlimscanners, monitors, and printers—are to human human vision. visio n . The The color color ited when compared to gamut (a color space) of a device is is the t he total total of of all all space) of co lors it can accept or produce. pcoduce. Knowing Knowing the the the colors

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D IGITAL W ORKPLACE B ASICS DIGITAL WORKPLACE BASICS

exten t of of this chis gamut is is useful useful because because itit is is always a lways extent gan1uc of ofhun1an vision;itit tells tellsus us smaller than the gamut human vision; but can’t can't reproduce. reproduce. More More what colors we can see but importantly, the gamuts of of various devices devices and and n1aterials are different from materials from each each other. oth er. For For examexan1some colors colors with with your your camera camera ple, you can capture some that a monitor can’t can't display. And your your screen screen can can yo u can’t can't reproduce reproduce with with aa show you some colors you printing press (or your inkjet inkjet printer). prin ter).

Each image carries with with itit aa working working space, space, a gamut that should be be slightly slighcly larger larger than than all all the the ocher gamuts (monitor, printer, printer, etc.) etc.) to co allow allow for for other from one o n e to co another anoth er without without loss. loss. translations from Software (in its Color Color Settings or or Preferences Preferences dialog d ialog box) assigns ass igns or lets you assign assign each each document document aa color space—use 1998) or space- use Adobe RGB ((1998) or ProPhoto ProPhotoRGB RGB if you expect to co print print the the image, image, sRGB sRGB for for the the Web. Web.

Profiles translate one gamut gamut into into another. another. No two printers, for example, exan1ple, have have the the same same gamut—they gan1ut- t h ey can’t can't reproduce reproduce exactly exactly the th e same san1e of colors. In order to to be be able able to co print print the the range of same photograph on on two two different different printers printers and and prints look look as as much much alike alike as as possipossimake the two prints ble, you yo u need a profile profile that that describes describes each each gamut. gamut. An output profile accompanies each each file file you you send send to co a printer and adjusts that chat photograph photograph to co the the of that chat printer. printer. individual color characteristics of A monitor profile standardizes what wh at you you see see on on your screen so your picture pictu re looks looks the the same same (or (or very very co the same) on any any monitor. monitor. close to

A gamut is all the colors a device can render. This three-dimensional graph ofa represents the gamut of monitor, white at the top and black at the bottom. Colors farthest out from the vertical axis are the most saturated. Its outer edges, projected below it, it, are the limits of ofwhat it can accurately reproduce.

. visual Three channels contain the visual The information in a color photograph. The record of ofbrightness (or luminance) in each primary color channel (here, red, green, you see the image in full color and blue) lets you color (below), (below), each color separately, or each individual color image converted to black and white (below right).

IC 2

CHANNELS C HANNELS IC3

A made up up of of several several A digital color image isis made IC 4

Three channels produce three different black-and-white black -and-white photographs and give you you more you want to convert choices when you a color image to black and white. The red channel (right) is the smoothest and most flattering rendering of ofthe man’s man's face. face. Green and blue have more contrast and give the face more texture.

Red

Green

ones . A photograph on traditradiblack-and-white ones.

color print print in in aa darkroom darkroom tional color film or a color th ree superimposed layers; layers; each each isis is recorded on three actually a black-and-white photograph photograph rendered rendered in in dye. A A digital digital image image file file in in one primary color by aa dye. pixel has has aa separate separate lumilumicolor is the same; every pixel each of of three three primary primary colors. colors. nance (lightness) for each The luminance values of of aa single single primary pri1nary color color in in as aa monochromatic monochromatic a photograph can be viewed as software lets lets you you see see image (left). Image-editing software and edit each primary separately. scanners capture capture in in the t he Digital cameras and scanners red, blue, and green additive primaries. primaries. Unless Unless this book book only only discusses discusses imagimagspecified otherwise, this t he RGB mode. mode. Software Software can can convert convert those those to to es in the CMYK (the cyan, magenta, magenta, and and yellow yellow subtractive subtractive in preparation preparation for for commercommerprimaries with black) in cial printing in ink.

Your RGB photograph has has three three channels channels;; channels; of the the values of of aa single single primary primary each comprised of can be be displayed displayed as as aa monomonocolor. A single channel can photograph, usually usually in in black black and and white white chromatic photograph, Photoshop uses uses aa channels channels palette palette (called grayscale). Photoshop (see left, top), top), which gives you the the option option of of seeseefor example, example, in in shades shades of of red red ing the red channel, for instead of of grayscale as shown. In In addition additio n to to seeing seeing can perform perform most n1ost of of each channel separately, you can Phoroshop's image adjustments on on any any one one chanchanPhotoshop’s programs divide divide an an nel independently. Workflow programs only in in aa histogram histogram and and allow allow image into channels only on ly limited li mited single-channel adjustments. adjustments. only add masks masks.. When When you you want want More channels can add masks. to one one part part of ofan an image image and and to apply an adjustment to not another (for example example making making someone’s someone's face face ligh ter but bur not nor the background), background), Image-editing Image-editing lighter map that that tells tells it it which which areas areas you you software needs a map called aa mask mask isis A new channel chan nel called want adjusted. A part of of the the image image file. file. Masks Masks created and saved as part not visible visible but bur you you can can choose choose to to are ordinarily not Photoshop shows shows aa mask mask display them for editing. Photoshop the image image adjusted, adjusted, black black as white where you want the don't, and gray where where you you want want only on ly aa where you don’t, partial adjustment.

Blue CHAPTER C HAPTER 4

83

Digital Color CALIBRATING ACCURACY C A L I B R A T I N G FFOR OR A CCURACY

Y

Y our monitor should be be calibrated, calibrated, or or made made standardized way. way. After After to display colors in a standardized photograph, you will will base base most most of of capturing a photograph, decisions about about itit on on your color and luminance decisions monitor. But Bue monimonithe image you see on your monitor. considerably in in the the way way they they reproduce reproduce tors vary considerably of color numbers. numbers. Monitors Monitors from from any specific set of manufacturers will display display colors colors differdifferdifferent manufacturers ently; there are differences even even between between models models fron1 the the same san1e maker. maker. In In addition, addition, the the and sizes from of an individual individual monitor monitor changes changes color response of drift.. You need need to to know know that that over time, the colors drift the right right ones. ones. the colors you see are the

A profile aligns a device to to aa known known standard. standard. In the case of of a monitor, monitor, calibration calibration generates generates aa is first first characterized characterized,, meaning meaning its its profile; the device is characterized, color display behavior is is measured. measured. This This measured measured behavior is converted into into aa monitor monitor profile, profile, aa that- once it it is is installed installed in in the the operating operating data file that—once system—corrects system- corrects your monitor’s monitor's unique unique characcharacrerisrics so it matches 1nacches aa standard. standard. For For example, example, ifif teristics 202R, 186G, 186G, 144B 1448 darker darker your monitor displays 202R, and more blue than than it it should, should, the the computer computer will will to make make pixels pixels with with those those numbers numbers use the profile to appear the right amount lighter lighter and and more more yellow. yellow.

Choose one standard for for white white point point and and gamma and calibrate your monitor monitor to to that. that. There There are two common choices cho ices for for each, each, used used for for difdifferent tasks and in different different industries. industries. Unless Unless you have specific specifi c workgroup requirements, requiremen ts, set set aa gamma of 2.2 of2 .2 and a D65 065 white white point; point; they they are are best best printing. for photographic printing.

Color management is is the practice practice that that assures assures you of of consistent and predictable predictable colors colors throughout your work, work, from from capture capture to to output. output. n1onitor is is an an important important starting starting Calibrating your monitor month, more more often often for for point; do so at least once aa month, If you can, can, set set up up your your workspace workspace so so critical work. If the environment and the the lighting lighting are are consistent. consistent. whi le you you are are working working Changes in ambient light while and even the reflections reflections from from colored colored walls walls and and clothing can affect your perceptions perceptions of of the the colors colors on a screen.

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D IGITAL W ORKPLACE B ASICS DIGITAL WORKPLACE BASICS

Monitors, like televisions, should display TV sets the right colors. The wide-screen TV on display above are all being being fed the the same signal and should, in an ideal world, show show the the same colors (they should also be, of ofcourse, the right colors). colors). Your monitor monitor can show the the

right colors, accurate colors, only ififit has been calibrated—adjusted calibrated- adjusted with a profile to to display colors and tones in a standardized standardized way. For casual picturemaking, it is enough to to use the calibration utility that is part of your ofyour computer’s computer's operating operating system.

For more accurate results, use a third-party third-party calibrating program with a hardware “puck” "puck" (a spectrophotometer or or co colorimeter that lorimeter)) that rests on your your screen and reads directly from from it. Its supplied software generates a measured measured set of ofcolors, compares the sensor’s sensor's reading reading of ofwhat what is displayed, displayed, and generates a monitor monitor profile to to

be stored in the computer’s computer's operating operating system. Make sure your your monitor is thoroughly warmed warmed up (at least 30 minutes) before calibrating. Some spectrophotometers, like the the one shown below, can also be used to generate an output profile for a specific combination of of printer, ink, and paper (see page 117). 117).

Working with Camera Raw LJ U

nderstanding and using using Camera Camera Raw Raw files files can make your photographs photographs better. better. A digitalis only only abstract abstract data data (see (see box box ly captured picture is interpreted to to look look like like the the scene scene below) until it is interpreted If you you set set your your camera camera to ro save save you photographed. If files, this this interpreting, interpreting, pictures as TIFF or JPEG files, by the the camera. camera. Most Most digital digital or processing, is done by cameras can only save in in one one or or both both of of those chose if yours can can save Camera Camera Raw Raw files, files, formats. But if the data data yourself yourself later. later. It It isis easy easy you can interpret the co do, gives you more n1ore control, and and can can produce produce aa to higher-quality final final image. image. Most cameras cameras marketed marketed Software does the job. job. Most amateurs can can record record to professionals and serious amateurs files , and are sold with with software software to to and save raw files, them. After After processing, processing, the the process and interpret them. the interpreted interpreted files files in in software will let you save the (usually TIFF) that that can can be be read read by by another format (usually other programs. there is is no no absolutely absolutely “cor"corFor most scenes, there rect'' interpretation. The first first image i1nage you you see see of ofany any rect” chat is is only only aa pre-programmed pre-program1ned picture is a preview that guess at an accurate interpretation. interpretation. It It is is up up to to you you

to guide it from this this starting point. point. White White balance balance for example, example, is is not not part part of ofthe the (pages 57 and 58), for of the the interpretation. interpretation. The The raw raw sensor data, but of you (or (or the the camera can1era in in auto auto file saves the setting you shor. That That choice choice affects affects the the mode) chose for each shot. may process process it it to to be be different. different. preview, but you may

A workflow application (page (page 87) 87) saves saves your your with (or (or in) in) the the file file as as aa set set of of interpretation along with decisions, and and leaves leaves the the raw raw data dataunalunaladjustment decisions, uses aa separate application application called cal led tered. Photoshop uses Adobe Camera Raw Raw (ACR) to to interpret interpret and and convert convert Photoshop's native native PSD PSD format. format. Once Once the file into Photoshop’s saved in in another another format format a raw file is converted and saved returned to to its its raw raw state. state. it cannot be returned your raw raw files files to to DNG, ONG , Consider converting your if you plan plan to to use use aa workflow workflow program. program. especially if Adobe's Bridge will will do do the the convertconvertAdobe’s Lightroom and Bridge free DNG ONG converter converter program, program, ifif ing, as will their free you choose to to manage and edit edit your your files files with with other other ONG preserves presetves original original sensor sensor data data in in aa software. DNG to be be readable readable in in the the future future than than form more likely to your camera’s camera's proprietary proprietary raw raw format. format.

Processin aa Raw Processing Raw File File

Sensor photosites are covered with an array ofcolored array of filters in what is called a “Bayer "Bayer array” array" or “Bayer "Bayer filter mosaic.” mosaic. "

dig ital camera’s camera's sensor senso r can’t can't “see” "see" color. color. A digital an array of of pixels pixels that that Instead, itit captures an essential ly a black-and-white black-and-white photophotois essentially pixel's value is is based based graph. Each pixel’s fel l on on one one on the light that fell (see tiny photodiode (see 54 ). To record page 54). co lor, each of of these color, sensor cells is covered with blue filter. filter. Our Our a red, green, or blue green, so so eyes are more sensitive to green, has twice as as many many green green filters filters the array has blue. as it has red or blue. array is is made made from from To display color, a new array creates aa new new pixel pixel at at the raw data. Software creates of four four photosites photosites by by calcucalcueach intersection of (cal led “interpolating”) "interpolating") its its brightness brightness lating (called area (right). (right). and color from the surrounding area cat's fur, fur, for for Pixels showing a gray cat’s RGB value value in in which which have an RGB example, should have of approxiapproxiprimary colors are are of the three primary though each each brightness, even even though mately equal brightness, or blue. blue. only red, red , green, green , or photosite measures only processing, the cat’s cat's fur fur would would Without processing, in primary-color primary-color pixels. pixels. appear speckled in

Luminance (lightness (lig htness and darkness) darkness ) must must be processed along with colors for for captured captured look like the photograph photograph you you visualvisualdata to look sensor' s cells cel ls do not not respond respond to to ized. The sensor’s in the the same same way way our our changes in illumination in do , especially in in highlights high lights and and shadshadeyes do, raw data must must reshape reshape ows. Interpreting the raw as you you the brightness values considerably, as Photoshop' s Curves Curves adjustadjustmight by using Photoshop’s 96- 97), in in a more more extreme extreme ververment (pages 96–97), of the curve on page page 96, 96, top. top. sion of

An image made through a Bayer array must be processed to give each pixel a full-color value. Interpreting the color is called de-mosaicing. de-mosaicing.

CHAPTER C HAPTER 4

85

Stay Organized SSETTING ETTING U P A W ORKFLOW UP WORKFLOW A workflow is an organized series series of of steps steps A

leading to co a desired result. result. The The image-editing image-editing workflow on page page 110 110 is is an example example of ofthe the adjustadj ustment steps using Photoshop Phocoshop that chat lead lead from from aa raw raw fil e to co an image image with with the the desired desired scan or camera file colors and tones. Follow Follow the the more more comprehencomprehenof steps seeps below below to co ensure ensure that chat you yo u get get sive series of through the the entire process process of ofdigital digital photography photography want. with the results you want.

Capture your photographs: photographs: expose expose the the image image sensor or film. Capture is is what what most most people people think think photography is all about—shooting about- shooting and and camera camera work- but there’s there's more more to to it it than than that. that. work—but

Download (also (also called import import or or ingest ingest)) your yo ur images from the the memory memory card card of of your yo ur camera camera into a computer computer so so you you can can (or from a scanner) into of the the steps. steps. The The computer computer isis complete the rest of the command center for for all the the operations operations of ofyour yo ur the images images to co your your comcomworkflow. Downloading the puter's hard drive also frees frees the the camera’s camera's memory memory puter’s Scanned images images are are sent sent directly directly card to be reused. Scanned from to the the computer. computer. fron1 the scanner to

Digital image editing, sometimes sometimes called called postpostprocessing, range of of adjustadj ustprocessing,, encompasses a wide range processing ments and alterations to ro aa photograph photograph that that can can the choices that chat might might have have been been go well beyond the printing an an image image from from film film in in aa be made when printing darkroom. Workflow software software (see (see opposite opposite page) page) image adjustments— adjusrmenrsrhe standard image can perform all the cropping and rotating, rotating, changing changing size, size, or or modifymodifying hue, value, and saturation saturation-—and and can can drive drive aa printer. Some workflow programs, programs, and and Adobe Adobe much more. more. Phocoshop, can do much Photoshop, Image editing is used to to prepare prepare an an image image Because you you may may have have for the next step, output. Because uses for for the the same same image, image, you you several different uses may edit one photograph into into several several different different has its its own own workflow, workflow, see see An An versions. Editing has Editing Edi ring Workflow on pages pages 110 110 and and 111. 111. not limited limited to co printing, printing, although although that char Output is not may now be your yo ur primary primary focus. focus. Later Later you yo u may may want to show a prospective prospective client client your your work work on on aa email images images to co aa gallery. gallery. Your Your tablet or laptop, or email output may be destined for for aa billboard billboard or or aa Web Web site, as well as a wall. To create the the best best file file for for editing strategies. strategies. each use will require different editing

Capture ｾ＠

Download

Organize

Convert your Camera Camera Raw Raw files files to to DNG ONG (option(optionof a “Camera "Camera Raw Raw Workflow,” Workflow," you you al). As part of digital camera’s camera's propriproprimay wish to convert your digital etary into the the more more generic generic DNG ONG format forn1ar eta1y raw files into (pages 81 and 85).

Organize your images, images, keeping keeping in in mind mind that that you you have thousands. thousands. Pages Pages 131 131 and and 132 132 disdismay soon have ro make sure you yo u can can find find the the needles needles cuss ways to can slip slip from from your your in your haystack. Information can if there are long long delays delays between between shooting shooting memory if and organizing; try try to to make make time time to co put put your yourimage image files in order at ar the the end of of every every shooting shooting day. day.

Edit. Editing Editing has has two two different different meanings meanings in in aa photographer's workflow. workflow. The traditional traditional meanmeanphotographer’s of editing, letting the the “good” "good" pictures pictures rise rise to co ing of part of of organizing. organizing. Workflow Workflow the top, is actually part let you code code the the keepers keepers applications (opposite) let f1ag, aa color, color, aa number number of ofstars, stars, or or by assigning a flag, photos into into aa stack stack with with the the by sorting similar photos "select," on top. top. “select,” or best one, on

86 86

D IGITAL W ORKPLACE B ASICS DIGITAL WORKPLACE BASICS

Archive your work work in in an an organized organized way. way. In In other ocher original and and derivaderivawords, make sure all your original versions) not not only only tive files (the altered or edited versions) safe- preserved against change, change, damage, damage, and and are safe—preserved loss- bur that char individual individual items items may may be be found found and and loss—but retrieved quickly and easily easily when when necessary. necessary. Digital files present unique unique challenges challenges for for but have have aa big big (see page page 133) 133) but long-term storage (see advantage over most most materials materials you’d you'd like like to to prepreidentically duplicated. duplicated. A Acopy copy of of serve; they can be identically of an entire drive) is is called called aa backup. backup. All All a file (or of files can can be be kept kept are are vulnervulnerthe media on which files co common threats threats like like theft, theft, fire, fire, and and flood, flood, able to its own set of of weaknesses weaknesses to ro things things and each has its heat, and and shock. shock. Your Your best best like dust, magnetism, heat, make multiple multiple copies copies of of everything everything defense is to make the process process as as possible, possible, and and in the you do, as early in to create two or more n1ore identical identical archives arch ives that that are are scored in different locations. A A digital digital file file can can vanvanstored it is is gone—if gone- ifyou you don’t don't have have ish in an instant; once it copy- it is gone forever. forever. a copy—it

Edit

Output

Archive

PHOTOGRAPHER'S WORKFLOW P HOTOGRAPHER’S W O R K F L O W PPROGRAMS ROGRAMS

P

P hotographer’s hotographer's workflow workflow software software inteinteof the tools tools aa digital digital photogphotoggrates most of rapher needs. Several similar applications are are available—Adobe available- Adobe Photoshop Photoshop Lightroom, Lightroom, Apple Apple One Capture Capture One One Pro, Pro, and and Corel Corel Phase One Aperture, Phase AfcerShoc Pro Pro are the the best best known. known. They They allow allow AfterShot non-destructive editing editing by by saving saving you to perform non-destructive their original camera camera raw raw format format your files in their along with a record record of of your your decisions decisions about about tone, cone,

color balance, cropping, and and other other characteristics characteristics saved adjustments adjustments are are not not for each picture. The saved pixels are are changed) changed) until until you you print print applied (no pixels or otherwise export the the file—uploading fi le- uploading itit to co your your page, for example, or or opening opening itit in in PhotoPhoroWeb page, and alter alter your your editing editing shop. You can change and rime or or save save multiple n1ulriple versions versions of of decisions at any time san1e image, image, and never never make n1ake any any permanent pennanenr the same co the the underlying, underlying, original original file. fi le. Because Because changes to the programs only only save save your editing editing commands, commands, t han an altered version of of the the entire entire file, fi le, rather than doesn't take cake up up much m uch more more disk disk your archive doesn’t space than the the raw raw files files alone. alone.

These programs include include aa complete complete workflow. workflow. files from from your your memory memory card card Each will download files into aucon1arically organizing organizing them then1 into after a shoot, automatically rename your your files fi les in in aa group group as as they they folders. You can rename lacer tag tag each each file file with with its its own own star scar download and later keywords, and and other ocher metadata metadata racing, color label, keywords, rating, 131). You can can search search by by keyword keyword and/ and/ (see page 131). or rating through all the the pictures pictures you you have have downdownthe program. progran1. You can can edit edit each each image image loaded into the for color and tone, cone, retouch, retouch, apply apply sharpening, sharpening, and and your photos photos to co aa Web Web site, site, or or then print, upload your make a slide show.

Lightroom lets you customize your workspace workspace by by showing, moving, or or hiding tools, commands, and and ofits seven work modules. previews in each of

With a workflow application application you you may maynot notneed need co add add text text or or graphic graphic Photoshop,, unless you want to Photoshop photograph (pages (pages make a composite composite photograph elements, make need to co work work in in the the CMYK CMYK mode. mode. 106- 107), or you need 106–107),

Aperture,, ififyou Aperture you have two monitors, will display a full-screen full~screen preview of ofthe file file you are editing on one, along you along with editing tools and other previews on the other.

CHAPTER C HAPTER 4

87

Importing an Image Y

Y our photographs are saved saved on on aa memory memory card when you use use a digital camera. camera. Most Most camca1none kind kind of ofcard card (see (see some some of of eras will accept only one the styles below) but but you will will still still have have choices choices to co n1ake when you want wane to to buy buy one. one. make

Bigger isn’t isn 't necessarily necessarily better. better. Cards Cards are are flash flash made in in aa variety variety of ofcapacities. capacities. To To memory devices made choose one, know your needs needs as as well well as as the the size size file your camera can1era makes. makes. A A 16-megapixel 16-megapixel camera camera raw file file of ofabout about 16 16 megabytes. megabytes. produces a camera raw If If you have the the camera set set to to save save JPEGs, JPEGs, they they will will be less than half half that that size. size. An 8GB SG Bcard card will will let let you you take over 300 photographs as as 16MB 16MB raw raw files. files. If you are shooting underwater underwater or or photophotographing a wedding or sporting sporting event, event, for for examexample, you might want to to avoid interruptions interruptions by by using the largest capacity capacity card card you you can can find. find. If Ifyou you work at a slower pace, pace, having having several several smaller smaller cards cards migh t be a better idea. idea. might Cards are rated by by their their speed speed too; coo;the the ratings ratings the card card can can read read or or write write data. data. refer to how fast the usually matters n1atrers most, most, because because itit The write speed usually affects your ability to to shoot shoot several several photographs photographs in rapid succession. A A card’s card's speed speed might might be be rated rated at 133x, which is is a transfer transfer rate rate of ofabout about 20MB 20MB per per second. The speed of of some some cards cards is is stated stated directly directly in MB/s MB/ s (megabytes/second). (megabytes/ second).

Connect your camera camera and and computer computer with with aa cable, a wireless link, or remove ren1ove the the memory men1ory card card appropriate card card reader reader (see (see and insert it into an appropriate below). Some universal u niversal readers readers can can accept accept as as many many 12 different card styles, styles, others ochers are are barely barely bigger bigger as 12 itself Like Like the the card card speed, speed, aa reader’s reader's than the card itself. speed affects download time. time. Because Because your you r comcomkind of offile file directly direc tly on on aa card, card, puter can write any kind you can use a spare card portable hard hard drive drive card like like aa portable to transfer files files to to a service bureau bureau or or between between home and school.

Transferring from aa card to Transferring to aa computer computer isis called downloading, or importing, importing, and and it it is is the the best time to rename rename your your files fi les rather rather than than leavleaving them chem the the way the rhe camera camera named named them t hem (like (like the same same time time you yo u can can add add IMG_0237.CR2). At the standard metadata metadata (page (page 131) 13 1) like like your your copyright copyright and contact information, information, and and convert convert proprietary proprietary Raw files files into in to the the more more universal un iversal DNG ONG Camera Raw format (page 81). 8 1). Lightroom Lightroom and and Bridge Bridge (a (a utility utility chat comes with with Photoshop) Photoshop) will will rename, rename, program that convert each each file fil e to to DNG ONG as as write metadata, and convert it is downloaded. If If you aren’t aren't using using one one of ofthose, t hose, get ONG converter converter from from their their Web Web ger Adobe’s Adobe's free free DNG the last step. site for the

Don’t Don't leave your pictures pictures on on aa card card any anylonger longer to. Cards Cards and and cameras cameras are are vulnervulnerthan you have to. co shock, heat, heat, and magnetic magnetic fields; fields; they they able to and theft. theft. Once Once your your are susceptible to damage and photographs are transferred transferred to to aa computer computer you you backu ps to co protect protect against against loss. loss. After After can make backups your files are duplicated and and stored stored in in at at least least two two the card card for for further further use. use. places, you can reformat the A card reader lets you transfer pictures into into your computer. Most Most your computer.

cameras can be wired directly to to the the computer computer but but the the reader reader won’t won't drain the camera’s camera's battery. Make sure you get get aa reader reader that that isis compatible with your camera’s camera's memory card. card. Some Some different different kinds kinds of ofcards are shown below below and left.

CF card (Compact (Compac t Flash)

88 88

SD card (Secure Digital)

D IGITAL W ORKPLACE B ASICS DIGITAL WORKPLACE BASICS

Memory Stick

xD-Picture card

S CANNING SCANNING link between between film film or or print print SS canners are the link

and your computer. When you use a digital what you you see see directly directly as as pixels pixels camera, it captures what that can be edited on on the the computer. computer. But But photophotothat were made made on film film need need to to be be digitized digitized graphs that is the the process process that t hat reads reads color color and and first. Scanning is luminance values from from aa negative, negative, print, print, or or object object into a pixel pixel grid grid just just as as though though the the and converts it into taken with with aa digital digital camera. camera. picture had been taken

Scanning software controls controls the the process, process, and and how your your image image will will be be offers you choices about how scanned, the same way way that that software software interprets interprets scan ned, in the

Raw file fi le (page (page 85). 85). Your Your image-editing image-editing a Camera Raw many more more tools too ls for for editing editing software gives you many software and and allows allows more more preprethan does scanning software cise adjustments, adjustmen ts, but but you should should make make as as many many as possible possible in in the the scan scan color and tone corrections as resolution based based on on your your as well as choosing a resolution final use for for the the image. image. Just as as making making the the right right an image i1nage is is better better than than choices when exposing an everyth ing in in editing, editing, making making good good trying to fix everything exposure, contrast, and color color balance balance decisions decisions in1prove your your results results considerconsiderwhen you scan can improve phorographers make make basic basic corrections corrections ably. Most photographers refine them them later. later. when scanning and refine

Features That Scanner Features That Affect Affect Quality Quality hardware resoluresoluOptical resolution or hardware number of of pixels pixels per per tion refers to the number the scanner scanner isis capacapainch (or centimeter) the of capturing and is is often often described described ble of by two numbers, numbers , such such as as 3200 3200 ×x 9600 9600 per inch), inch), for for flatbed flatbed scanscanppi (pixels per number isis the the resolution resolution ners. The first number of the the scanning scanning area; area; across the width of its length. length. The The the second isis along its represents the the scanner’s scanner's smaller number represents resolution. Scanning Scanning maximum optical resolution. fi lm at a higher higher resolution resolution than than 4000 4000 film little benefit. benefit. ppi may have little rang e is is the the brightness brightness range range Dynamic range of an image, image, the difference difference between between the the of lighest highlights. highlights. darkest shadows and lighest dynamic A scanner should capture aa dynamic of at least least 3.5. Slides usually usually have have range of range than than negatives. negatives. AA a wider dynamic range of4.2 4.2 will wil l range of scanner with a dynamic range virtua lly anything on on film film and and will will gather virtually most out of of difficult originals. originals. get the most how many many differdifferBit depth measures how be distinguished between between ent tones can be (see page page 81). 81 ). At At least least black and white (see per pixel pixel (8 bits bits each each of ofred, red, 24 bits per blue ) are needed needed for for aa concongreen, and blue) print. To maintain maintain quality quality tinuous-tone print. 36 (12 (12 bits bits per per du ring later adjustments, adjustme nts, 36 during pixe l) or 48 (16 per per pixel) pixel) bits bits are are better. better. pixel) Interpolated resolution resolution uses uses software software pixels might might look look like like to guess what the pixels the scanner scanner can can in between the ones the measure. No No real real information information actually measure. scanner's hardware hardware resoluresolubeyond the scanner’s so itit isis best best to to scan scan no no tion is captured, so resolution. higher than the optical resolution.

automatic or or manual manual may be be automatic Focusing may be used, used, for for example, example, to to adjust adjust and can be buckled film film frames. frames. for warped or buckled

Sharpening is is usually usual ly an an option option in in Sharpening tools too ls in in scanning software. Sharpening are almost almost always always image editing software are off sharpening sharpening during during better, so turn off leave itit for for later later editing. editing. scanning and leave scanning one one Multiscanning allows scanning mu ltiple times (typically (typica lly 44 or or frame multiple 16 times) as a noise-reduction tech16 noise-reduction techm ultiscan isis nique. Useful with slides, multiscan for scanning scanning neganeganot an advantage for their dark tones tones become become tives because their in which noise noise is is hard hard to to see. see. highlights in provided in in some some Dust removal isis provided by an extra extra infrared infrared chanchanscanners by be used used to to detect detect and and nel that can be fingerprints, scratches, scratches, remove dust, fingerprints, and other surface damage from from the the image. This does does not not work work scanned image. black-and-white film film with conventional black-and-white Kodachrome, but but itit does does with with most most or Kodachrome, color negatives, negatives, and and dye-based slides, color black-and-white films. films. chromogenic black-and-white an independent independent Scanning software isis an o perates the the scanner scanner and and program that operates file to to be be opened opened in in an an produces a TIFF file program. Some Some exist exist also also image-editing program. permits plug-in that that permits as a Photoshop plug-in Ph otoshop for for furfurscan ning directly into into Photoshop scanning manipulatio n. Most Most scanners scanners come come ther manipulation. Third-party with dedicated software. Third-party like SilverFast and and VueScan VueScan sell sell vendors like may be be more more that may scanning software that provide more more control. contro l. sophisticated so phisticated and provide

Flatbed primarily intended intended for for opaque, reflective reflective Flatbed scanners scanners are primarily originals, like photographic prints. The The scanner’s scanner 1s bed bed isis aa recrecofglassinexpensive scanners are letter letter (8 (81½ x tangular sheet of glass—inexpensive ⁄2 × 11 legal (8 1½⁄2 × 11 inches) or orlegal x 14 14 inches) size; professional professional models may be tabloid (11 (11 ×x 17 17 inches) size or or larger. A flatbed flatbed scanner will digitize anything anything placed placed on the the glass: aa photograph, your hand drawing, magazine page, or even your hand or or face. face. Some flatbed scanners can accept film by using using an illuminated illuminated cover cover or a separate drawer. drawer.

Film Film scanners scanners are made specifically for transparencies transparencies or or negatives and cannot scan anything anything opaque. The The one shown above, left, le~, will scan mounted slides or or strips of of35mm or or 120 120 film. film. Others have a batch feeder that holds holds aa stack of ofslides. Film scanners that accept medium- and and large-format large-format film film are are generally more expensive than those made only only for for 35mm. 35mm. Professional-level film scanners (above, (above, right) right) offer offer higher higher resolution, greater bit depth, and more dynamic range, and and proproduce less image noise. They are are very expensive, but but you may may find find access to one at a very well-equipped school school or or service bureau. bureau.

CHAPTER C HAPTER 4

89

D I O N I S I O GONZALEZ GONZÁLEZ DIONISIO 2006. Invention Paulistana Ajuntada, 2006. city. González Gonzdlez can alter or even create a city. photographed the irregular neighborhoods of Siio and chaotic shantytowns of São Paulo, Brazil that are giving way to demolition government. and rebuilding by the government. manipulation, he proposes Through digital manipulation, a recycling “intervention” "intervention" that inserts segments that appear to be modernist structures into the threatened spaces.

Getting Started Editing 92 an Image. Image ...................... . . . . . . . . . . . . . . . . . . . . 92 94 Adjusting an Image ............. . . . . . . . . . . . 94 Levels ......................... 94 . . . . . . . . . . . . . . . . . . . . . . . 94 96 Curves ........................ . . . . . . . . . . . . . . . . . . . . . . 96

Adjusting Part of an Image ................... 98 of . . . . . . . . . . . . . . . . . 98 98 Selections ...................... . . . . . . . . . . . . . . . . . . . . 98

100 More Techniques .. ............. . . . . . . . . . . . 100 100 Layers ........................ . . . . . . . . . . . . . . . . . . . . . . 100 . . . . . . . . . . . . . . . . . 102 Retouching . ................... 102 Sharpening .................... 104 . . . . . . . . . . . . . . . . . . 104 106 Compositing ................... . . . . . . . . . . . . . . . . . 106 Color into black and . . . . . . 108 and white ........ 108 . . . . . . . . . . . . . . . . . . . . . . 109 109 Filters ........................

An Editing Workflow .......... . . . . . . . . 110 112 Ethics and Digital Imaging ..... . . . 112

Image Editing yott 'll learn… learn ... In this chapter you’ll • to have a workflow—an workflow-an orderly series series of of steps—to steps-to • take cake you from a raw image image or scan scan to to aa finished finished photograph. • to adjust the colors, tonal values, and and other other • ofa photographic image image using using the the characteristics of a photographic tools and procedures of of Photoshop. Photoshop. • • the challenges chal lenges of of keeping keeping yourself yourself and your images images side of of copyright protection. protection. on the legal and ethical side

W W

Ill 5

ith editing you can simply simply enhance enhance an an image image or or radically radically change it. Saving Savi ng a digitally edited photo photo preserves preserves all all your your decideci-

produces results resu lts of of identical identical quality qualiry from from one one sions exactly and produces ofan image image to to another. another. Regardless Regardless of ofhow howmuch much you you have havemanipumanipugeneration of lated a digital image, once it it is is finished finished you you can can print print itit now nowor orin in six sixmonths, months, the same same results results from from the th eoriginal originalfile. file. In Inaddition addition a year, or more and still get the picture-adjustment procedures procedures such such as as changing changing to performing standard picture-adjustment darkening an an image, image, you you can can combine combineimages, images,add add contrast or lightening and darkening color, posterize, incorporate drawing drawing or or text, text, and and otherwise otherwisemanipulate manipulateaaphophotograph. tograp h . In effect, you can can create create aa new new image image with wit h exactly exactly the the qualities qualities you you want but, if if you ever change change your your mind mind about about what what you you want, want, you you can can always a lways go back and change them. them.

Editing is deciding. Even before you begin to to decide about the tones, contrast, and colors of ofan individual individual image, you you will probably need to decide among among several similar captures to narrow down your your pick (your (your Workflow applications select), select ), for further editing. Workflow such as Lightroom (above) give you extensive tools tools for for the job. Two similar photographs taken aa few few seconds seconds apart are shown here side by side. You You can enlarge

both at the same magnification to compare critical critical sharpness and other small details, and replace either either side with another from the group. Once Once you have chochosen the pick of ofthe litter you can mark the the best best with with a flag or star and hide the rest “underneath” in a "underneath" a you see only the selects in your your filmstrip stack so you filmstrip (at bottom, above) or lightbox (page ((page page 87 bottom) view. view. Review all your your photographs before deleting any.

91

Getting Started Editing an Image O

Q pen your your image-editing image-editing software software so so itit your computer. con1puter. With With is running, or active, on your Adobe Photoshop use use File>Open File>Open to to call call up up your your screen that that looks looks like like photograph; you will see aa screen the one on the page page opposite. You can can also also start start file directly directly (an (an image image is is aa by opening an image file file; your software is ). The data file; is an an application application file file). The usually recognize recognize the the file file type type (see (see computer will usually the appropriate appropriate application application page 81) and open the open the the workflow software, software, open automatically. With workflow to the the photograph photograph you you application, then navigate to library. The The following following pages pages want in its catalog or library. Phoroshop but but most most of of specifically to to Photoshop refer more specifically controls they they describe describe are are the adjustments and controls editor or or photographer’s photographer's available in any image editor workflow program.

fill the the monitor’s monitor's screen screen or or be be any anysize size displayed can fill display or or hide hide palettes, palettes, panpansmaller, and you can display els, and tools. cools. It helps helps to to have have aa large large monitor monitor (or (or can make make your your image image two, as shown below) so you can large enough to make make accurate adjustments adjustments and and of it it covered with with palettes palettes and and tools. cools. not have part of Workflow programs make make excellent excellent use use of of can display display all all the the a dual-monitor setup. You can or project project on on one one images from a recent shoot or previews called called thumbnails thumbnails in in aa screen (small previews and a full-screen fu ll-screen version version of ofaa filmstrip or grid view) and other. You You can can also also display display selected image on the other. of two two or or more more images images on on the the secseclarger versions of to compare con1pare similar similar shots, shots, for for ond screen in order to of the same portrait portrait subject subject to to select select the the example, of best expression.

Tools and commands are are used used to to manipumanipulate your photograph in image-editing softsmall symbols symbols called called icons icons,, ware. Tools appear as small icons, toolbox (the (the series series of of small small boxes boxes displayed in a toolbox the left left side side of of the the screen, screen, opposite) opposite) or or shown at the Word commands, commands, such such as as in an onscreen panel. Word Print, can can be be reached reached Transform, Sharpen, and Print, menus across across the the top top of of the the from pull-down menus modules within within aa panel. panel. Palettes, Palettes, like like screen or as modules the Layers palette or Info Info palette palette that that appear appear on on provide information information in in the screen in Photoshop, provide tools and word word commands. comn1ands. addition to more tools Photoshop’s Photoshop's menu menu commands commands often often require require nested levels. levels. Click Click navigating through several nested on each each level level in in turn; turn; heading, then then on on a menu heading, as you you drag drag the the screen screen or hold the mouse down as co the command con11nand you you want. want. The The common co1nmon cursor to is, for for example, example, notation for such a sequence is, Image>Adjustn1ents>Cun,es. Image>Adjustments>Curves.

im age the the right right shape. shape. Start by making the image crop it it ififneeded. needed. You You Rotate the photograph and crop undo a command, con1mand, or or several, several, ifif you you can usually undo mind. Raw-format Raw-format workflow worktlow proprochange your mind. step at at aa time, time, all all the the back one step grams let you go back original file; file; Photoshop Phoroshop way to the unadjusted original steps you you can can undo, undo, but but limits how many editing steps over from from your your backup backup file. fi le. you can always start over Don't hesitate to to do so; so; you can can learn learn by by simply simply Don’t file and and experimenting experimenting with with opening an image file various tools and commands.

you make make any any Back up your file before you changes to it, see page 133. 133. In Photoshop, Photoshop, use use the working working file file aa slightly slightly File>Save As and give the can experiment experiment and and still still different name. Then you can to go back back to. to. have the original to

around the the image. image. You You can can learn to navigate around Learn see the entire picture picture at at once or or zoom zoom in in to to any any

in which which the the picture picture isis magnification. The window in

92 92

IIMAGE MAGE E DITING EDITING

monitors . You You don’t don't have have to to be be working working with with panoramic panoramic More is better, when it comes to monitors. images, as shown here, to make good use use of ofmore more “screen "screen real-estate,” real-estate, " as as itit isis called. called. Larger Larger and keep keep itit separate separate from from menus, menus, palettes, palettes, screens, or multiple displays, let you isolate an image and and other software displays.

the characcharac• Tool Options Bar lets you define the ofthe tool that is highlighted highlighted in in teristics of the Toolbox (see below). Here, ffor or Here, the the options fo the Polygonal Lasso Lasso tool are shown.

m

EdJ

Im• •

L,

,

T

Menu headings open to reveal commands. Here, the Window menu is open; it lets you Here, display different palettes on the screen. Click Click on a checked (open) item to close itit ififyour your screen seems cluttered.

Palettes provide information as well as modifj images. Click on the the various ways to modify menu icon at the top right to reveal other other commands and options.

\

Image file size used editing editing tools tools Toolbox,, where commonly used Toolbox reside on screen. Select a tool tool by clicking clicking on it. it. You can then define its characteristics in the Tool Options Bar Bar at the top top of ofthe the screen.

Tools with arrows to the right provide access to related tools. Click on the tool tool shown and hold the mouse button down to see and select other versions.

Plug-ins offer more options. Plug-ins Plug·ins are add-on add·on software modules that expand expand editing editing capabilities—they capabilities- they create borders, add special effects, operate scanners and cameras, and more. more. Plug-ins are available from several several software companies; you you can download free, free, ofmost. time-limited trial versions of

C H A P T E R 5S CHAPTER

ｾ＠

93 93

Adjusting an Image LLEVELS EVELS rapid way way to to adjust adjust LL evels is a simple and rapid

the tones in an image image using a histogram. histogra m. Th sam e control co n t ro l is is also a lso incorporated in co rpo ra t ed into into Thee same powerful Curves Curves adjustadjustt he more m o re complex com p lex and a nd powerful the ment yo u adjust adjust the the m en t (pages 96–97). 96- 97) . Sliders Slid ers let let you brightness separately separately for fo r dark, d ark, middle-value, middle-value, or or light li ght pixels (shadows, (s hadows, midtones, mi d to nes, or o r highlights). hi ghlig hts). After setting the th e exact tones cones that th a t will will become becom e black whi te (while preserving preserving shadow shad ow and an d blac k and a nd white highlight yo u can can lighten li gh te n or o r darken d a rken the t he hi ghlig h t detail), d etail), you middle n1id dle tones co n es without wi th o ut changing cha n ging the t he extreme ex trem e hi ghlig h ts or o r deepest d eepest shadows. sh ad ows. This Thi s page page shows sh ows highlights images in black blac k and a nd white, wh ite, but bur you yo u can can set set fo r each each channel cha nnel to to make m a ke rapid rapid sepa rately for Levels separately colo r balance adjustments adjustm ents in in color color photographs. pho tograp hs. color Movin g the the red red channel’s ch an nel's midtone mid to ne slider slider to to the t he Moving left, for fo r example, will make m a ke the th e image im age more more red. red . Choose Ch oose Layer>New Laye r >New Adjustment Adjus tm ent Layer> Laye r > Levels to t o generate gen erate aa histogram histogra m that th a t guides guides your yo ur Levels adjustments; adj ust m ents; they t hey can can later late r be be altered altered or or discarded discard ed (see (see Adjustment Adjustm en t Layers, Laye rs, page page 100). 100).

The photographer wanted more contrast in this this scanned scanned image image of ofa road through a forest. forest. He He used Levels Levels to to adjust the the dynamic dynamic range exactly by setting setting white and black points (see (see opposite opposite page) that were just right for the printer he used. used.

Settin ers Setting and and Usin Using the Eyedroppers specific Photoshop lets you define specific white and black points points so you can can keep keep highlights and shadows. shadows. detail easily in highlights The settings remain remain in in place place as as the the for any file file you you open open default setting for these values values until you change them; these most ink-jet ink-jet printers, printers, should apply to most own values. va lues. but test first and set your own Leve ls dialog box box (shown ( shown Open the Levels any image. image. DoubleDoubleopposite, top) for any blackclick on the blackpoint eyedropper at the bottom right nght of of box. This will wi ll open the the Color Color the dialog box. the Red, Red, Green, Green, Picker box (right). Set the 10 to to define define the the darkdarkand Blue values at 10 black with some detail. detail. (Zero (Zero in in each each est black produce a black black with with no no color would produce detail.) Click OK.

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Double -click on the the white-point white -point eyeeyeDouble-click dropper to reopen ｾ＠ reopen the Color Picker Picker box. box. Red, Green, Set the Red, 244 to to define define the the and Blue values at 244 detail. Click Cli ck OK. OK. brightest white with detail.

Seeing the White and Black Points

you can can Once these values are set, you high light and shadow shadow quickly adjust highlight simultaneously neutralize neutral ize values (and simultaneously in any image. image. Open Open Levels, Levels, their color) in and click click select the shadow eyedropper, and in your image image you you want want to to it on the spot in black with detail (see (see box, box, be the darkest black Repeat for the highlights highlights using using the the right). Repeat three-eyedrophighlight eyedropper. This three-eyedropis repeated repeated for for setting setting values values in in per icon is several other Photoshop Photoshop dialog dialog boxes. boxes.

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94

IIMAGE MAGE E DITING EDITING

point Black point

White point

Photoshop lets you see your white and black points so you can choose where to to use the eyedroppers. image and Open the image Levels dialog then the Levels Option Hold the t he Option box. Hold t he highhighkey and move the light slider (opposite, lightest pixels pixels top). The lightest co appear. are the first to position , the the At any position, pixels to the right of of the the be displayed slider will be as white, the others black (left, center). Holding the Option key key Holding and moving the shadow ~ - - - - - - - - ~ slider reveals revea ls the black black bottom). point (left, bottom). sl id er At each slider position,, you can see position pixels will exactly which pixels black be set to white or black in ifif you leave the slider in position. See oppooppothat position. site, top center.

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photograph's scanned scanned The histogram from this photograph’s negative shows that the tones of ofthe image are not not distributed throughout the available tonal range, represented by the numbers from 0Oto to 255. Empty Empty space at the ends of ofthe histogram suggests that, that, ifif left uncorrected, the shadow areas will be be too too light and the highlights too dark, da,k, making making the the flat image on the opposite page.

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The Levels dialog box shows the histogram the image. image. but also gives you tools to adjust the The left-hand slider slider (black triangle) sets the the black black point, the right-hand slider slider the white point. Moving Moving them to the ends of ofthe captured captured information sets the shadow and highlight areas of ofthe image image closer closer to white and black. The middle slider slider changes the the gamma making the middle tones tones darker or or lighter. lighter.

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A histogram of of the final image (below), (below), after after pressing OK to apply the change, shows a broader broader distribution of ofpixels between the pure white and and pure black endpoints. With a color color image you can can separately set the black, white, and and middle points for each component channel. Separate adjustment adjustment of the middle sliders alters overall of overall color color balance. balance.

Tom Tarnowski. Cumberland Island, Georgia, 2001. 2001 . C H A P T E R 5S CHAPTER

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95 95

Adjusting an Image C URVES CURVES C urves urves is is aa graphic graphic way way to to view view and and make make C

tone tone and and color color changes, changes, aa kind kind of of multi-tool multi-cool for for making making aa photograph photograph look look exactly exaccly the the way way you you want. want. In In image image editing, editi n g, aa curve curve isis aa standard standard graphic graphic representation representation for for adjusting adjustingthe chevalues, values,or or lightness and darkness, darkness, in in an an image. image. Photoshop’s Phocoshop's lightness and control control of of the the same same name name allows allows you you to co adjust— adjuscindependently independencly and and with with great great precision—the precision- the image image tones tones and and contrast contrast of ofeach each primary primarycolor coloras as well white points. points. well as as its its black black and a nd white Layer>New Layer>Curvesopens opensaa Layer> New Adjustment AdjustmentLayer>Curves dialog dialog box box like like the the one one shown shown opposite, opposite,right; ri ght;its its main main features features are are aa square square graph graph with with aacorner-tocorner-rocorner corner diagonal diagonal line line and and aa histogram histogram overlay overlay of of the the image. image. The The graph graph plots plots input input(existing (existing brightbrightness ness values) values) on on the the horizontal horizontal axis, axis, against against output output (those (chose same same values values in in your yourpicture pictureafter afterthe th eadjustadjustment) ment) on on the the vertical vertical axis. axis. Shadows Shadows are areat atthe thebotbottom tom and and left, left, highlights highlights at at the the top top and and right. right. The The exact exact center center of of the the graph graph isis 128/128: 128/ 128: middle middle gray gray input, input, middle middle gray gray output. o utput. AA 45º 45° diagonal diagonal line line means means that chat the the output output values values will will be be the the same same as as the the input input values, values, no no tones tones change. change.

Move Move the the curve curve up up to to lighten in lighten all all the the tones tones in the image. Middle tones the image. Middle tones are are displaced displaced the the most. most.

Move Move the the curve curve down down to to darken all all the the tones tones in in the the image. image. Very Very dark dark areas areas don’t don't change change much. much.

You can put put an an adjustment adjustment point point anywhere anywhere on the line line and and move move it. ic. The The line line becomes becomes aa smooth smooch curve curve that chat passes passes through through that chat point. point. IfIf you click click on o n the the middle middle (128/128) ( 128/ 128) and and move move that cliac point point straight straight up up to co 128/140, 128/ 140, the the “after” "after" (output) (outp ut) value of ofanything anything that chat was was aa middle middle value valueincreasincreases (gets (gees lighter) lighter) and and so so do do all all the the other ochertones conesalong along the the curve. curve. See See the the top cop photograph photograph on on this chis page. page. The middle middle values have have moved moved the the farthest farthest from from the the original original diagonal; diago nal;darker darker and and lighter lightertones coneswill will change proportionately less. less. ch ange proportionately

This This S-curve makes makes light light tones lighter lighter and and dark tones tones darker, darker, raising raising the the contrast. contrast.

The shape of of the the curve curve (or (or of of any any section) section) indicates contrast. A is higher higher A steeper slope slope is contrast; more more horizontal horizontal means means lower lower contrast. contrast. Increasing Increasi ng contrast in in one one part part of ofthe the curve CLnve means means losing it it somewhere somewhere else. else. Up Up to co sixteen sixteen points points can can determine how how the the tones tones are are altered. altered. If Ifyou you want wantto co remove a point, off the side point, just just pull pull iticoffche side of ofthe the graph. graph. Like Levels, Levels, Curves Curves can can be be applied applied directly direccly rather than as an Adjustment Adjustment Layer Layer (see (see page page 100) 100) but the the changes are are permanent. permanent. A A similar similar adjustadjustment can be be found found in in any any workflow work fl ow program. program .

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IIMAGE MAGE E DITING EDITING

This S-curve makes light light tones darker and dark tones lighter, lowering lowering the contrast.

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[ffl] The curves for each channel can be adjusted adjusted independently. Here the blue channel is lightened in the highlights—visible highlights-visible road- and darkin the road—and ened in the shadows; the red and green channels remain unchanged. Reducing blue (dark( darkening) is the same as add-

Pure Black 0

Middle Gray 128

Pure White 255

Black-point, white-point, and neutral neutral eyedroppers are available to make important settings rapidly rapidly that that can be adjusted with more precision afterward. a~erward. Exact Input and Output numbers are shown as you the curve. you add or move points on the

ing its complement, yellow. yellow. In the shadow areas this is most noticeable in the green of ofthe trees. In practice, very small adjustments of ofthis sort are the most useful.

Lawrence McFarland. Farm entrance near Assisi, Italy, 2002. C H A P T E R 5S CHAPTER

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97

Adjusting Part of of an Image S ELECTIONS SELECTIONS

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Selecting the object makes it possible to adjust its tones separately from the background. Once the overall colors and values look good in the photograph at left, le~, the glass butter dish in the middle of ofthe scene is too dark and has a color cast.

S electing an area lets lets you you edit edit or or adjust adjust part part of of an image instead of of all of of it. ic. All the the pixels pixels in in a subject may be be selected or or just just one. one. You You may may choose to select pixels pixels in in aa geometric geometric shape shape like like follow an an outline outl ine to to select select all all the the a square or to follow pixels that form form a particular particular image, image, for for example, example, of a bird. Your selection may may encircle encircle one one shape shape or or of be formed of of several separate pieces. pieces. And And imporimportantly, pixels can be partially addition partially selected, selected, in in addition not at all selected. selected. Workflow Workflow proproto entirely or not grams allow basic adjustments of of aa selected selected area area (calling the selection a masked masked area area that chat is is chosen chosen (calling by brushing or painting) painting) and and can can automatically automatically identify edges to to help help you create create aa precise precise mask. mask.

Following its outline with the Lasso tool (see opposite page) turns the object into a selection and lets a separate Curves adjustment make it an eyecatching centerpiece.

A selected area is is like like aa separate separate picture. picture. It can be made made darker or or lighter—called lighter- called burning burning or dodging, as in in a conventional conventional darkroom. darkroom. In In add ition, its color, color, contrast, contrast, or or saturation saturation can can be be addition, changed. With Photoshop, Photoshop, aa selected selected area area can can be be smaller, it it can can be be rotated rotated or or disdismade larger or smaller, torted, or it can be moved moved to to another another part part of ofthe the picture entirely. entirely. Selecting Selecting isis picture or to another picture coward compositing—assembling compositing-assembling an an the first step toward pieces (see (see pages pages 106–107). 106- 107). image from separate pieces

The selection itself itself can be be edited. edited. You You can can from aa selection, selection, expand expand or or add to and subtract from shrink it, or feather its its edges. edges. Inverting Inverting aa selection selection pixels to to unselected unselected and and vice vice changes the selected pixels document, be saved saved with with the the document, versa. Selections can be ro be brought back, back, or loaded loaded,, later. lacer. Photoshop Photoshop to loaded, tools for for making making and and provides many different tools (opposite) because because itit is is such such an an altering selections (opposite) of the the digital digital editing editing process. process. important part of be made made only only to to the the selectselectAdjustments will be ed area. For example, ifif you select select an an area, area, then then adjustment, itit will will only only affect affect the the apply a Levels adjustment, selected pixels. Partially Partially selected pixels pixels (such (such as as by feathering feathering an an edge) edge) will will be be partially partially chose made by those adjusted. Making an adjustment layer layer (see (see page page only selected makes makes changes changes only 100) when pixels are selected pixels and lets lees you you later lacer adjust adjust ro those chose selected pixels to selection, saved saved as as aa mask mask those changes. The selection, bottom), may may also also be be later later adjusted. adjusted. (opposite, bottom),

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IIMAGE MAGE E DITING EDITING

of an The selection of object can be inverted to select the backgground. round. Once the background is selected, any of ofits characteristics, including its color, can be changed, below. It is also possible—and possible- and very frequently useful—to useful- to eliminate the background entirely, right. right.

The toolbar too/bar displays selection tools and their variations. variations.

Tool variations show in a submenu accessed by clicking on the tool’s tool's icon. icon.

Selecting with the Lasso tool is like drawing with a pencil. A computer mouse makes a somewhat clumsy pencil; drawing tablets are if you you do a available if lot of of direct selecting.

Lasso Tool

Use the Lasso tool to outline the area area you you want want to to select. You You must go go entirely entirely around around the thearea areawhile whileyou you ho ld the hold the mouse mouse button button down. down. IfIfyou you release releaseititbefore before ll autoreaching the the point point of of origin, origin, aa straight straightline linewi will autoit. You matically complete complete the the circu circuit. Youcan canfix fixit,it,add addother other

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unconnected areas, nted jiggles unconnected areas, or or smooth smooth any any unwa unwanted jiggles above) or using the the add to to or or subtract subtract from from buttons buttons((above) orby by switching to to Quick Quick Mask Mask mode mode (bottom) (bottom)to tocorrect correctitit with with drawing tools. tools.

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[SJ Magic Wand selects pixels by color. ltIt is most useful where a background is relatively uniform or where foreground and background background colors or values are strongly contrasting.

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The Magic Wand tool is much much faster faster in in some some situations than than drawing. drawing. A A click click of of the theWand Wandat atone onespot spot selects all all the pixels pixels of of the the same same color colorthat thatare areconcontiguous to to (touching) (touching) that that spot. spot.The The Tolerance Tolerancesetting, setting,

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Allows pixels to be partially selected.

in the Tool Tool Options Options bar bar shown shown here, here, isisan anessential essential variable. variable. It sets sets the the range range (how (how far far from fromthe thesample's sample’s color or value) value) of the the pixels pixels that thatwill will be beselected. selected.The The size of the sample sample can can also also be be adjusted. adjusted.

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Quick Mask mode lets you you use drawing tools to make and modify a selection. Quick Mask changes a selection to to aa mask, mask, like like aa ich you sheet of glass glass covering covering you yourr photograph photographon onwh which you can brush brush opaque can opaque paint paint (the (the mask mask isisusually usuallydisplayed displayed red). You pencil , brush, rin red). You can can use use drawing drawing toolstools—pencil, brush,aiairbrush- to reshape brush—to reshape the the mask mask and and then thenchange changeititback back

selection. ItIt is prove aaselection to a selection. is most most usefu usefull to to im improve selection made with with another another tool. tool. Drawing Drawingwith withwhite whiteextends extends (adds to) to) the selection; selection; black black subtracts. subtracts. Partially Partially ll result selected pixels selected pixels wi will result from from painting paintingwith withgray grayor or using aa feather-edge feather-edge tool. tool.

C HAPTER 5 CHAPTER

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99

Two layers make all the adjustments this photophotograph needs. The first layer (shown below left) makes some areas lighter and others darker, darker, the same way you might apply burning and dodging ififyou you were printing in a darkroom. darkroom. To make it, Layer>New> Layer was opened. In the dialog box Mode: Overlay was selected, then Fill with Overlay-neutral color was checked. checked. The Overlay layer fills with middle gray but nothing but its effect is visible unless you you turn off offthe background layer’s layer's display by clicking its eye icon. Making the Overlay layer’s layer's neutral gray lighter fighter or darker with any tool—even tool- even ififyou don’t don 't see it—lightens it-lightens or darkens the underlying image. The foreground roof roofis lightened. A gradient darkens the sky gradually toward the upper upper left le~ corner.

More Techniques LLAYERS AYERS ayers may be Photoshop’s Photoshop's greatest g reatest feature feature Llayers

m ost clearly clearly sets sets its its abilities abilit ies apart a part and one that most from photographer’s p hotographer's workflow wo rk fl ow programs. program s. Adding Addi ng laye r to co your image is is like like putting p utting aa sheet sheet of of a layer prin t. You You can can draw d raw on o n the the layer layer clear glass over a print. or make m ake alterations al terations that that change ch ange the the image image below below the layer, laye r, but you yo u can still still take take itit away away to to reveal reveal the unchanged unch anged picture. picture. And An d you yo u can can add add another a n other layer and another a nother (Photoshop (Photosh op lets lets you yo u add ad d thout ho usands) sand s) that th at are individually ind ividually editable, editable, removable, rem ovable, and-except for for what you yo u put put on on them—comch em-com and—except pletely transparent. transparen t. to composite composite aa picture, pictu re, Laye rs make it easier to Layers asse mbling elements elemen ts from fro m more mo re than t ha n one one image. image. assembling Each part of your picture picture can can sit sit on o n an a n individual in dividual th en move m ove and and change chan ge and and layer, which you can then m ove and a nd change again, until u ntil your yo u r final fi nal image im age move yo u want (see (see pages pages 106–107). 106- 107). looks the way you

Adjustment layers layers let let you you make make tonal tonal changchang es, es , using usin g Curves, Cu rves, Levels, or or other other tools, tools, withwithperm anently altering al tering the the original, original, underlying underlyi ng out permanently Layers>New Adjustment Adjustmen t Layer; Layer; then then image. Use Layers>New you can revisit your yo ur changes ch anges and and modify m odify them th em at at ti m e, the way you yo u can can in in aa workflow wo rkflow applicaap plicaany time, to finalize fi nalize your yo u r decisions, d ecisions, to to tio n. When you yo u need need to tion. fo r example, you yo u can flatten the th e file file to to make make p ri nt for print perm anent, but bu t you yo u can—and can- and adjustme n ts permanent, the adjustments sho uld- keep a copy copy of of the the unflattened un flatten ed file. fi le. should—keep T h e direct di rect use u se of of Levels, Levels, Curves, Cun,es, or o r almost aln1osr The char alters alte rs aa picture, pictu re, causes causes the t he softsoftanything else that wh en itit applies ap plies wa re to discard d iscard some som e information in fo rma tion when ware the change. p icture, for for example, exam ple, cha nge. If you darken a picture, yo u decide decid e it it should sh ould be be even even darker, d arker, and later you mo re information is is discarded. Each Each time, ti me, the t he more fu rth er degraded. d egraded. image is further layer for fo r such su ch changes changes Using an adjustment layer problem ; the the settings settings you you choose ch oose affect affect avoids this problem; th at is displayed displayed or or printed p ri nted but but they they the image that ch ange the pixel pixel values val ues in in the the original original file fil e do n't change don’t ch oose to to flatten flatten it. it. All All settings settings can can be be until you choose changed - o r discarded—without discarded- with ou t loss. loss. Photoshop’s Photosh op's changed—or "smart" filters are also also on on the the list list of o f non-destrucno n-dest ruc“smart” tive adjustments. adj ustme n ts. The most most important importan t of of these these ca n change ch ange the the amount am o unt filters is sharpening; you can ap ply to an image for for each each different di fferent output. o u tput. you apply

100 100

IIMAGE MAGE E DITING EDITING

The second layer, a Curves adjustment layer shown at right, adds contrast. Each additional layer affects only those that appear below below it in the Layers Palette, far right.

Vanderwa rker. Peter B. B. Lewis Lewis Building, Building, Case Case WeatherWeatherPeter Vanderwarker. head School Schoof of ofManagement, Cleveland, Ohio, Ohio, 2003. 2003.

Mark Klett. Klett. View from the tent at Pyramid Lake, 7:45 AM, Nevada, 9/16/00. 9/ 16/ 00. Adjustment layers control control individual areas when they are applied applied through a mask. A selection (made with the tools on pages 98–99) 98- 99) creates a layer mask so so an an adjustment can affect you choose. Layer masks only the area you are shown as a small image in the layers palette, left, with an icon for the type of of layer. layer. Naming the layers helps keep track of what they are for. of for. By creating several different masks, each filtering a separate adjustment layer, Klett lightened parts of of the tent floor (the selected layer at right), made the sides of the tent appear to be of the same brightness, and deepened blues in the sky and water to accentuate the early morning sunlight. layer-and its mask—can mask-can be Each layer—and changed or deleted at any time without affecting settings of ofany other layers. After building a final image like this, one layer at a time, Klett makes a small proof proof print to see ififany of ofthe layers need to to be further modified before making making a final print at full size.

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The original scan from Mark Klett’s Klett's large-format large-format color color negative negative looks looks passable but it needs some work to bring bring out out its its full full potential, shown above. above. Klett began with a curves layer to set black black and and white white points points and and the the overall overall color balance. A luminosity layer makes small small adjustments to to the the tones tones and and layers are added added for for further, further, contrast without affecting the color. Other layers more subtle, adjustments. C hapter 5 5 CHAPTER

1~1101 101

More Techniques RETOUCHING R ETOUCHING D igital capture avoids almost almost all all unwantunwantD

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the process. process. Only Only ifif you you ed specks generated by the

d ust or a scratch on on the the sensor sensor should should you you get dust need to cover up retouching, up such flaws flaws through through retouching retouching,, over part part of of an an image. in1age. Scans Scans essentially painting over of attention; it it is is nearly nearly imposim posrequire this kind of negative or or print print (and (and the the scanner scanner sible to keep a negative during scanning. scanning. itself) perfectly clean during "Im provi n g" someone’s someone's complexion complexion in in aa porpor“Improving” rerouching. Regardless Regardless of of the the trait is also called retouching. retouching, you make make changes changes once once and and reason for retouching, For minor minor (but (b ut careful) careful) retouching retouching of of save them. For Photoshop, you yo u can can alter alter your your backbacksmall areas in Photoshop, directly- assuming you you have have saved saved aa ground layer directly—assuming such as as those those on on the the copy. For major alterations, such below, make make aa new new duplicate duplicate layer layer to to photograph below, Layers >Duplicate Layer, Layer, and and then then retouch. Go to Layers>Duplicate on the the new new layer. layer. perform your corrections on

To repair damaged photographs photographs or or to to remove remove scratches, various various tools tools are are unwanted specks and scratches, Ph otoshop, such such as as the the clone clone stamp, stamp, available in Photoshop, smudge, focus, focus, toning, toning, and and sponge sponge healing brush, smudge, the patch patch tool tool shown shown at at right. right. tools, along with the the image image for for contrast, contrast, Before you begin, adjust the working in in color, color, color color balance. balance. brightness, and, ifif working

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To retouch using Photoshop’s shop's patch tool, select it from the Toolbox (it may be behind the Healing Brush or Tool). Spot Healing Brush Tool). Select Source in the Tool Options Bar. Bar. With the cursor, draw around the area needing repair (A). (A). Drag Drag the selection onto an undamaged area similar in value, color, and texture (B). (8 ). The pixels from the undamaged area will combine with those in the selection to make a naturallooking repair (C). (C).

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Workflow programs include include retouching retouching tools that are especially useful useful when when dust dust on on your you r camera’s camera's sensor marks marks each each image in1age in in the the catalog of of images images you you same location. Within any catalog can instantly apply one picture’s picture's retouching retouchin g to to aa selected group of of others.

For best results, build up a repair repair slowly. Work in layers to protect the original image. Found at a flea market, this torn and faded faded old old photograph was scanned, then retouched just just enough to restore the original appearance of of

102 102

IIMAGE MAGE E DITING EDITING

the image. Adjustment with Curves brought brought the the tones back to an approximation of ofits unfaded unfaded state. Some drawing skill can help in replacing replacing a large damaged area; the key is to borrow borrow bits bits from other, similar areas in the picture.

Michael Schäfer. Schafe r. Aufzug Au{zug (HGB), (HGB ), 2002. Retouching Retouching can can work miracles. Here, Here, the photographer photographer removed removed every every trace trace of ofhimself himselfand his camera from the the mirror mirror inside inside an elevator, elevator, with its door closed, to achieve aa hauntingly surreal surreal image image that suggests a journeyjourney—up up or or down—into down- into the existential. existential.

C HAPTER 5 CHAPTERS

jgj 103 103

More Techniques SSHARPENING HARPENING most digital digital images images SS harpening improves most won't save a photograph photograph that that was was made made out outof of but won’t important adjustment adjustment that that should should focus. It is an important and digitally digitally captured captured be applied to all scans and just before before printing printing or or other other photographs, usually just more sharpening sharpening is is needed needed for for export. Generally, more th an for for scans from from film. film. JPEG digital capture than by the the camera camera but but you yo u should should files are sharpened by and Camera Camera Raw Raw files. files. sharpen all captured TIFF and of sharpening sharpening for for best best results results T he amount of The number of of factors, factors, one one of of which which depends on a number reso lution used used for for aa particular particular output. output. is the resolution n1ay want want to to put put it it on on your your Web Web site site Because you may making aa print pri n t (or (or make make different-sized different-sized as well as making the same image) image) sharpening sharpening should should prints from the permanent alteration alteration to to your your probably not be a permanent If you are using usi n g a workflow workflow application appl ication or or file. If (or later), later), sharpening sharpening can can be be Photoshop CS3 (or time you send send an an image image to to aa differdifferchanged each time outpu t. With earlier earlier versions of of Photoshop, Photosh op, ent output. ofyour your file. file. save an unsharpened version of

(USM) means means sharpening. sharpening. Unsharp masking (USM) contradictory name name is is aa legacy legacy The seemingly contradictory photography, aa way way of of improvimprovfrom darkroom photography, p lacing a slightly slightly out-of-focus out-of-focus ing sharpness by placing fi lm positive, positive, or or slide, slide, negative in contact with aa film en larging. The result resu lt of of this this film film sandsand during enlarging. at the the edges edges of ofobjects, objects, wich is increased contrast at t he same san1e effect you introduce introduce to to an an image irnage using using the digital sharpening. T he sharpening tool tool or filter filter identifies identifies areas areas The of transition, for example from from dark dark to to light light or or of wh ich our our eyes eyes tell tell us us are are from red to yellow, which edges. Then the transition. transition. Making Making T hen it exaggerates the only when wh en they they are are near near light ligh t dark pixels darker only pixels, and vice versa, creates creates aa subtle subtle halo halo around around perceive as as enhanced enhanced sharpness. sharpness. edges that we perceive

Sharpen for the output. Higher output resoresoHigher output lution, usually for for a larger larger print, print, requires requires more more A file fi le printed printed on on an an inkjet inkjet printer printer sharpening. A needs different sharpening sharpening than than you you would would apply apply ro the same file sent to to an offset offset press. press. Even Even the t he to paper matters; matters; uncoated uncoated papers papers and and matte matte surfacsurfacless sharpening sharpening than than glossy glossy paper. paper. es need a little less Always judge the the sharpening sharpening by by displaying displaying your your 104 104

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All scans and digital captures need sharpening. The Unsharp Mask filter filter increases tone tone differences between adjacent pixels to to make make the image appear sharper.

ofsharpening makes The right amount of details and edges crisp without sacrificing sacrificing smooth tones. Different pictures and and different uses need different amounts.

Too much sharpening is as bad as not enough. When you you see obvious halos around fine details in your your image, you have gone too far. Use the preview option on screen to far. to compare before and after, a~er, viewing viewing at 100%. 100%.

I 00%(also (also called called 1:1); I I); even even betbetonscreen image at 100% proofon on the th e printer printer and and paper paperyou you will will ter, make a proof final print. print. be using for your final prefer to to use use aa two-step two-step Some photographers prefer process for for digitally-captured digitally-captured files: fi les: sharpening process based on on the t he specific specific camera camera input sharpening based ou tput sharpening sharpening based based on on the the subject subject and and and output file's destination. the file’s

image content. content. AA landscape landscape may may Sharpen for image treatment than than aa cityscape. cityscape. require different treatment portrait will will need need aa different d ifferent Sharpening for a portrait approach than for for a forest forest scene. scene. Facial Facial skin skin isis because sharpening sh arpening enhances enhances a special concern because texture and blemishes, blem ishes, usually usually undesirably. undesirab ly. For For yo u may may have h ave success success using using an an increased increased portraits, you or by by sharpening sharpening only only radius and lower amount, or the t he red channel in in RGB RGB or or the the black black channel channel in in CMYK. Photoshop’s Photoshop's High-Pass High-Pass filter filter is is useful usefu l for for con fining sharpening sharpeni ng to to prominent prominent edges. edges. You You confining may want wan t to to apply sharpening sharpening through thro u gh aa mask, mask, as as the photograph p h otograph opposite. opposite. And And there there was done in the are several ways to to apply apply sharpening sharpening by by hand, hand, eyes and and hair, h air, for for example, exan1ple, brushing it in around eyes while leaving the the rest rest of of aa face face unsharpened. uns harpened.

Select Filter>Sharpen> S elect Filter>Sharpen> Unsharp Mask… Mask .•. in PhotoPhotoshop. shop. Its dialog box lets you set the filter’s filter's three variables, Amount, Radius, and Threshold, and to view a preview to see how your your choice of of values affects the image. how close Radius controls how to an edge the sharpening sharpening occurs; use values from 0.5 to to 3, higher numbers for higher resolution files. files. Amount Amount affects the contrast of ofsharpened pixels, values between 50 SO and 200 are common for for photographs. Threshold determines how different a pixel must be from its neighbors to comprise an edge pixel. Low Low values sharpen more of ofan image. image. Start with 3–5. 3-5. Similar controls are given in workflow programs; Aperture has Intensity and Radius, with a separate control for edge sharpening. ing. Lightroom uses sliders for Amount, Radius, and Detail, with a fourth slider slider for Masking—the Masking-the equivalent of ofedge sharpening.

Jim Scherer. Fork with Jim Peppers, 2006. Sharpening must be applied carefully when out-of-focus areas are particularly important. Scherer wanted just the in-focus areas to stand out crisply, so he used a softso~edged selection as a mask to sharpen only the two pepper slices in the center. Sharpening out-of-focus areas in digitally tolly captured photographs like this one risks enhancing enhancing granularity and noise.

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More Techniques COMPOSITING C OMPOSITING D igital editing was invented invented for for compositcompositD

ing, or so it might seem. The kinds kinds of ofimages images that chat most closely closely associated associated with with digital digital have become most the invented invented spaces spaces and and imposimposphotography are the everywhere in in adveradve rsible situations that we see everywhere chat such such composited composited (combined (combined tising. It is not that in1ages weren’t weren' t possible possible with with from several sources) images conventional photographic photographic techniques techniques (see (see photos photos page 112), 112), but but it it was was always always very very difdifbelow and on page prohibitively time time consuming consumi ng to to ficult and often prohibitively do so. Assembling an image image from from parts parts requires req uires editing tools; cools; workflow workflow complex and extensive editing programs do not not provide provide features features for for compositing. compositing.

Mastering the composite takes takes some some effort effort to help. help. Learning Learning the the tools tools even with a computer to takes some time, but is is not not the the real real challenge. challenge. think ahead and and to to create create and and assemasse1nLearning to think together visually—that visually- chat requires requires ble parts that fit together practice, clear thinking, and attention attention to to detail. detail.

c. 1880. The The composite Francis Frith. Hascombe, Surrey, c.1880. "improve" this this nineteenthphotograph is not new. To “improve” century English landscape, Frith cut cut a horse and and cart—along cart- along with their convincing convincing shadow—from shadow- from another another photograph and and pasted it onto the original photograph.

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is most most important importantto co Consistent illumination is in your image image believable. believable. If If you yo u make everything in photograph made made on on aa sunny sunny take people from a photograph into an an overcast overcast landscape, landscape, day and drop them into won 't look right no no matter matter what what you you do. do. Few Few it won’t co tell cell exactly exaccly what what the the probprobviewers will be able to wi ll find find viewing viewing the the image image aa lem is, but everyone will litcle uncomfortable. u ncomfortable. little

Display several images at at once once when when you you comcomfrom multiple multiple pictures. pictures. A A large large (or (or bine elements from second) monitor helps helps when when you you want want to co have have sevsevsee your yo ur tools tools and and palettes. palettes. eral files open and still see provides useful useful measurements measurements to to The Info palette provides different elements, elements, as as maintain consistency among different do the rulers that appear on on two two borders borders of of each each on aa separate separate layer. layer. Keep each element on window. Keep layer (see (see page page 100) 100) You can make an adjustment layer (attached) to to each each and and won’t won't affect affect that is linked (attached) ocher layers. any other

Julieanne Kost. Isostacy, Julieanne lsostacy, 2007. To To create this this surreal surreal monmontage, Kost combined a scanned painting painting with digitally captured captured photographs of ofunrelated landscapes and and textures. Isostacy lsostacy (or Isostatic equ ili brium)) describes equilibrium describes an an object in in balance between two media, the way scientists would would describe an iceberg with its portion in the air air betraying betraying aa hidden hidden mass mass in in the water below.

Kost began by scanning an encaustic (wax) painting painting she had had made (above), (above), and darkening its edges with a mask (below). She keeps each element and its adjustments in separate layers as the piece is being being assembled; it allows each to be further altered as the work becomes more complex.

The landscape is a separate layer, as is the mask that blends its edges into the background. The mask can be displayed in red or in black and white. white. 1,

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The clouds come from this and photograph, with the barn and its foreground and background masked out. The trees (right) fit. were also masked to fit.

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textures The final touches are textures added from pictures of ofrust (above (above right) and bubbles of ofsea foam (right). Both were incorporated as layers with with reduced opacity so they don’t don't overwhelm the image of ofclouds on aa layer beneath. The finished composite image has twelve layers.

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More Techniques COLOR BLACK AND WHITE C O L O R IINTO NTO B LACK A ND W HITE C olor channels can be be blended blended together together in in C Aperture's Monochrome Monochrome image-editing software. Aperture’s Mixer and Lightroom’s Lightroom's Grayscale Gray scale Mix Mix give give you you sliders like those those you can can call call up up in in Photoshop Photoshop by choosing Black & & White White,, an an adjustment adjustment under under men u . In In each each of of the the programs programs you you the Image menu. can control the proportion proportion of of each each primary primary color color be incorporated into into the the resultresult-channel that will be result black-and-wh ite image image while while you you watch watch the the ing black-and-white on-screen preview change.

You can set many many digital cameras cameras to to capture capture white. The T he camera will produce produce aa in black and white. image, and and the the camera’s camera's grayscale JPEG or TIFF image, mon itor will show a black-and-white black-and-white preview. preview. IfIf monitor your camera is set to to capture capture aa Camera Camera Raw Raw file, file, however, a black-and-white image show on on image will will show the camera’s informa camera's monitor monitor but but all all the the color color informainforma-tion will still be be present present in in the the saved saved file. file. You You can then control the the conversion conversion to to grayscale, grayscale, as as described above, above, with image-editing image-editing software. software.

Very Ve,y different black-and-white renderings can be made from the same color photograph leading to different interpretations of of their content. Image-editing software soft.ware gives you the opportunity to make a controlled blend blend

from the three channels. The center image above, for example, incorporates aa high proproportion of ofred and green but little blue from from the left-hand image, and leads to a brighter brighter image than the one on the far right.

Infrared Black and Infrared and White White Digital filDig ital camera sensors are covered with with aa fil fil-ter that blocks infrared radiation radiation but but itit isis still still black-and-white photographs photographs possible to make black-and-white us ing that invisible invisible energy just beyond beyond the the using of visible light. light. spectrum of The effectiveness of of infrared infrared blocking blocking filters filters varies from one camera model model to to another, another, but but fort u nate ly none none blocks blocks infrared infrared completely. comp letely. fortunately that blocks b locks visible visible filter that Cover your lens with aa filter light and passes passes infrared, in frared, like like a Wratten No. No. R72 , or Heliopan Heliopan RG715. RG715 . With With visvis-87, Hoya R72, vis ible ib le light removed, whatever the the sensor senso r receives receives wi ll be infrared. infrared . But But itit will be be very very little little radiaradia-will radia tio n, and you will wil l need need a long long exposure—usualexposure- usual-tion, exposure—usual ly more than a second in in daylight d ayl ight even even at at your your error should shou Id lead lead to to widest aperture. Trial and error satisfactory results.

IfIf you are very serious about shooting shooting infrared infrared camera, you you b lack and white with aa digital camera, black can dedicate ded icate a camera to to that t ha t purpose purpose by by removing the IR-blocking IR-blocking filter filter from from its its sensor. sensor. wi ll turn turn up up (some(some-A little online searching will (some what complex) comp lex) instructions instructions for for those those who who technical ly inclined. incli ned. Some So me camera-repair camera- repair are technically be able to to modify modify your your camera. ca mera . shops will be

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Jingbo Wu. Indian Ruin, 2007. Foliage looks white Jingbo white in infrared infrared and and skies go go nearly nearly black, black, making making possible very dramatic landscapes. Wu Wu bought an inexpensive DSLR DSLR on on eBay eBay and and followed followed instructions instructions he found on the Web to remove its IR-blocking JR-blocking filter. filter. A Hoya Hoya R72 R72 filter filter covers covers his his lens. lens.

FFILTERS ILTERS

FF ilters

automatic-and often often exotic— exoticare automatic—and manipulations. In Photoshop they they go by by image manipulations. names like like Colored Colored Pencil, Pencil, Twirl, Twirl, self-descriptive names If the the ones ones that that come come with with and Glowing Edges. If your image-editing program program aren’t aren't enough enough for for you, you, offer hundreds hundreds more more for for independent developers offer add plug-in plug-in (see page page 93). 93). You You can can add sale as plug-ins (see too. But But Filter Filter isis also also filters to workflow software, too. progran1s usually usually give give to to search search cricrithe name such programs to find, find, for for example, example, all all your your teria when you want to pictures of oftrees. trees. one- and two-star pictures

Filters are playful and can lead to the strange and unexpected. The photograph at right was subjected to a sampling of of filters, as shown below. filters,

Photoshop's Filter Filter menu menu for for Look under Photoshop’s

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or choose choose Filter>Filter Filter> Filter many different options, or through them them at at random. random. Each Each Gallery to browse through For example, example, gives control over several variables. For filter lets lets you you set set different different values values the Stained Glass filter thickness, and and light light intenintenfor cell size, border thickness, T he variations are endless and, and, ifif you you select select sity. The Filters," re-editable. re-editable. "Convert for Smart Filters,” “Convert

like candy; candy; restraint restraint isis Be careful, filters are like

Chrome filter

Glass filter

confections but but itit isis advised. They are appealing confections Remember also also that that exactly exactly easy to overindulge. Remember special effects effects are are available available to to the the the same zoomy special of other users users of of Photoshop, Photoshop, and and their their millions of easily appear appear to to be be aa cliché. cliche. Many Many arbitrary use can easily toolbox, especially especially ifif your your filters belong in your toolbox, illustration, but but don’t don't assume assume that that because because task is illustration, results of of the the Craquelure Craquelure you've you’ve never seen the results filter, no one else has has either.

Craquelure filterr Craque lu re filte

filterr Stamp filte

Watercolor filter

1. .

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C HAPTER 5 CHAPTER

igj 109 109

An Editing Workflow W orkflow Here Here isis an an outline outline of ofthe the basic basicsteps steps to toaafinished, finished, printed digitalphotograph photograph using using Photoshop. Photoshop. printed digital

11

Open file and and save save aa duplicate. duplicate. Use Use Open the the file File>Save File>Save As As and a nd give give aa new new name name to to the t he version version with wit h which which you’ll yo u' ll be be working. wo rk ing. Make Make sure su re your your original, original, raw raw file file isis archived archived propp roperly erly (see (see page page 133.) 133.)

22

Rotate Rotate and and crop crop the the image imageso sothe th eedges edgesof ofthe th e frame frame are are exactly exactly where where you yo u want wan t them. them . By By cropping cropping you yo u can can choose choose an an aspect aspectratio ra tiomore mo re suited visio n than than the theone on edictated dictated by by sui ted to to your yo ur vision your yo u r camera’s cam era's sensor senso r or or the thefilm’s film 's frame. frame.

3

Retouch dust,scratches, scratches, Retouch (page (page 102) 102) to to remove rem ovedust, or o r spots. spots. Scans Scans generally generally require requi re retouching; re to uch ing; photographs p hotographs captured captured with with aa digital d igital camera camera may may not. no t.

44

Add a Levels Levels or or Curves Curves adjustment adjustment layer. layer. Use Use it it to to set set the t he black black and and white whi te points points and a nd the the overall overall color colo r balance balan ce (pages (pages 94–97). 94- 97). Remember Re m ember that tha t with with adjustment adjustm en t layers layers you yo u can make ma ke more mo re changes cha nges later. later. Make Make general general adjustments adjustmen ts first, first, then then fine-tune fin e-rune them chem after afte r your yo ur other o ther adjustments adjustments have h ave been been made. m ade.

5

Make other overall overall adjustments. adjustments. AA Curves Curves adjustment layer layer in in the the Luminosity Luminosity mode mode lets you adjust adjust tones to nes and a n d contrast contras t without without affecting affec ting color. colo r. A A Hue/Saturation Hue/ Satu ration adjustadj ustment m en t layer layer is is often often useful useful to to reduce red uce the the color color bias of ofsome scanners scanners and and digital d igital cameras cameras or or to increase the t he vibrancy vib rancy of ofselected selected colors. colors.

66

Make local local adjustments. adjustments. When When the the overall overal l image has h as been been improved, improved , ifif certain certai n areas areas need individual ind ivid ual attention, a ttentio n, make m ake aa selection selection and a nd add an adjustment adjustment layer laye r with wit h the the selecselec-

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tion tio n in in place place (page (page 98). 98). Both Both the the selection selectio n (automatically (au to m a tically saved saved as as aa layer laye r mask) m ask) and and the the adjustment adjustmen t can can be be later la ter edited. edited. Add Ad d as as many m any individual individual adjustments adjus tments as as you yo u need, need , but but keep keep in in mind m in d each each one o ne adds ad ds to to the t he file file size, makes each each successive successive step step take rake aa little little size, makes longer, lo nger, and an d fills fills your yo ur storage storage space space faster. faster. Save Save the the full-size, full-size,layered laye red file fil ebefore beforecontinucontinuing ing on o n to to resize, resize, the t he next next step. seep.

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Resize Resize ifif necessary. necessary. ItIt helps h elps to to know know how h ow you’ll yo u' ll be be using using aa picture—on picture- o n aa magazine magazine page, page, in in aa Web Web display, display, or o r making making itit into in to aa poster—to poster- to know know how how big big aa file fi le and and how how much much resolution resolution you you need. need. Some Some printers prin ters make the file fil e matches ma tches their t heir m ake the th e best best print p ri nt ifif the native native resolution, reso lution, often often 300 300 or or 360ppi. 360ppi.

88

Sharpen the the background background layer. layer. IfIf you you need n eed to to use use the the photograph photograph for fo r aa different diffe rent appliap plication or o r print print itit at at aa different di ffere n t size, size, go go back back to the unsharpened unsharpened full-size full -size file fil e with with all all its its to the layers, layers, resize resize and and sharpen sharpen aa copy copyfor fo reach each use. use. See pages pages 104–105. 104- 105.

9

Soft proof proof and print print your your photograph photograph (see (see page page 118). 118). Flatten Fla tten the the layers layers before before printing, printing, emailing, em ai ling, or or exporting expo rting to to the t he Web. Web. Think T hink of of your yo ur first first print print as as aa test. test. Are Are there t here changes changes to to make? m ake? If If so, so, use use the the History History palette palette to to go go back back to to the the sharpened, sha rpened, layered laye red version. ve rsion.

10 10

Make any necessary necessary final fi nal adjustments, adjustments, make ma ke a final fin al print. p rint. Once O nce you yo u are are satisfied satisfi ed with the t he print, print, go back back to to the the full-sized fu ll-sized verve rsion sio n of of the the file file if if you yo u resized resized itit for for printing, print ing, make ma ke the the same final final changes, changes, and a nd save save it. it.

Miwa Yanagi. Eternal City Cif:Y II,, 1998 1998.. Digital tools let Yanagi invent a space for for her narratives. This image is from a series that drew its inspiration from the young young women who work as “eleva"elevator girls girls”" in large Japanese Japanese department stores, and was intended to challenge traditional perceptions of of women. Yanagi hired models who fit her conception of ofthe archetype and dressed them in identical uniforms for the photograph. A workflow for this kind of imagemaking may start of with workflow software for importing and organizing organizing the elements, but the final final assembly depends on the layers and compositing tools available in Photoshop.

Y

Y our editing workflow may may be be more more efficient efficient if you use a workflow workflow application. application. Adobe if used by by professionals professionals in in many many areas areas Photoshop is used it serves serves the the graphic graphic arts, arts, the the besides photography; it video, as as well well as as fields fields such such printing industry, and video, result, itit has has numernumeras medicine and science. As aa result, probably won’t won't need. need. It It was was ous features that you probably let images images become become whatever whatever anyone anyone constructed to let can imagine, in1agine, one at a time. time. Workflow software has has been been tailored tailored to to the the basic tasks of of photographers, so one of of these these everything your your work work requires. requires. programs may do everything Using either program, all editing editi ng decisions decisions listed listed page can can be be applied applied in in any any order order on the opposite page time before before you you print print or or and re-adjusted at any time export a file. Changes in in such such qualities qualities as as color, color, may be be brushed brushed on on lightness, and saturation may appl ied through through a mask. mask. Sharpening Sharpening may may be be or applied

during import, import, some some to to applied in stages, some during manipulate on on the the monimonithe image you see and manipulate more later for output. Size, Size, shape, shape, and and tor, and more are applied only only to to the the finfinresolution decisions are not to to the the original original file. file. ished product, not

Adjustments and settings may may be be saved saved as as simultaneously to to aa group group a preset and applied simultaneously of images. These presets presets may may be be applied applied when when of you download your images images or or later, later, to to aa selected selected commands, aa wedding wedding group. With only a couple commands, p h otographer may may turn turn hundreds hundreds of ofpictures pictures from from photographer black and and white wh ite one memory card into sepia-toned black print them them as as aa sequence sequence as they are imported, and print of two-by-three-inch proofs, proofs, twelve twelve to ro aa sheet sheet of of of number under under each each small small letter-size paper, with a number image and the photographer’s photographer's copyright copyright and and concontact information inforn1ation at the the bottom bottom of ofeach each sheet. sheet. Your Your be customized customized and and saved. saved. own workflow can be

C HAPTER 5 CHAPTER

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Ethics and Digital Imaging J

can alter alter an an image, image, should should J ust because you can D igita l methods m eth ods haven’t have n 't substantially substantia ll y you? Digital changed the the laws or ot ethics of ofphotography, p hotography, itit has h as sin1ply become much n1uch easier easier to to violate violate them. rhe1n. Now Now simply that t hat almost anyone a nyo ne can make m ake extensive extensive changes ch an ges t hat are are sometimes sometin1es impossible impossible p ho tograph that in a photograph ofacceptability accep tability are a re constantly con stantly to detect, the limits of d ebated . tested and debated. H as photography p h otograp hy lost lost any any claim clai m on o n accurate accurate Has re p resen tatio n of of reality? reali ty? For For aa 1982 1982 National National representation digital image image editing editin g was was used u sed Geographic cover, digital m ove one on e of of the the Pyramids Pyramids of o f Giza G iza aa little lit tle for fo r to move so it it would wo ul d better better fit fit the t he t he cover photograph so the magazine’s m agazine's vertical format. fo rm at. When When some som e readers read ers objected , the t he change ch an ge was defended defe n ded as as being being merely m erely objected, "retroactive repositioning,” repositio ni ng," the t he same sam e as as ififthe t h ephop ho“retroactive togra pher had simply changed ch anged position position before before tographer t he shot. sh ot. Was it it different? The T he magazine m agazi ne taking the this practice. practice. eliminated this

u ses what wh at you yo u have have made m ad e without with o u t asking. as king. How H ow uses yo u protect p rotec t your yo ur rights ri ghts when wh en images images are are easeascan you H ow can can you yo u collect co llect ily accessible electronically? How fo r use u se of of your yo u r work wo rk when wh en images, images, after a fter they they fees for be downloaded downl oad ed or or scanned, scanned , yo u r hands, h a n ds, can be leave your a nd then t h en incorporated inco rpora ted in in aa publication? publication? altered, and Wh en , if ever, is it acceptable acce p tab le for fo r someone som eon e to to take take When, yo ur image and use u se it it without wit h o u t permission permissio n or o r paypayyour ment? me nt? The T h e law is is continually conti n u a lly redefined redefi n ed by by court court copyri gh t infringement infri n ge m en t lawsuit lawsu it Eac h new copyright cases. Each m a kes the t h e line lin e a little li t tl e clearer clearer but b ut there t here are a re still still makes mo re questions q ues tio n s than t h an answers. a n swers. more

One of of these photojourphotoj ournalists is not really there. This photograph of ofall the members of ofthe photo agency VII was originally commissioned for a magazine. By the time it was selected for the camera company’s company's ad, one of of the members had been replaced. The new member, at the far right, was shot in the same New York café cafe in the same position as the man he replaced, then added to the picture digitally.

usually follow follow fairly fairly strict strict Photojournalists usually rules concerning photographic photographic alterations. alterations. that it’s it's acceptable acceptable to to lighten ligh ten Ge n erally, they they agree that Generally, ofan image. im age. However, However,many m anynewsnewsor darken parts of d on 't allow the the use use of of digital digital editing editing to, to, papers don’t distractin g telephone telepho n e pole p ole or, or, worse, wo rse, say, remove a distracting inse rt something som ething new. new. to insert

Advertisers often take considerable considerable leeway leeway h ave come com e to to expect exagexagwith illustrations. We have adve rtising, as as long lo ng as as the t he products prod uc ts geration in advertising, m isrepresented . Few Few people people would wo uld object o bject a re not n ot misrepresented. are al tered photograph, ph otograph, above above right, r igh t, even even when when to the altered t he advertiser adve rtise r doesn’t d oesn ' t mention m entio n aa change. ch an ge. But But the wo u ld the same sam e image image be be acceptable acce p table without witho u t would it ran ran with with aa news news story? story? expla na tion if i f it explanation Photograph s in in fashion fash io n advertising adve rtising are a re often often Photographs d igitally retouched retouched to to make m ake the t he models m odels appear ap pear digitally th at exposure exposure to to these t hese idealidealt hinner. Is it possible that thinner. ized images contributes con tributes to to eating eatin g disorders? diso rders?

Working photographers photog raphers are are concerned concerned about financial finan cial matters, matters , and reasonably reasonab ly so. Wh en your yo ur efforts result res ult in in something so m ethin g you yo u can can When sell, you probably p ro bab ly think t hin k it it is is stealing stealin g ifif someone som eone

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IIMAGE MAGE E DITING EDITING

1865. Altering the the guest guest list list is is not not new. new. This This widely widely Matthew Brady. Sherman and his staff, 1865. distributed photograph of ofWilliam William Tecumseh Sherman and and all all his his generals generals (above (above left), lefr), taken taken just after General Francis Francis P. P. Blair Blair at at the the far far right. right. Blair, Blair, however, however, just afrer the Civil War ended, includes General missed the sitting, so Brady photographed photographed him separately separately later, pasted pasted aa cutout cutout into into aa print print of ofthe the group (above right), and rephotographed the composite to to make make aa new new negative. negative.

Digital editing editing raises raises ethical ethical questions questions in in the the to scan scan aa photograph pho tograph fine arts as well. It is easy to from fro m a magazine magazin e or o r download download one o ne from fro m the the Internet and to to incorporate incorporate all all or or part part of ofitit in in your yo ur own work. wo rk. Perhaps Perhaps you yo u intend intend to to criticize criticize or or comcomment on consumerism by by “quoting” "quoting" recognizable recognizable pieces of advertising advertising in in aa montage. montage. Artists’ Artists' approappropieces of of copyrighted material—incorporating material-incorporating priation of an image as aa form fo rm of ofcritique—has critique-has been been aa widely widely to pic and and continues continues to to be be the t he subject subject of of debated topic legal battles. battles.

/r«,.f.t., "? H.:.i Automate> Photomerge) or or to to to Photoshop (File>Automate>Photomerge) of several aftermarket programs programs or or plug-ins plug-ins one of (see the photo ph oto on page page 80). This way way of ofcombining combini n g need only only provide provide aa set set pictures is so effective, you need of adjoining frames and then then decide decide how h ow to to crop crop of edges of ofthe the result. result. the usually-irregular edges con1pact digital cameras can1eras have have aa panorapanoraSome compact help you make make the the needed needed overlapoverlapma mode to help the first first exposure, exposure, the the camera’s camera's ping images. After the thin slice from from the the right right edge edge monitor displays a thin

of of that picture on its its left left edge edge (or (or vice vice versa), versa), makmaking it easy to align objects and and to to create create overlap overlap for for stitchi ng software to to work effectively. effectively. Some Some camcamstitching eras use a “sweep” "sweep" mode mode to to capture capture aa panoramic panoramic ph oto from the the arc of of a moving moving camera. camera. photo

The way inkjet printers printers work work has has also also contributed to the popularity popularity of of wide picPaper is transported transported along along aa straight straight path path tures. Paper through the printer printer and and receives receives aa line line at at aa time tin1e of of ink dots deposited by by a print print head head moving moving back back path. The width width of of that that line lin e and forth across the path. of of dots limits one dimension dimension of of the the image, image, and and the design of of the the printer. printer. To To make make aa it is fixed by the using aa different different (and (and usually usually wider print means using printer. more expensive) printer. of your image image can can be be as as long long as as But the length of the printer p ri nter driver driver will will allow. allow. Some Some the paper and the print continuously continuously on on roll ro ll desktop printers will print banner mode). mode). The T he one one paper (sometimes called banner sh own on page 116 116 will print print 13 13 inches inches wide wide and and shown as much as 44 inches long. Many Many photographers, photographers, available printer printer and and looking looking for for with only one available im pact that that comes from from larger larger prints, prints, the visual impact make panoramas. panoramas. ch oose to make choose

C HAPTER 6 CHAPTER

119 119

Presenting Your Work FFRAMING RAMING print for the wall sets sets itit apart apart FF raming a print

as a special object. Whether you’ve you've made made it it for for

a family member’s member's birthday birthday or or aa gallery gallery exhibit, exhibit, matting (sometimes called called mounting) mounting) and and framframthat this this photograph photograph is is to to be be viewed viewed as as ing asserts that a piece of of art. Although your uses uses may may not not require require made aa print print you you are are proud proud of, of, it, once you have made you may want to to consider processes processes and and materials materials that are are attractive and and also also archiarchifor presentation that used or or done done for for the the sake sake val,, a term for anything used val of long-term preservation. of

Matting and framing have to have several several goals— goals-to call attention to your photographs, p hotographs, to to create create an an elegant environment, to to isolate isolate them them from from disdisto protect protect them. them. There There tracting elements, and to are almost as many many display display options options as as there there are are few generalities generalities do do apply. apply. photographs, but aa few framing is is aa specialty specialty and and many many Keep in mind that framing leave it it to to aa professional, professional, but—on but- on aa photographers leave scale- you can do it it all all yourself. yourself. modest scale—you

Also available are reflection-control reflection-control glass glass and and UV-absorbing acrylic, both with and without UV-absorbing coatings. Standard non-glare non-glare glass glass should should not not be be fine-arr glazing because because it it can can produce produce used for fine-art distortio n . optical distortion.

commonly wood or or metal. metal. IfIfyou you Frames are commonly use wood frames, make make sure su re there there is is aa vapor vapor barribarrier (usually aluminum or plastic plastic tape) tape) between between the the mat package and the the wood. Wood Wood is is acidic; acidic; direct direct wi ll shorten the t he life life of of anything anything made made of of contact will paper. Avoid pressure-sensitive tapes tapes unless unless you you know them to be acid-free.

Frame moldings come in in aa wide wide variety variety of cross-sections, finishes, and and colors. colors . of Aluminum come in in standard standard Alum inum section frames come 16 × X 20-inch 20-inch frame frame you you need need aa length pairs; for a 16 of 16-inch 16-inch pieces, pieces, aa pair pair of of20-inch pieces,and and pair of 20-inch pieces, 16 × X 20-inch sheet of of glass glass or or acrylic. acryl ic. Hardware Hardware a 16 to connect the pieces pieces comes comes with with the the frame frame pairs; pairs; you can easily assemble it it all all with with aa screwdriver. screwdriver.

Mat your photograph before before itit is is framed. framed. A mat is a sheet or sheets of of specially-made specially-made stiff stiff A thin t h in sheet might might be be the the thickt h ickpaper board. A ness of of three or four playing playing cards, cards, heavy heavy mat mat is 11/s-inch matboard (called 8-ply) is ⁄8-inch thick. Most matwith the the print print held held in in ted prints are a sandwich with place between a backing backing sheet sheet and and an an overmat overmat 126). Matting separates separates the t h e print print from from (see page 126). the glazing.

are usually usually glazed, glazed, covcovFramed photographs are of clear clear glass glass or or plastic. plastic. Small Small ered with a sheet of works can be glazed with plain plain glass, glass, but but clear clear less likely likely to to break break and and damdamplastic is lighter and less if mishandled. m ishandled. A Aframed framed photograph photograph age the work if unglazed, but but glazing glazing protects protects can be displayed unglazed, physical damage and and also also from from harmful harmful it from physical ultraviolet u ltraviolet (UV) rays rays that that accelerate accelerate fading. fad ing. Dayligh t and fluorescent fluorescent light ligh t contain contain aa high high Daylight of damaging UV. UV. Plain Plain glass glass absorbs absorbs percentage of half of of it, while plain plain acrylic acrylic absorbs absorbs about about about half can extend extend that; ch ar; conservaconservatwo-thirds. Coatings can 97% of of UV, UV, while while UV-filtering UV-filtering tio n glass absorbs 97% tion 99%. acrylic absorbs 99%.

120 1 20

P RINTING A ND D ISPLAY PRINTING AND DISPLAY

New presentation methods methods appear appearas as technoltechnolLigh tweight rigid plastic plastic and and honeyhoneyogy changes. Lightweight combed aluminum sheets have have been been developed developed to to flat. Special Special opticallyopticallyhold large prints extremely flat. adhere aa print print to to the the back back of of clear laminations can adhere no bubbles bubbles or or flaws, flaws, bonding bonding an acrylic sheet with no rwo so the face of ofthe the acrylic sheet sheet becomes becomes the the the two of the photograph. There There are are no no rules; rules; just just surface of make sure, whatever presentation presentation you you choose, choose, that that chink it’s it's the the best best choice. choice. you think

Frames are available in precut kits ififyou you want to do your your own framing. framing. Professional preparation may make a more polished presentation but will certainly cost more. Modular, Modular, or section, frames are available in a wide variety of of cross-sections, finishes, and colors. Each comes with two height and two width segments and four corner connecters. They can be disassembled, stored, and reused, and those in solid colors may be refinished easily with a can of ofspray paint. The back of of a connected corner is shown above. above.You’ll You’ll You 'll need a screwdriver, the glass or acrylic, and a backing backing board. board. The curved pieces shown below are spring clips that press the backing and mat against the glazing from the back. back.

MATTING PRINT M ATTING A P RINT There are several ways to to mat mat aa print. print.

Overmatting (pages 126–127) 126- 127) provides provides aa raised raised protect the the surface surface of ofthe the print. print. border that helps protect If you frame a print, print, the the overmat overmat will will keep keep the the If print surface from touching touching and and possibly possibly sticking sticking Direct contact contact with with glass glass can can evenevenro the glazing. Direct to tually damage a print’s print's surface. surface.

print held held in in place place with with corcorAn overmatted print best presentation presentation choice choice ners is most often your best print can can be be safely safely removed removed at at any any the print because the If a mat becomes soiled soi led or or damaged, damaged, itit can can time. If be replaced. often overmat overmat and and frame frame aa rep laced. Museums M useurns often for one one exhibition exhibition then, then, later, later, mat mat print one way for way for for another another show. show. and frame it a different way An overmat allows for for the the normal norn1al expansion expansion and and of paper paper with changing changing temperature temperature contraction of and humidity. way to to mount mount Dry mounting is aa common way traditional photographic photographic materials materials because it

print very flat flat and prevents prevents curling curling from from holds a print hum idity. A A sheet sheet of ofdry-mount dry-mount tissue tissue changes in humidity. bonds the print firmly firm ly to to aa piece piece of of mount mount board board of board, board, tissue, tissue, and and print print isis when the sandwich of press. heated in a mounting press. prints look look very very presentable presentable Dry-mounted prints n1ounted to to the th e front front of ofaa mat, n1at, with with no no overover• when mounted wit hout the the airspace airspace an an overmat overmat propro• mar. But without mat. vides, they should be be in in aa shadow-box shadow-box style style frame, frame, frame separates the the glazing glazing from from the the in which the frame of pressing pressing them them together. together. backing, instead of ou tput are are often often overmatovermat· Prints from digital output damage dye-sublimation dye-sublimation ted. Heat mounting will damage prints. High High temperatures temperatures will will not not or thermal-wax prints. an inkjet inkjet print, print, but but the the heat heat physically damage an the display life life of ofits its colors. colors. may shorten the You have quality quality choices choices in in the the materials materials you you mounting stock stock (also (also called called museum museum use. Archival mounting board)) is the most most expensive. expensive. It It is is made made of of rag rag board

West John John Gossage. Stallschreiberstrasse, West Berlin, 1989. 1989. The Berlin Wall Wall was a glarof post-World War War II political political ing symbol of tension. It divided Germany’s city with with Germany's major major city a concrete-and-razor-wire barrier barrier between between the "free world” world" west and the communist communist east. “free Gossage’s Gossage's photographs, made between 1982 1982

and the Wall’s Wall's demolition in 1989, 1989, are purposefully dark dork and foreboding. foreboding. His large prints are so dark that covering covering them with with ordinary glass all but turns them into mirrors. For For aa New York gallery exhibition, Gossage Gossage framed framed the them using nonreflective museum glassglass—the only way the images could readily be seen.

of wood wood pulp. pulp. Free Free of of the the instead of (cotton) fiber, instead time can cause cause paper paper to to deteriorate, deteriorate, acids that in time museums, collectors, collectors, and and othoth· it is preferred by museums, ers concerned with long-term long-tern1 preservation. preseivation. Most Most be mounted moun ted on on less less expensive expensive prints, however, can be board available available in in but good-quality conservation board supply stores. If If you you want want aa print print to to last last most art supply contact with with years, avoid avoid long-term long•term contact for even a few years, brown paper, paper, ordinary ordinary cardcardmaterials such as brown ch eap papers, papers, and and glassine. glassine. Don’t Don't use use board, most cheap tape, rubber rubber cement, cement, animal animal glues, glues, brown paper tape, ad hesives, or (unless (unless marked marked as as archival) archival) any any spray adhesives, of pressure-sensitive tape, cape, such such as as masking masking kind of tape. tape or cellophane tape. C HAPTER 6 CHAPTER

121

Mounting a Print E QUIPMENT A ND M ATERIALS Y OU’LL N EED EQUIPMENT AND MATERIALS YOU'LL NEED

..

MOUNTING MOUNTING EQUIPMENT

.,. _

s harp Utility knife with sharp blade trims the mounting stock and and other materials to size. size. A paper cutter can can be be used for lightweight materials, but make make sure the t h e blade is is aligned squarely and and smoothly. cuts smoothly.

.,,,,,,.,,,,,,.,,,,,,

ｾ＠

Mat cutter holds h olds a knife kni fe blade that can can be be rotated to cut either aa perpendicular edge edge or a beveled (angled) (angled) one. one. to use It can be easier to use than an ordinary knife, especially for cutting cutting windows in in overmats. overmats.

If you yo u expect to to do If do aa of matting, consider lot of a larger mat cutting cutting incorposystem that incorporates a straightedge straightedge h e one and cutter, like tthe one above. The mat cutters cutters used in frame shops shops uite expensive, can be qquite but there are smaller,

122

expensive versions less expensive versions h ome studio. for the home studio. Metal ruler measures the print and board and and ac ts as a guide he acts guide for for tthe mar cu tter. A knife or mat cutter. wooden or plastic ru ruler ler n or as good is not good because because the knife can can cut into into it. it. Miscellaneous: pencil, soft eraser. Optional: Optional: fine fine sandpaper or an an emery board for smoothi ng smoothing inside edges edges of overmat window, T-square T-square to make it easier to to get sq square corners. u are corners. er For archival archival or oth other purposes where ex extra tra care is required, cotton cotton gloves protect mat or or andli ng. print during hhandling.

nor overly texrexthe front of the the mountmountmatte, not to keep cured surface is neutral ing board to keep the the tured neutral unobtrusive. print in a fixed fixed position position and unobtrusive. until it is put in in the the u can Size. eets of mar Size. Full sh sheets mat press. Again, yo you can board are usually 32 32 x× use a household iron, iron, racking iron but the tacking iron 40 inches. Boards are are le precut works better. better. also availab available precut stand ard sizes in in standard in art supply stores oorr online. online. them A store can cut them MOUNTING MOUNTING ften for you, but it is ooften MATERIALS less expensive to buy aa fu ll sheet of board full board and and cut it down down yourself yourself.

Quality. See information Quality. information 121 about on page 121 oices in quality ch choices in materials. mounting materials. ty is Archival quali quality is best n ecessity fo but not a necessity forr most prints.

A cover sheet protects t h e print or mount the urface damfrom ssurface damlightweight age. Use a lightweight piece of of paper as as aa cover sheet between between p rint in each print in aa stack stack of mounted prints to to prepreion if vent surface abras abrasion o n e print slides one slides across across durin g storanother during storh eavy piece age. Use a heavy piece of paper or piece piece of of mount board as as aa cover ove r the surface sheet over surface of the print wh en in of when in the mounting press. press. Release paper can be fo r example, useful, for t h e cover between the sh eet and a print in sheet in aa dry-mounting press. press. It wi ll not bond bo nd to to hot will d ry-mou n t tissue tissue in dry-mount in tissue procase a bit of tissue protrudes beyond the the edge edge of the print. print. of

Mount board (also (also called mat board) board) is available available rs, in numerous colo colors, is a thin th in thicknesses, and surface surface Dry-mount tissue is finishes. finishes. sheet of coated of paper coated on both sides with with aa m ost frequent h esive that Color. The most frequent waxy ad adhesive eu tral en choice is a nneutral becomes sticky wh when Placed between white because heated. Placed between he it does not distract the print and and tthe h eats and h e tissue Mounting press heats attention away from from mount board, tthe tissue the print. bonds the print firmly firmly pressure to p rint. However, However, applies pressure to the the p hotograph ers board. pri nt, dry-mount tissue, print, some photographers to the board. m o unting board p refer an Som e are removable, and mounting board prefer an off-white, Some an th e print to mount. wh ich lets you hin ges a print or an to bond the to gray, oorr black mount. which you readjust Tape hinges the board. You You can can use use the position of a print; print; overmat to a backing backing rdi nary hhousehold ouseh o ld Thickness. The thickness thickness an oordinary Thickness. others make a permapermaboard. Gummed Gummed linen linen weig h t of the board iron to mount prints prints or weight board nent bond. tape and other archiarchiCold-m ount tissues if no press is available, ly: 2-ply lab le if is stated as its pply: 2-ply Cold-mount tissues val tapes are avai available t h e press does req uire a hheated eated from specialry o ps (single weight) board board is is do not require but the does aa from specialty sh shops much better job. job. lightweight and and good good mounting press. Some press. Some o nli ne retai lers. and online retailers. ts; more adh ere on co n tac t; oth uld for smaller prin prints; more adhere contact; oth-Archival tape sho should ere until expensive, 4-ply (double (double ers do not adh adhere until always be used for for board is better weight) board pressure is applied, so so hinge mounting aa prints. if necessary, they for larger prints. that, if print. Ideally, use use linen linen repositioned. h inge an Tacking iron bonds a can be repositioned. tape to hinge an overoverth e dryfinish. Finishes Mo untin g this this way is m at to a backing board, small area of the Surface finish. Finishes Mounting is mat used for prints range from from glossy to to usually used for prints mount tissue to to thethebut less expensive tape tape don't lie flat. highly that don’t flat. is also usable. hi ghly textured. textured. A usable. back of the print and and

P RINTING A ND D ISPLAY PRINTING AND DISPLAY

Jo Whaley. Cerambycidae, Selected Jo Selected Writings, Writings, 2003. What What should should you answer is—anything is- anythingyou like. Photographs Photographs can can you photograph? The answer you like. don't limit your to landscapes, landscapes, be made rather than found, so don’t your pictures to portraits, or other existing existing subject subject matter. Here, Here, aa dried dried bug bug isis comcombined with a book by Helen Keller Keller found found at the the local local shooting shooting range. range. C HAPTER 6 CHAPTER

123

Dry Mounting a Print Step by Step mounti ng provides provides a good-looking, stable stable support support for for aa print. print. Dry mounting mount with with aa wide wide border border around around the the print. print. Bleed Bleed Shown here is a mount mounting, is is shown shown on on page page 126. 126. The The mounting mounting mounting, a borderless mounting, print, and and the the inner inner surfaces surfaces of ofthe the press press should should be be clean; clean; materials, the print, of dirt dirt can can create create aa bump bump or or dent dent when when the the print print isis even a small particle of in the the press. press. put under pressure in hand ling the the print print will will keep keep smudges smudges Wearing cotton gloves when handling and fingerprints off off the the surface. surface. When When cutting, cutting, use use aa piece piece of ofcardboard cardboard protect the the work work surface. surface. Several Several light light cuts cuts often often work work underneath to protect cut, especially especially with with thick thick mounting mounting board. board. The Theblade blade better than just one cut, must be sharp, so be be careful careful of ofyour your fingers. fingers.

Mounting board board Dry-mount tissue Print

124 124

P RINTING A ND D ISPLAY PRINTING AND DISPLAY

11

Cut the mounting board board to to size size using using the the knife knife or or mat mat cutter cutter and and the the metal ruler as a guide. Press Press firmly firm ly on on the the ruler ruler to to keep keep itit from from slipping. slipping. A T-square can help AT-square help you get get corners corners square. square. Standardizing the ofyour your mount mount boards boards makes makes aastack stack of ofmountmountthe size of neater to to handle, handle, and and makes makes itit easier easier to to switch switch prints prints ed prints somewhat neater in a frame. Often 88½ mounted on on 11 11 ×x 14-inch 14-inch or or ½ ×x 11-inch prints are mounted 14 × x 17-inch boards. Generally, the the board board isis positioned positioned vertically verticallyfor foraavertiverti14 for aa horizontal horizontal print. print. Some Some photographers photographerslike likethe the cal print, horizontally for onsides sidesand and all around; others others prefer prefer the the same same size sizeborder borderon same size border all larger border border on on the the bottom. bottom. top, with a slightly larger

22

the materials. materials. If If you you are are mounting mounting aa darkroomdarkroomHeat the press and dry the print, heat heat the the dry-mount dry-mount press press to to 180°–210°F 180 °2l0 ° F (82°– (82°made fiber-base print, 180° –210°F (82° – 99 0C) or to to the the temperature temperature recommended recommended by bythe the dry-mount dty-mounttissue tissuemanumanu99°C) facturer. Put the board, board, with with aa protective protective cover cover sheet sheer on on top, top, in in the the heated heated co drive drive out out any any moisture. moisture. Repeat Repeat with with the the print. print. The The press for a minute to heating will also take out of ofthe the print, print,making making itit easier easierto to handle. handle. take any any curl curl out (RC) darkroom darkroom paper paper or or inkjet inkjet prints prints on on any anymatemateFor a resin-coated (RC) dry-mount tissue. tissue. The The press press must must be be no no hotter hotter rial, use low-temperature dry-mount than 210°F 210 ° F (99°C) or an RC RC print print may may melt. melt. Temperature Temperature control controlisisinacinacpresses, so so aa setting setting of of200 °F (93°C) (93°C) isis safer. safer. There Thereisis no no curate on many presses, 200°F preheat an RC RC print, print, just the the board board and and cover cover sheet. sheet. need to preheat

33

tissue to to the t he print. print. Heat Heat the the tacking tackingiron iron (be (besure sure Tack the dry-mounting tissue to use a low setting for for low-temperature low-temperature tissue). tissue). Put Put the the print print face face down down sn1ooth surface, surface, such such as as another another piece piece of of mounting mounting board. board. on a clean smooth of the the print print with with aa piece piece of of dry-mount dry-mount tissue. tissue. Tack Tack the the Cover the back of tissue to the the print by by pressing pressing down down the the hot hot iron iron and and sliding sliding ititsmoothly smoothly of the the tissue tissue about about an an inch inch toward toward one one side. side. Do Do not nortack tack from the center of Do not wrinkle the the tissue tissue or or itit will will show showas as aacrease crease on on the the at the corners. Do of the the mounted mounted print. print. front of

4 4

Trim the print and dry-mount tissue. tissue. Turn Turn the the print printand and dry-mount dry-mounttissue tissue the knife or or mat mat cutter cutter to to trim trim off off the the white white print print borders, borders, face up. Use the underneath them. them. Cut Cur straight straight down down on on top top of ofaa along with the tissue underneath of scrap cardboard so so that that the the edges edges of ofthe the print print and and tissue tissue are areeven. even. piece of the ruler ruler when when making making the the cut, cut, and and watch watch your your fingers. fingers. Press firmly on the

55

mount board. board. First, First, position position the the print print so so that that Position the print on the mount t he side margins of of the the board board are are equal. equal. Then Then adjust adjust the the print print top top to to the are even. even. retneasure the the side side margins n1argins to to make make sure sure they they are bottom. Finally, remeasure two times, rin1es, from from each each corner corner of ofthe the print print to to the theedge edgeof of Measure each side two the board. If the print is is slightly slightly tilted, tilted, itit will will be be noticeable noticeable at atthe the corners corners even though the print print measures measures evenly evenly at at the the middle. middle. To keep the print from slipping slippi ng out out of of place, place, hold hold the the print print down down gently with one hand hand or put put aa piece piece of of paper paper on on the the print print and and aa weight weight of that. on top of

66

to the the board. board. Slightly Sligh tlyraise raise one onecorcorTack the dry-mount tissue and print print to of the print and tack tack that that corner corner of ofthe the tissue tiss ueto to the the board board by bymaking making ner of the corner cornerwith with the the hot hot tacking tackingiron. iron. Keep Keepthe thetissue tissue a short stroke toward the flat against the board to to prevent prevent wrinkles, wrinkles, and and be be careful careful not norto to move n1ovethe the print out of of place on the the board. board. Repeat Repeat at at the the diagonally diagonallyopposite oppositecorner. corner.

77

Put the the sandwich of of board, board, tissue, tissue, and and print print in in the the Mount the print. Put the protective protective cover cover sheet sheet on on top. top. IfIfyou you have have release release heated press with the the print print and and the the cover cover sheet. sheet. Clamp Clamp the the press pressshut shut paper, put it between the until the the print print is is bonded bonded firmly firmly to to the the board. board. You You can can for about 30 sec. or until fl exing the the board board slightly sl igh tly after after itit has has cooled. cooled. test the bond by flexing temperature in in the the press press affect affect the the bonding. bonding. IfIf the the Both time and temperature first try try more more time time in in the the press. press. IfIfthe the print printstill stilldoes does print does not bond, first the press press temperature temperarure slightly. slightly. not bond, increase the

CHAPTER 6

125

Bleed Mounting/Overmatting A bleed-mounted bleed-mounte d print print is is even even with with the the edges edges of ofthe the mount. mount. Mounting board Dry-mount tissue

11

mount board. board . Cut Cut the the mount mount board, board,dry drythe thematematet he print and mount Prepare the rials, and tack rack the the mounting mounting tissue tissue to to the the print print (steps (steps 1,1,2, 2, and and33on on page page can be be the the same same size size or or slightly slightly larger largerthan than the the 124). In step 1, 1, the the board can 124). print. Trim off off any excess dry-mount dry-n1ount tissue tissue so so that that the the edges edges of ofthe the tissue tissue the edges edges of of the the print. print. Then Then tack tack the the dry-mount dry-mount tissue tissue and and are even with the board, and heat heat in in the the press press (steps (steps 66 and and 7, 7, page page 125). 125). print to the board,

22

Trim the mounted print. print. Place Place the the mounted mounted print printface face up upand andtrim trimoff offthe the with the the mount n1ounr board board underneath, underneath,using using the the white print borders, along with AT-square can help help you you get get the the corners corners square. square. Hold Holdthe the ruler as a guide. A T-square can knife blade vertically so that that itit makes makes an an edge edge perpendicular perpendicularto tothe thesurface surface of the print. Press firmly firmly on on the the ruler, ruler, and and watch watch your your fingers. fingers. of of aa bleed-mounted bleed-mounted print print come come right right up up to to the the Because the edges of of the mount mount board, board, be be careful careful when when handling handling the the mounted mounted print print edges of don' t accidentally chip chip or or otherwise otherwise damage damage the the edges. edges. so you don’t

Print

Overmat

has aa raised raised border border around around the the print. print. It It consists consists An overmatted print has of an overmat overmar (a piece piece of of mount mount board board with with aa hole hole cut cur in in it) it) placed placed over over of to another another piece piece of of mount mount board board (the (the backing backing a print that is attached to helps protect protect the the print print and and can can be be easily easily replaced replaced ifif board). The overmat helps After overmatting, overmatting, the the print printcan canbe beframed framed it becomes soiled or damaged. After is. or displayed as is. Overmatting is is the the preferred preferred means means of of mounting mounting aa print print ififyou you are are preservation or or ifif aa print print will will be be framed framed behind behind interested in archival preservation pressed directly directly against against glass glass can can in in time time stick stick perperglass. A photograph pressed the glass. manently to the

Window

Tape hinge

Photo corner

Backing board

11

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P RINTING A ND D ISPLAY PRINTING AND DISPLAY

w indow on the the mount mount board. board. Cut Cut two two pieces pieces of ofmount mountboard. board. Mark the window For easier shopping, framing, framing, and and storage, storage, stick stick to to standard standard graphic graphic arts arts 14, 14 14 ×x 17, 17, 16 16 ×x 20. 20. Subtract Subtract the the width width of ofyour your print print from from the the sizes: 11 ×x 14, of the board. For For aa 77 ×x 9-inch 9-inch vertical vertical window window in in an an 11 11 ×x 14-inch 14-inch width of board, the board is is 4 inches inches wider wider than than the the print. print. Divide Divide that that by by two two to to of the the border border on on each each side: side: two two inches. inches. Do Do the the same same for for find the width of to find the the top top and and bottom bottom border. border. Most Most artists artists prefer preferaa print print the height to higher than than center, center, so so subtract subtract 1¼⁄4 inch from the top top mounted slightly higher it to to the the bottom bottom one. one. border and add it of the the board board lightly lightly in in pencil pencil for for the the window window cut. cut. Be Be Mark the back of sure the window aligns T-square, ifif aligns squarely squarely to to the the edges edges of ofthe the board. board. AAT-square, help. you have one, will help.

22

Don't even even attempt acre1npc to to cut cur aa window window freehand freehand with with aa Cut the window. Don’t mat knife. A A mat cutter such such as as the the one one shown shown here here and and on on page page122 122isisan an to make make your matting matting job job look look professional. professional. Make Make sure sure inexpensive way to depth so so itit penetrates penetrates the the mat mac only onlyenough enough to adjust the blade angle and depth Use aa sharp sharp blade. blade. Push Push the the blade blade tip tip through through to go through the board. Use mar at one corner and slide slide aa metal n1etal ruler ruler against against the the cutter’s cutter's edge. edge. the mat firmly, parallel parallel to to your your edge edge mark, mark, and and push push the the cutter cutter Hold the ruler firmly, against it and away from you until until it it reaches reaches the the next next corner. corner. to the the corner, corner, not nor past past it. it. If Ifthe the cut cut edges edges are are aa bit bit Cut each side just to them with with very very fine fine sandpaper sandpaperor or an an emery emeryboard. board. rough, you can smooth them usually looks looks more more elegant elegant than than aa vertical vertical cut. cut. A beveled edge usually

3

together by by running running aa strip strip of oftape tape along along aa back back Hinge the two boards together edge of of the overmat and a front front edge edge of ofthe the backing backing board board (see (see illustraillustrapage, second from from bottom). bottom). You You may may not not need need to to hinge hinge tion on opposite page, the boards together if if you intend intend to to frame frame the the print. print.

Slip the the print print between between the the backing backing board board Position and attach the print. Slip the print print with with the the window. window. The The print print can can be be drydryand the overmat. Align the board or or attached attached with with photo photo corners corners or orhinges hinges mounted to the backing board (see below).

4 4

the ones used used to to mount mount pictures pictures in in photo photoalbums, albums,are are Photo corners, like the an easy way to attach a print print to to aa backing backing board. board. The The print print can can be be taken taken of the corners and off off the the mount n1ount at at any any time. time. The The corners corners are are hidden hidden out of by the overmat. overmac. You can can buy buy corners corners or or make make your your own own from from archival archival or or acid-free paper (right) and and attach attach them them to to the the board board with with aa piece piece of oftape. tape.

Fold

or ... or…

Hing es hold the the print print in in place place with with strips strips of oftape tape attached attached to to the the upper upper Hinges of the the print print and to co the the backing backing board. board. back edge of A folded hinge (at right, right, left left side) side) is is hidden hidden when when the the print printisis in in place. place. of tape tape to co reinforce reinforce the the part pare of ofthe the hinge hinge that chat attaches attaches to to the the Use a piece of mounting board. A pendant hinge (at (at right, right, right right side) side) is is hidden hidden by by the the overmat. overmac.

Print

Folded hinge

,_J Pendant hinge

Backing board

C HAPTER 6 CHAPTER

127

S T A N STREMB1cK1 STREMBICKI STAN from the series Memory Loss, Untitled, from Untitled, 9th Ward Photo Album, Album, 2005. 2005. aa 9th Ward Photo

I Image Storage ................. 130 . . . . . . . . . . . . . . . 130 .

Using Usmg Metadata Metadata .· .· .· .· .· .· .· .· .· .· .•.•.• .•131 131

Software for Organizing ....... . . . . . 132 132 Prints.. .... 133 133 Archiving Images and Prints. Prints

• • Organizing and Storing Or anizin Storin

ln this chapter you’ll you'll learn… learn ... In •• to have a strategy for naming naming and labeling labeling your images that wi ll help help you find the ones ones you you need— needchat will now, among your most recent captures, captures, and and years have thousands. from now when you have from • dup licating and and backing backing up up your your • to make a plan for duplicating files so you never risk losing losing any, and to to familiarize familiarize yourself yourself with hardware hardware and software to to help help you you plan. execute that plan. •• to choose the materials and conditions that chat are are best best and damage. damage. for keeping your prints to avoid fading and

2006.. Our Our Stan Strembicki. Untitled, 2006 own saved memories are fugitive, as we

are reminded by these flood-damaged photos (at right and opposite) left in the wake of ofao disaster. A non-resident, Strembicki natural disaster. had been photographing New Orleans several times a year year for over twenty twenry years before before HurHurricane Katrina landed, decimating the the city. In the aftermath, he made monthly trips to record the damage and efforts to rebuild. “As "As an artist, I felt compelled to do something, anything,”" he says. Trying to avoid an excess anything, of pathos, he “looked of "looked for symbols of ofloss, and gravitated toward found photo albums.” albums.,,

7

G G

etting your photos organized is is easier easier than than you you think. think.Pictures Pictures can accumulate accum ulate quickly quickly and and you you can can have have thousands thousands of ofthem th em before before the computer computer is is aa great great oganizing oganizing tool tool and and itit isis you know it. But the d igital pictures—to pictures- co let let itit help. help. One One of ofthe the best best things t hings easy- when you shoot digital easy—when about abo ut a digital picture picture is is that that each each one one has has aa hidden hidden compartment compartmentto to hold holdall all n1ighr want want to to save save about about the the image. itnage.And Andthis thissaved saved the extra information you might wit h the the file; file; itit can can help help you you find find that that particular particular picture picture information travels with quickly- even if if it it is is stored scored with with tens tens of ofthousands thousands of ofothers. others. quickly—even Traditional photographic materials materials needed needed to to be be stored stored carefully carefully in in order order to last. Photographic prints, prints, no n o matter matter what wh at the the materials materials or or process, process, can can be damaged by time time and a n d careless careless storage. storage. Far Far in in the the future, future, whether whetheryou yo u are are giving a picture album to co your your great-grandchildren great-grandchildren or or selling selling aa portfolio portfolio to co co know know that that your your prints prints will wi ll be be as as perfect perfect as as the the day day a museum, it is good to you made them. them.

Family photo albums were often among among the debris bulldozed into piles in front front of of houses after they had been under water water for weeks. Strembicki was careful not to to enter houses, and took nothing away away but but DSLR. There There the images captured by his DSLR. is a caution for all of of us in this work; our our own photographs, digital or analog, are vulnerable, too. too. After After each day of oflocation shooting, Strembicki takes care not to put his at avoidable risk; he downloads all the the files onto a laptop, duplicates them onto a portable hard drive, and then writes them to a DVD.

129

Image Storage A s soon as you create aa digital digital image, image, you you A

have to think about about storing storing it. it. The amount of of that image files files occupy occupy is is aa considconsidstorage space that are using using aa digital digital camera, camera, eration whenever you are scanning prints or negatives, negatives, editing editing files, files, or or them. archiving them.

Save your files in in their their original original form. form. The The file file catnera or or scanner scanner is is often often as it is captured by your camera ra,v file, fil e, as as opposed opposed to to aa derivative derivative referred to as a raw that has h as been been processed, processed, altered, altered, edited, edited, file- one that file—one way. A A Camera Camera Raw Raw file file (see (see or changed in some way. kind of of raw raw file file that that holds holds page 85) is a specific kind captured by by aa digital digital camera’s camera's all the information captured unprocessed form. form. If If you you sensor, in a completely unprocessed camera to to capture capture images images have instead set your camera and save them as TIFF files files or or JPEGs, those those origiorigiraw files files as as well. well. nal files can be considered raw

Post-processing, or or image image editing, editing, produces produces another step step more files. Saving them becomes another and, unless unless you you use use aa photographotograin your workflow and, pher's workflow program progran1 with with Camera Camera Raw Raw files, files, pher’s Derivative files files they take up more storage space. Derivative from their their original original raw raw ch anged somehow from are changed may consist simply simply of of your your raw raw files fi les state. They may rone adjustments, resized resized with a few color and tone may be complex, complex, layered layered composite composite to print, or may may also save save intermediate interm ediate editing editing images. You may files, in in case case you you steps as additional derivative files, want to return return an image image easily easily to to aa previous previous state. state. Photo Phoro files can be stored on on different different devices. devices. fastest, and most most accessible accessible form form of of The easiest, fastest, storage is to keep keep image image files files on on your you r computer’s computer's internal hard drive. If Ifyou yo u scan scan an an image, image, the the scanscanner sends the the image directly to to the the drive. drive. After After you yo u use a digital camera, you must must transfer transfer your your phophocard to to the the hard hard drive drive before before tos from the memory card editing them. Memory cards cards are are not not intended intended for for srorage. You will will probably probably want want to to erase erase long-term storage. (or reformat) refonnat) a card for for reuse reuse anyway, anyway, so so itit isis best best fil es onto aa hard hard drive drive (and (and to download your files back them up) up) promptly. Your computer’s con1puter's internal hard hard drive drive may may run run out of of room, especially especially if if you keep keep making making and and storing photographs. p hotographs. A A 1TB 1TB drive drive can can hold hold about about

130

O RGANIZING A N D SSTORING TORING ORGANIZING AND

18MP camera, camera, but but that that 50,000 raw files from an 18MP considerably reduced ififthe the drive drive isis also also number is considerably con siderably reduced used to hold the the computer’s computer's operating operating system, system, other data. data. External External applications, and all your other hard drives are available that that can can be be plugged plugged in in to to a ny computer to to add to to its its storage storage capacity. capacity. You You any for picture picture files. files. Some Some drives, drives, can add one just for and better better protected protected called portable, are smaller and agai nst being bumped and jostled jostled than than aa fullfullagainst Pocket drives drives are a re even even smaller, smaller, sized external drive. Pocket and- like most most portable portable drives—draw drives- draw very light, and—like the computer computer rather rather their power directly from the t han needing a separate voltage adapter adapter (called (called aa than power brick). brick). Even Even though though they they are are well well protected protected agai nst the stresses of of being being carried, carried, no no hard hard drive drive against should be dropped.

lost instantly. instantly. Hard Hard drives drives Digital files can be lost to stray dust, dust, spikes spikes of of electricity, electricity, are susceptible to a nd magnetic fields, in in addition to to theft theft or or physiphysiand External media, media, including including optical optical cal damage. External magnetic tapes, tapes, are are sensitive sensitive to to storage storage disks and magnetic becon1e corrupted corrupted (unread(unreadconditions and can become individual files. files. Losing Losing files files able) over time, as can individual you can can accidentally accide ntally yo ur own doing; you can also be your delete a file fi le or write over one one unintentionally unintentionally by by savin g something else with the the same sam e name. na1ne. saving Fortunately, with digital photographs photographs you you Keeping aa set set of ofidentiidentican have several originals. Keeping of each picture picture file file is is essential essential to to protect protect cal copies of you yo u against loss. You will will want want to to have have aa backup backup strategy that you can both both follow fo llow and a nd afford afford (see (see 133). more on page 133). In addition additio n to to having copies of of everything, everything, to make make sure sure that that you yo u can can find find you will also want to something somethi ng among all the the copies. copies. The T he following following page describes ways to name and a nd label label your yo ur work work to name so you can quickly search for for and a nd find find anything. anythi n g.

External hard drives are easy to add whenever you need more storage.

Portable hard drives (above) (above) and pocket drives (above top) let you you move your files easily to another your computer or download from your camera on location. your location.

Optical disk storage is less likely to be damaged by magnetism, electrical storms, or water. water. Gold DVDs (shown here) are said to have a longer storage life than (BD) other kinds. kinds. Larger capacity Blu-ray (BO) disks can hold up to 3000 15MB 15MB files. files.

Using Metadata C

C omputers are good at at keeping keeping track track of of things, but you have have to to help. help. Before digital there was only only one one original—a original- a neganegaphotography, there photographers had had to to devise devise aa tive or slide. Most photographers system, not only to to store and and find find aa piece piece of offilm, fi lm, keep track rrack of of any any information information relating relating but also to keep image consists of ofdata; data; information information to it. A digital image it- data about data—is data- is called called metadata metadata.. about it—data metadata. in several several forms. forms . You You are are Metadata comes in using simple metadata metadata that t h at probably already using of a file, file, its its size, size, and and its its forforincludes the name of fi le called called RailStation.jpg, Rai !Station.jpg, for for mat: a 22MB JPEG file is part part of ofthe rhe file fi le itself, irself, example. This information is if the the file file is is moved moved or or copied, copied, and and so it is not lost if the computer in in any any list list or or direcdirecit is displayed by the of files. A A date is is also also part part of ofthat that kind kind of offile file tory of it is is usually usually the the date date the t he file file metadata, although it was added to the computer.

capture information. information. Digital cameras save capture fi le format that that your camera camera can can use use has has Each file from the the image i1nage an internal data block, separate from to store the the capture capture informainformapixels, for the camera to frame. Cameras Cameras can can save save the the aperture aperture tion for each frame. time and and date, date, ISO ISO setting, setting, and shutter speed, time metering mode, mode, camera camera brand, brand, lens focal length, metering

number, and and even even aa GPS G PS location location model, and serial number, exposu re. This camera-related camera-related metadata metadataisis for each exposure. form called called Exif E.xif(Exchangeable kept in a standard form (Exchangeable fi le format), and each each different d ifferent category category image file called aa tag tag or or field field.. (like shutter speed) is called

Metadata can be be added later. later. AA file’s file's IPTC IPTC (International Press Telecommunications Press Telecomm u nications Cou ncil) fields are intended to to hold hold metadata metadata Council) and the the picture’s picture's subject, subject, about the photographer and use. Image Image editors, editors, browsers, browsers, and and ownersh ip, and use. ownership, 132) let let you you view view the the cataloging applications (page ((page page 132) these fields, fields, add add to to it, it, or or change change it. it. information in these you r files in in their their original original Camera Camera Raw Raw If you keep your th ese applications will will save save IPTC IPTC data data in in format, these sidecar file fi le that that has has the the same same name name and and a separate sidecar and DNG ONG files files a .xmp file extension. TIFF, JPEG, and within the the file file itself. itself IPTC IPTC data data h old IPTC data within can hold Contact panel, panel, for for is saved in several panels panels.. The Contact for the the name name and and contact contactinforinforexample, has fields for of the the file’s file's creator: you, you, the the photographer. p hotographer. mation of field can be be added added to to aa group group Metadata in any field of images at once. You Yo u may may want, want, as as you you download download of your shoot from a memory memory card, card, to to tag tag each each phophoaddress and and copyright, copyright, or or tograph with your email address na1ne of of a location, client, client, or or assignment. assignn1enr. the name

Metadata stays with the the image. image. Except Except for for files that t hat need need aa sidecar, sidecar, ififyou you make make Camera Raw files of your your file, file, all all a copy or a derivative version of metadata is automatically automatically transferred transferred to to the the new new file. This can be useful. For For example, example, ifif you you post post of your photographs p hotographs on on aa Web Web site site or or send send one of it to a stock agency, your copyright copyright and and contact contact information inforn1ation stays with wit h it; it; anyone anyone who who downloads downloads fair warning warn ing that that the t he image image can’t can't be be it also receives fair reused without permission pern1ission and and has has aa way way to to reach reach you to negotiate for for permission pern1ission to to use use it. it.

Keywords and ratings are are metadata. metadata. Files Files can can

Alex Webb. W ebb. Port-au-Prince, Haiti, 1979. 1979. Webb is a Photographs have many uses. Webb member of of the photo agency Magnum; prospective clients can search magnumphotos.com

by entering keywords to find his photographs

that meet their needs. Keywords for for this this photograph include Afro-Caribbean, Afro-Caribbean, Bunch Bunch of flowers, flowers, Column, itian, Hat, of Column, Door, Door, Ha Haitian, Hat, Port-au-Prince, Red, Man, Port-au-Prince, Red, Shadow, Shadow, Streak Streak of light, and Sunsh ine. Sunshine. of

words that that make make findfindbe tagged with descriptive words ing them easier. In a similar similar way, way, aa rating rating (stars) (stars) or or a label (colors) can be be applied to to aa photograph p hotograph to to distinguish disti nguish it from others oth ers that that are are similar. si1nilar. Once Once you have a few thousand thousand photographs, p h otographs, you you will wi ll be glad you spent the the time time to to add add this this kind kind of of 132 discusses programs programs that that let let metadata. Page 132 you search by keyword and rating. rating. C HAPTER 7 CHAPTER

131 13 1

Software for for Organizing hotogra pher's PP hotographer’s

applications—computer a pplications-computer prog rams-ca n help help with w ith many many of of software programs—can your tasks. Image editing is the the centerpiece centerpiece of of post-processing, getting the the photograph photograph you you took took to ro look exactly the the way way you you want. want. Along Along with with editediting, Photoshop Photoshop also lets lets you you read read existing existing metametadata and embed your own own into into aa file file (File>File (File> File Exif and IPTC IPTC metadata metadata panels). panels). But But Info ... opens Exif Info… Photoshop alone won’t won't help help you you get get organized organized or or find anything.

File browsers like like Bridge, Bridge, aa freestanding freestanding appliappliPhotoshop (File>Browse (File> Browse in in cation supplied with Photoshop Bridge…), Bridge ... ), help you organize organize and and locate locate images. images. Bridge can download photos photos from from aa memory memory card, rename them, them, display thumbnails thumbnails (small (small ververof the files) of of an entire folder folder or or aa fullfullsions of screen preview of of a selected selected image, image, and and apply apply metadara, keywords, keywords, and ratings ratings to to all all or or aa selectselectmetadata, ed group of of files. files. Photog rapher's workflow workflow applications applications like like Photographer’s Lightroom and Aperture (page ((page page 87) 87) do do everything everything need. Like Like Bridge, Bridge, they they will will many photographers need. files from from aa memory memory card card into into aa download raw files let you you rename, rename, rate, rate, location you specify, and let and tag them with keywords. keywords. You You can can make make resize, and and print print the the images, in1ages, image adjustments, resize, or upload them to to a Web Web site. site. In In addition, addition, they they of the the functions functions of of aa cataloging cataloging include most of that can help help you you find find specific specific application, one that files across all your storage folders folders with with aa search search n1etadata. for specific metadata.

Cataloging Catalog ing applications a pplications are are specially specially designed designed in your your haystack. haystack. to help you find needles in image database database or or digital digital Sometimes called an image cataloging program progran1 n1anagement program, program, aa cataloging asset management like the the one one shown shown at at right right can can or image database like of hundreds of of thousands thousands of of images. images. keep track of Like a browser or workflow application, application, itit can can of images images with with keywords keywords embed a selected group of metadata. It It can search search for for and and display display and other metadata. multiple criteria criteria (photographs (photographs images based on multiple of mountains taken taken in in 2012 anywhere anywhere except except of

132

O RGANIZING A N D SSTORING TORING ORGANIZING AND

Ir can quickly assemble assemble groups groups of of in Montana). It co present present to to aa client client on on screen, screen, selected pictures to to post on a Web Web site. site. But But an an image image to print, or to database program does does not not usually usually provide provide any any editing tools. A cataloging application keeps keeps information information about a file and its its location location in in its its own own separate separate can use use it it to to find find files files that that database file, so you can have been stored offline ojfiine,, which means means that that the the n1edium or volume is is not nor connected connected to co storage medium helps you you find find backup backup copies copies the computer. This helps the backup backup DVD DVD disks disks you you saved on, for example, the box. Be Because its datadatakeep in your safe-deposit box. cause its base is separate from from the the image image files, fi les, you you can can add add some metadata to an entry entry that that is is not not embedded embedded in the file; if if you distribute the the file, file, some some keywords keywords can remain private.

a ll let let you you display display your your These applications a pplications all show." You can select a group "slide show.” work as a “slide of photographs to to be be seen seen on on the the monitor monitor or or aa of time, filling filling the the screen. screen. digital projector one at aa time, You can automate a presentation presentation and and choose choose the the transitions (like (like aa fade fade or or dissolve) dissolve) timing and the transitions workflow programs programs between images. With some workflow selected text text and and play play you can also superimpose selected your choice of of music music along with with the the show. show. eoe

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An image database can display a selected group of ofstored photophoto· you graphs and help you find f,nd exactly the photograph or photographs you are looking for you among thousands. thousands.

Archiving Images and Prints AN ARCHIVING AN WORKFLOW FOR RAW FILES 1. 1 . DOWNLOAD DOWNLOAD FILES FI LES directly from the camera or t hrough a card reader. through

2. FILES . Use Use aa 2 . RENAME FILES. logical system that will still be useful after you have 50,000 photographs.

3. 3. ADD BULK BULK METAMETA• OATA. Bulk Bu lk metadata DATA. (for example, your name, contact information, and copyright) is what goes on

a ll your you r photographs. all

W ith W

digital photographs you you can can have have more than one original. And, because they t hey take rake up little actual space, space, it it makes m akes sense sense to to have have sevsevof everything. Prints, Prints, slides, slides, and and neganegaeral copies of to catastrophic catastrophic vulnerabl e to tives have always been vulnerable loss or damage, as well as as to to degradation degradation over over time. fi les that chat are digital digital can can be be stored stored ti me. Image files fo r the the foreseeable foreseeab le future fu tu re and—imporand-im porunchanged for tantly—they tantly-they can be duplicated dupli cated exactly. exactly. You You can can dramatically dramatically reduce reduce your yo ur chances chances of of loss loss by by keepkeepof all your yo ur image image files. fi les. ing copies of

4. CAMERA 4 . CONVERT C ONVERT CAMERA F IL ES TO TO DNG ONG RAW FILES ifif you choose (page (page 85). Some applications app lications let you do it all—convert, all - convert, rename, and append metadata—as metadata- as you download.

5. 5 . ADD INDIVIDUAL IND IV IDUAL KEYWORDS. With most KEYWORDS. applications you can display a large number of of image thumbnails and apply a keyword to a selected group.

6. APP LY RATINGS. RATIN GS. 6 . APPLY of Decide which image, of several similar ones, is the one worth returning to. Give a higher rating to the best of of the shoot. best

Have a backup strategy strategy that that you you can can stay stay Don't wait until un til you yo u have have lost lost some som e imporim porwith. Don’t before you make make and and stick stick to to aa plan plan tant images before yo u r work. for archiving your conveni ent to to have have all all your yo ur files fil es It is most convenient online, o nline, which means m eans they they are are saved saved on on one o ne or or more hard drives that char are are powered powered up up and and conconto the t he computer com puter whenever whenever you yo u work. work. But But nected to hard drives can fail; fail; to to be be safe safe you yo u should should also also additio nal copies copies of of everything, everything, have at least two additional and preferably three three or more. more. The best system, systen1, at a t aa minimum, minim um, is is to to make make aa of all your raw raw files files on on another another hard hard second copy of t hey are are renamed renamed and and tagged tagged (and (and dri ve as soon as they drive

7. 7 . SAVE TO A A SECOND SE COND HARO DRIVE. DRIVE . IfIfyou you have have HARD a mirror RAID (text, right), this happens automatically. After saving a second copy of of everything, you can reformat your camera’s camera's memory card to use again.

9. 9 . ADD TO YOUR YOUR IMAGE CATALOGING CATA LOG IN G

as soon soon as as DATABASE as you write the files to optical disks, so it can keep of the copies in in your track of offline storage system.

A RAID array can help help make make local local storage storage safer. safer. RAID is an acronym for fo r redundant redu n d an t array array of ofinexinexindependent) disks. disks. You You can can use use your yo ur pensive (or independent) computer’s compu te r's operating o perating system system to to format, fo rma t, or or initialinitialfor RAID RAID level level 1, 1, called called mirrormirrorize, two disk drives for ing.. Once formatted this ing this way, the t he two two drives dri ves act act o ne-you see only only one one icon icon for for the the drive, drive, and and like one—you yo u write wri te to and a nd read read from fro m it it normally. no rmally. But, But,invisinvisyou ibly, all data is is written simultaneously simultaneously to to both. both . This kind of system is is called fault-to lerant because because fault-tolerant redunda n t data; d a ta; if if one o ne drive d rive fails, fails, all all its its it creates redundant iden tically, on o n the the other oth er drive. d rive. d ata exists, identically, data

Prints (and film) are more more challenging challeng ing to to store than digital image image files files because because they they are are

8. TWO 8 . BACK UP UP ON O N TWO OPTICA L DISKS D ISKS or or aa OPTICAL th ird hard drive. Store third disks in a cool, dry, dark maximum life. place for maximum Don't store your backups Don’t you r in the same place as your computer. Give each disk a unique name so you can file and find it easily, for 2014-045.. example Photos 2014-045

before you yo u have erased them chem from fro m the the memory memory shortly thereafter, t hereafter, make make two two more more copcopcard) and, shortly ies on external hard h ard drives d rives or or on on removable rem ovable media media o ptical- CD, DVD, DVD, or or BD BO (Blu-ray)—disks. (Blu-ray)- disks. AA like optical—CD, on aa local local hard hard drive drive copy of everything everything on second copy that's in in the the same sam e location location as as your yo ur main main (one that’s computer) yo u restore resto re files files quickly quickly in in case case compute r) lets you of a primary drive failure failu re or or other other data data loss; loss; the the copies on removable removable or portable portable disks disks can can be be kept kept in two different differen t locations locatio ns to to protect pro tect you yo u in in case case li ke fire fire or or theft. theft. Cloud-based Cloud-based storstorof a disaster like age, remote rem ote storage that t ha t is is accessed accessed through t hro ugh the the fo r keeping keeping off-site off-sire backbackusefu l for Internet, is also useful u ps. You Yo u will also want wan t to to have have aa naming, naming, organizo rgan izups. bac kup strategy for fo r finished fi nished derivative de rivative ing, and backup those in progress. progress. files and for those

archival boxes. Prints should be kept in archival Elegant archival portfolio boxes like the clamshell design on the left make a beautiful beautiful presentation but may be too expensive for for regular storage. Simple, acid-free, cardboard storage boxes, shown on the the right, are as safe. Larger sizes are made from acid-free corrugated cardboard to to be more rigid.

and, most most often, often, unique. unique. AA stable stable physical objects and, especially one o ne with wit h cool cool temperate mperaenvironm en t, especially environment, tures and low low humidity, humidi ry, will will prolong prolong the the life life of of tradi tional photographic photographic digital prints as well as traditional material s. Paper Paper must must be be protected protected from fro m acidacidmaterials. iry. Unfortunately, most most paper paper made made from fro m wood wood ity. manufactu re; look look instead instead pulp is left acidic after manufacture; fo r acid-free inkjet paper paper and and mat mat board board (usually (usually for rag) that char are are available available from from cotto n rag) made from cotton retailers. Those same same retailers retailers (search (search for fo r specialry retailers. specialty also provide provide stable, stable, chemichemiarchival supplies) can also cally neutral plastic bags, bags, sleeves, sleeves, and and boxes boxes sized sized ne utral plastic d isks, slides, or or negatives. n egatives. for prints, disks,

C HAPTER 7 CHAPTER

133 133

G A R R Y WINOGRAND WINOGRAND GARRY 1969. Look at the light on Los Angeles, 1969. your subject. Garry Winogrand often phoyour tographed complex interactions that we all see every day but seldom notice. Here, in addition to the mix of of people on the street, a reflection from from a store window makes it appear there are two suns. suns. Winogrand said, "I photograph to see what the said, “I like." photograph will look like.”

Qualities of Light .............. . . . . . . . . . . . . 136 of Light. 136 136 From direct to diffused ........... . . . . . . . . . 136

Simple Portrait Lighting ..................... . . . . . . . . . . . . . . . . . . . 144 144

Existing Light . . . . . . . . . . . . . . 138 Light.. ................ 138 what's available .• ..••.••.••.• 138 Use what’s . . . . . . . . . . 138 The Main Light. 140 Light................ . . . . . . . . . . . . . . 140 oflight light ....... 140 The strongest source of . . . . . 140

. . . . . . . . 146 Using Artificial Light .......... 146 Photo/amp 146 Photolamp or flash .............. . . . . . . . . . . . . 146

142 Fill Light ..................... . . . . . . . . . . . . . . . . . . . 142 142 To lighten shadows ..•.•......... . . . . . . . . . . . . 142

148 More about Flash . ............ . . . . . . . . . . . . 148 How to position it ............... 148 . . . . . . . . . . . . . 148 150 Using Flash . .................. . . . . . . . . . . . . . . . . 150

Using Light In this chapter you’ll you'll learn… lea rn ... •• the qualities of of natural light—the light-the size of ofthe the source, source, the effect effect intensity-and the its direction, color, and intensity—and that chat changing these qualities will wil l have have on on your your photographs. •• to duplicate the qualities qua lities of of natural natural light light with with artifical light that chat you can control. understa nd the differences between between electronic electronic flash flas h •• to understand conti nuous light, light, and to use use aa camera-mounted camera-mounted and continuous flash unit to make correctly exposed images. images. Kenneth Josephson.. Chicago, 1961. Kennethjosephson 1961 . Light itself itself can sometimes be the

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change your your picture. picture. Outdoors, Outdoors, ifif clouds clouds hanges in lighting will change position so so your yo ur subject subject isis lit li e from from t he sky, or you yo u change change position darken the o r you move move from fro m aa bright bright area area to to the the shade, shade, your yourpictures pictures behind, or will change as a result. result. Light Ligh t changes changes indoors, indoors, too: too: your yo ur subject subject may may move move closer to a sunny window, or o ryou you may may turn turn on o n overhead overheadlights lightsor ordecide decideto rouse use closer a flash fl as h to co light your yo ur photograph. photograph . Light can affect the the feeling feeling of of the the photograph photograp h so so that chat aa subject subject appears, appears, fo r example, exam ple, brilliant bri lliant and crisp, crisp, hazy hazy and and soft, soft, stark stark or or romantic. ro man tic. IfIfyou yo umake make for a point of of observing the the light light on on your yo ur subject, subject, you yo u will will soon soon learn learn to co predict predict in your yo u r photographs, photograp hs, and and you you will will find find ititeasier easierto couse useexisting existing how it will look in the lighting li ghting yourself yo urself to co get gee just just the theeffect effect you yo u want. wane. light or to arrange the

subject of ofthe picture. Here, a bright

pattern of oflight pierces the darkness under under Chicago’s Chicago's elevated transit tracks.

135

of Light Qualities of FFROM ROM D I R E C T TO TO D IFFUSED DIRECT DIFFUSED Direct Light

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L ight can range from direct direct and and contrasty contrasty to diffused and soft, whether indoors or out. control the the light light on on your your subject subject And whether you control th ere, you should sh ould recognize recognize the the or accept what is there, Here's how how to to identify identify these these different different differences. Here’s of light and predict pred ict how how they they will wi ll look look in in qualities of your photograph.

Direct light is high in in contrast. contrast. ItIt creates creates bright highlights h igh lights and dark dark shadows shadows with with hard, hard, Photograph ic materials, materials, both both or sharp, edges. Photographic fi lm, have have limited lim ited dynamic dynam ic range range digital and film, (latitu de) and cannot record record details details in in very very (latitude) t he same same time. time. ligh t and very dark areas at the light Directly lit areas may may appear brilliant brilliant and and bold, bold, entirely black. black. If If you you with shadowed ones almost entirely in direct direct light, light, you you may may want want are photographing in fi ll light (pages 142 - 143) to to lighten lighten shadshadto add fill ((pages pages 142–143) ows. Because direct light is is often often quite quite bright, bright, to give give plenty plenty you can use a small aperture to of of depth dept h of of field, fie ld, a fast fast shutter shutter speed speed to to stop stop if the t he light light is is bright brigh t enough. enough. motion, or both, if The sun on a clear day is is a common common source source of of direct light. Indoors, Indoors, a flash flash or or photo photo lamp lamp pointpointyou r subject (that (that is, is, not not bounced bounced ed directly at your off another surface) also provides provides direct direct light. ligh t. off

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Dorothea Lange. Woman of ofthe High High Plains, Plains, Childress County,Texas, County, Texas, 1938. 1938. oflight in these picCompare the qualities of tures and the effect it has on the subjects. Direct Direct light—contrasty, light- contrasty, with hard-edged shadows.

Directional/diffused Directional/ diffused light—definite light- definite shadows, but softer edged than in direct light. Diffused Diffused light—indirect light- indirect and soft. so~.

SAME suBJEcT SUBJECT 1N IN 01FFERENT DIFFERENT uGHT LIGHT Pro.iect: THE sAME Project: Photograph the the same same person person in in several several different different PROCEDURE Photograph For example, examp le, on on aa sunny sunny day day begin begin by by photophotolighting situations. For grap hing outdoors in in the the sun. Try not not to to work work at at noon noon when when the the graphing Light usually usually appears appears more more interesting interesting in in sun is directly overhead. Light the sun sun isis at at an an angle angle to to the the subject. subject. the morning or afternoon when the seve ral exposures in in each situation. situation. Make several views. head-and-shou lders rather rather than than full-length full-length views. Work relatively close: head-and-shoulders Fi rst, have have the sun behind behind your your back, back, so so itit shines shines directly directly into into the the First, person's face. Then move move your your subject subject so so the the sun sun isis shining shining on on him him or or person’s have the the sun sun behind behind the the person, person, so so he he or or she she her from the side. Then have 72 tells te lls how how to to meter meter backlit backlit scenes.) scenes.) is backlit. (Page (Page 72 Make several photographs photographs in in diffused diffused natural natural light, light, for for example, example, in the shade shade of of aa building. building. Make Make some some indoors, indoors, with with under a tree or in il luminated by by light light coming coming from from aa window. window. the person illuminated

136

U S I N G LLIGHT IGHT USING

sun light in in the the morning morning or or afternoon, afternoon, you you As a comparison to sunlight make some photographs photographs at at noon noon with with the the subject subject lit lit by by could also make not recommended. recommended. the sun overhead to see why itit isis not Select the best best portrait portrait in in each type type of of light. light. do you you see see that that isis different different HOW DID YOU DO? What do photographs? Is Is there there more more texture texture visible visible in in among the various photographs? Do the shadows seem seem too too dark dark in in some? some? (Pages (Pages 142– 142 some shots? Do use fill fil l light light to to make make shadows shadows lighter.) lighter.) 143 tell how to use light affect the the modeling modeling (the (the appearance appearance of of How does the light of the face? Light Light not not only only changes changes the the way way subjects subjects volume) of appear in a photograph, itit can change change the the way way we we perceive perceive or or feel fee l them . Do Do some of of the the portraits portra its appear appear softer? softer? Harsher? Harsher? about them. More dramatic?

Directional/Diffused Direction al/ Diffused Light

Diffused Light

Tina Barney. Ba rney. Mom, 1996. 1996.

Sage Sohier. Girl Girl Being Being Prepared Prepared for for aa Horse Horse Show, Show, Sandwich, Sandwich, NH, NH, 2004. 2004.

Directional/diffused Directional/ diffused light light is is intermediate inte rmediate in in contrast. It is partly direct and partly partly diffused. diffused. but they they are are softer softer and and not not present, but Shadows are present, as dark as those those cast by by direct direct light. light. directional/diffused light light You will encounter directional/diffused the sun’s sun's rays rays are are somewhat somewhat on a hazy day when the comes from from the the surrounding surrounding scattered so light comes from the the sun. sun. A A shaded shaded area, area, such such as as sky as well as from under trees or along the the shady shady side side of ofaa building, building, directional/ diffused light light ifif the the light light isis can have directional/diffused the scene primarily primarily from from one one direcdirecbouncing onto the or other other large large window window Indoors, a skylight or tion. Indoors, can give this type of light light ifif the the sun sun is is not not shinshintype of the subject. Light Light from from aa flash flash or or ing directly on the photo lamp can also be directional/diffused directional/diffused ififitit isis translucent diffusing diffusing material material placed placed softened by a translucent of the the light light or or ifif it it is is bounced bounced off offanother another in front of an umbrella umbrella reflector. reflector. surface such as a wall or an

Diffused light is is low low in in contrast. contrast. ItIt bathes bathes subjects in light from from all all sides sides so so that that shadows shadows Colors are are less less brilliant brilliant are weak or even absent. Colors than they are in direct light light and and are are likely likely to to be be in tone. tone. Because Because diffused diffused light light isis pastel or muted in than direct direct light, light, you you might might likely to be dimmer than to use aa small small aperture aperture with with aa fast fast not be able to shutter speed. A heavily overcast day creates creates diffused diffused light light is cast cast evenly evenly by by the the whole whole because the light is of the sky rather rather than, than, as as it it is is on on aa dome of mostly by by the the small small disk disk of of the the sun. sun. sunny day, mostly Indoors, diffused light light can can be be created created with with aa very very of light used used close close to to the the subject subject broad source of (such as light bounced into into aa large large umbrella umbrella fill light. light. (Page 143 top top reflector) plus additional fill ((Page Page 143 soft box box-another broad source—used source-used in in shows a soft —another broad a lighting setup.) C HAPTER 8 CHAPTER

137 137

Existing Light U S E WHAT'S WHAT’S A VAILABLE USE AVAILABLE D on’t on't wait for a sunny sunny day day to to go go photophotoD

graphing graphing.. You can take pictures even even ififthe the light light is dim: din1: indoors, in in the th e rain rain or or snow, snow, at at dawn dawn or or dusk. If If you see a scene that t hat appeals appeals to to you, you, you you can find a way to photograph photograph it. it.

John Collier. Grandfather Romero, 99 John 99 years old, Trampas, Trampas, New Mexico, 1943. 1943. Use Use the the light light yyou ou believable. find ififyou you can; it usually looks the most believable.

138 138

U S I N G LLIGHT IGHT USING

A high ISO is useful useful when when light light isis dim. dim. ItIt will will yo u shoot at a fast fast enough enough shutter shutter speed speed help you to stop motion or at aa small small enough enough aperture aperture to to of field. field. A A tripod tripod can can steady steady give adequate depth of exposures. a camera for long exposures.

Try to make something something out of ofwhat is already there there before thinking of ofchanging changing anything. The light in this this room from one small window is simple and and effective.

Lars Tunbjörk. Tunbjork. Sicily, 1983. 1983. Available light can also mean available shadow. Often, the play of oflight and shadow alone can be enough to make a great picture. picture. As a subject, the figure here is not as important as the arrangement of ofshapes made by the late afternoon sun and captured at the right moment.

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Easter Celebration in the David Alan Harvey. Easter Mixtec Region, Oaxaca, Mexico, 1992. 1992. In In extremely extremely dim light, start with the your camera the highest ISO ISO your offers (or an ultrafast film like Fuji Fuji Neopan 1600). 1600). Only the candles illuminate this this scene, which was was left

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reddish by the photographer even though the the white white balance could be adjustd in post-production. BracketBracketing is always a good idea in marginal lighting lighting situations. tions. Make several extra shots ififyou can, increasing increasing the exposure, then decreasing it. C HAPTER 8 CHAPTER

139 139

The Main Light T H E SSTRONGEST T R O N G E S T SSOURCE OURCE O F LLIGHT IGHT THE OF

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T he most realistic and usually usually the the most most pleasing lighting resembles resembles daylight, daylight, the n1ost often: often: one one main main source source of oflight light light we see most from above creating a single single set set of of shadows. shadows. unrealistic (although (although there there may may Lighting seems unrealistic be times when you will want wanr that) that) ifif itit comes comes if it it comes from from two two or or more more from below or if equally strong sources that thar produce produce shadows shadows going in different directions.

Shadows define the lighting. lighting. Although Although phophothe quality quality of oflight light coming coming tographers talk about the from a particular source, source, it it is is actually actually the the shadows shadows light that that can can make make an an image image harsh harsh created by the light appealing. To To aa great great extent, extent, or soft, menacing or appealing. the solidity solidity or or volume volume that that the shadows determine the to have, have, the t he degree degree to to which which texture texture shapes appear to somerin1es the the mood n1ood or or emotion e1norion of of is shown, and sometimes the picture.

Frontlighting. Here the main light isis placed placed close close to to the the lens, lens, as as when when a flash unit attached to the camera isis pointed directly directly at at the the subject. subject. Fewer shadows are visible from camera position with with this this type type of oflighting lighting than with others, and, as a result, forms seem flattened flattened and and textures textures less less pronounced. Many news photos and snapshots are are frontlit front/it because because itit isis simple and quick to shoot with the flash flash on the the camera.

The main light, light, the the brightest brightest light light shining shining on on a subject, creates the the strongest strongest shadows. shadows. If If you you to set up up a lighting lighting arrangement, arrangement, look look are trying to camera position. position. Notice Notice the the at the subject from camera or model model the the subject subject as as way the shadows shape or t he main main light light around around or or as as you you change change you move the of the the subject in in relation relation to to aa fixed fixed the position of main light. ligh t from a 500-watt incandescent incandescent Direct light metal reflector reflector was was used used lamp in a bowl-shaped metal for these photographs, photographs, with no no other other light light sources, sources, that are are hard hard edged edged and and dark. dark. producing shadows that direct flash flash will will produce produce similar similar Direct sunlight or direct be softer softer ififitit were were bounced bounced effects. The light would be fron1 another another surface, surface, such such as as an an onto the subject from (shown on on page page 145), 145), or or ifif itit umbrella reflector (shown Fill light ligh t (see (see pages pages 142–143) 142- 143) would would were diffused. Fill ligh ten the shadows. lighten

140 140

U S I N G LLIGHT IGHT USING

High 45° 45 4 5°° lighting. ligh ting. IfIfthe main light isis moved moved high high and and to to the the side side of of the camera, not precisely at 45° 45° but somewhere in in that that vicinity, vicinity, shadows shadows model the face to a rounded shape and emphasize textures textures more more than than with front lighting. lighting. This is often the main main light position used used in in commercommercial portrait studios; fill light would then then be be added added to to lighten lighten the the shadows.

90 ° angle to to the the camera camera will will light light Side lighting. A main light at about aa 90° the subject brightly on one side and cast shadows across the the other other side. side. When the sun is low on the horizon at sunset sunset or or sunrise, itit can can create create side side lighting that adds interest to landscapes and and other other outdoor outdoor scenes. scenes. Side Side lighting is sometimes used to dramatize aa portrait.

long dark shadows shadows are Top lighting. With the light directly overhead, Iong cast into eye sockets and under nose and chin, producing producing an effect effect that that isis seldom appealing for portraits. Unfortunately, top top lighting lighting is not not uncomuncommon—outdoors mon- outdoors at noon when the sun is overhead overhead or or indoors indoors when when the the main light is coming from ceiling ceiling fixtures. fixtures. Fill Fill light added added to to lighten lighten the the shadows can help (see next page).

Backlighting. Here Here the light is moved moved around around farther farther to to the the back back of of the subject than it is for side lighting. If/{the the light light was was directly directly behind behind the the subject, the entire face would be in shadow shadow with with just just the the hair hair outlined outlined by a rim of oflight. Backlighting, Backlighting, also called edge or or rim rim lighting, lighting, isis used used in in multiple-light setups to bring bring out out texture or or to to separate separate the the subject subject from from the background.

Bottom lighting. Lighting Lighting that comes from below below looks distinctly distinctly odd odd in a portrait. This is because light on people outdoors or or indoors indoors almost almost never comes from below. This type of oflight casts unnatural unnatural shadows that that often oft-en create a menacing effect. Some products, however—glassware, however- glassware, for exampleexample—are are effectively lit from from below; such lighting lighting is often oft-en seen in in advertising photographs.

C HAPTER 8 CHAPTER

141 14 1

Fill Light TO T O LLIGHTEN I G H T E N SSHADOWS HADOWS

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ill light makes shadows shadows less less dark dark by byadding adding light to to them. them. Photographic Photographic materials materials can can record record texture in detail and texture in either either brightly brightly lit lit areas areas or or deeply deeply shadowed ones ones but but generally generally not not in in both both the same time. at the titne. So So if if important important shadow shadow areas areas are much darker than than lit lit areas—for areas- for example, example, the the ofa person’s person's face face in in aa sunlit sun lit portrait— portraitshaded side of consider whether adding adding fill fill light light will will improve improve picture. The fill your picture. fill light light should should not not overpower overpower main light light but the main but simply simply raise raise the the light light level level of of shadow areas so so you can can see see clear clear detail detail in in the the image. final image. When do you need need fill fill light? light?Negative Negativefilms films are are very sensitive to to contrast; contrast; digital digital capture capture isis somesomewhat less so. With either, either, as as little little as as two two stops stops difference between lit lit and and shaded shaded areas areas can can make make shadows very dark. dark. HDR HOR (pages (pages 74–75) 74- 75) can can help help control excessive contrast contrast but but the the subject subject must must be be absolutely stationary; itit can’t can't help help when when you you are are photographing people. people. In most portraits, portraits, aa partly partly shaded shaded subject subject that that two stops stops darker darker than than the the lit lit side side of has shadows two of rhe face will be be contrasty conrrasry but bur will will still still show show full full the texture and detail derail everywhere. everywhere. But Bur when when shadows shadows ger to robe get be three or or more more stops stops darker darker than than lit lit areas, areas, fill light becomes useful. useful. You You can can control control contrast contrast between highlights highlights and and shadows shadows later, later, in in editing, editing, but results are often better better ifif you you can can lighten lighten shadows by adding fill fill light, light, rather rather than than trying trying to to lighten a too-dark too-dark shadow shadow later. later.

Fill light outdoors. ItIt isis easier easier to to get get aa pleasant pleasant on aa person’s person's face face in in aa sunlit sunlit outdoor expression on outdoor if the the subject subject is is lit lit from from the the side side or or from portrait if from behind and not not squinting squinting into into the the sun. sun. These These however, can can make 1nake the the shadowed shadowed side positions, however, side of the face too of too dark. In In such such cases, cases, you you can can add add fill fill to decrease the the contrast contrast between between the rhe lit light to lit and and shadowed sides of of the the face face (see (see right). right). You You can can

142 142

USING U S I N G LLIGHT IGHT

also use fill fill light outdoors outdoors for for close-ups close-ups of of flowflowrelatively small small objects objects in ers or other relatively in which which the the shadows would otherwise be be too too dark. dark. single photoflood photoflood or Fill light indoors. AA single or flash flash indoors often often produces produces aa very very contrasty used indoors contrastylight light in which the rhe shaded shaded side side of ofthe the face face (or (or any any other other subject) will be very dark dark ifif the the lit lit side side isis exposed exposed normally. Such light light is is likely likely to to appear normally. appear more more concontrasty than than in a similar similar photograph photograph lit lit by by sunlight sunlight from the the sky sky acts acts as because light from as fill fill light light outouthow dark dark the the shaded shaded areas doors. Notice how areas are are in in portraits on on pages the single-light portraits pages 140–141. 140- 141. You You contrasty lighting lighting for might want such contrasty for certain certain but ordinarily ordinarily fill photographs, but fill light light should should be be to make make the the shadows shadows lighter. lighter. added to

Frontlight. The man’s man's face face is lit by sunlight shining shining directly on it. it. Facing someone into the sun usually causes an awkward squint against against the bright light.

Sources of of fill light. light. AA reflector, reflector, such such as as aa white card or cloth, cloth, is is aa good good way way to to add add fill fill light light aluminized “space indoors or out. An aluminized "space blanket” blanket" from a camping-supply camping-supply store store is is easy easy to to carry carry and and highly reflective. reflective. Convenient Convenient collapsing highly collapsing “bounce "bounce cards" are available from from camera cards” camera retailers retailers that that ro professionals. professionals. Holding cater to Holding aa reflector reflector at at the the usually on on the correct angle, usually the opposite opposite side side of ofthe the the main main light, light, will subject from the will reflect reflect some some of of into the the shadows. the main light into shadows. A flash can be be used used for A for fill fill light light indoors indoors or outdoors. A A unit unit in in which which the the brightness brightness of of be adjusted adjusted is the flash can be is much much easier easier to ro use use fixed output. than one with aa fixed output. Some Some flash flash units units for use use with with automatic automatic cameras designed for cameras (or (or built built rhe camera body) into the body) can can be be set set to to provide provide fill fill flash automatically. light from In indoor setups, light from another another photophotoused for flood can be used for fill fill light. light. To To keep keep the the fill fi ll light from overpowering overpowering the the main main light, light, the the fill fill farther from the the subject subject than than the the main main can be farther of lesser intensity, intensity, bounced, light, of bounced, or or diffused. diffused. See See opposite. photographs opposite.

Backlight. Here Here he faces away from the sun and has a more relaxed expression. Increasing the exposure would lighten the shadowed side of ofhis face but make make the the lit side very light.

Backlight plus fill light. ligh t. Here he still faces away away from from the sun, but fill light has been been added to lighten the shaded side of ofthe face. face. A reflection of ofthe bounce card appears in in his glasses. Such reflections can be controlled by angling angling the head slightly.

subject is the reflector, sometimes called called aa bounce bounce card. For a portrait, try to angle the reflector reflector to add add enough fill fill light so the shadowed side of ofthe face is one to two two stops darker darker than the sunlit side. Here’s Here's how how to count the the number number of ofstops’ stops' difference. Meter only the lit side and note difference. note the shutter-speed shutter-speed onfy the shadowed shadowed side and and note note and aperture settings. Meter only the shutter speed and aperture. The number f-stops (or number of off-stops (or shutter-speed settings) between the two exposures equals equals the the number of ofstops’ stops' difference.

Stanley Rowin

white cloth or or card card Using a reflector for fill light. A large white can lighten shadows in backlit or or sidelit side/it portraits by by reflecting reflecting onto the shaded side of the subject some of the illumination of subject of the illumination from the main light. Sometimes nearby objects will will act act as natunatural reflectors, such as sand, snow, water, or or a light-colored light-colored wall. wall. The reflector can be clamped to a stand, held held by by an assistant, or or simply propped up. The closer closer the reflector reflector is to to the the subject, the the more light it will reflect into the shadows. Be careful to keep it Be careful to keep it out of ofthe picture. In the example on the right, the main light isis on your your left— leftthe sitter's sitter’s right. right. The light is inside a soft soft box, box, used to to soften soften shadow edges. Clamped to a stand stand on the opposite side of ofthe the

Using a photoflood for fill light. The The photographer photographer placed placed the main light at about a 45° 45° angle to the left, lefr, then then positioned positioned a second photoflood on the right side of ofthe camera camera so itit increased the brightness of ofthe shadows. This This fill fill light light was was placed close to the camera’s camera's lens so it did not not create secondary secondary shadows that would be visible from camera position. The The main main light was placed closer to the subject so itit would would be be stronger stronger than the fill light. light. Meter the lit side of ofthe scene and the shaded shaded side; then then adjust the lights until the shaded side is one to to two two stops darker darker than the lit side. To get an accurate reading, reading, you must must meter meter each area separately without including including the the background background or or other other areas of ofdifferent brightness. IfIfyou are photographing photographing very very small objects, you you can use a spot meter or make substitution meter or readings from a photographic gray card positioned positioned first first on on the the lit side, then on the shadowed side.

Using flash for fill light. To lighten the shadows on the the subject’s face, subject's face, the photographer photographer attached a flash flash unit unit to to her her camera. IfIf the flash light is too bright, it can overpower overpower the the main light and create an unnatural effect. To To prevent prevent this, this, the the photographer set the flash for manual operation and and draped draped a handkerchief handkerchiefover the flash head to to decrease the intensity intensity of of the light. She could also have stepped back back from from the the subject subject (although this would have changed the the framing framing of ofthe the scene), or, or, with some flash units, decreased the light output output of ofthe the flash. flash. handkerchiefalso changes the quality of ofthe the light. light. Like Like The handkerchief a small version of ofthe soft so~ box pictured pictured above, itit increases increases the the apparent size of ofthe source and so slightly slightly softens sofrens the the harshness harshness that usually results from small camera-mounted camera-mounted flash flash units. units. Many flash attachments and light modifiers are available separately to further alter the harshness of ofon-camera flash. flash. See your your owner’s your owner's manual manual for instructions on on how how to to set set your camera and flash for fill lighting. In In general, for for a subject subject that that is partly lit and partly shaded, decrease the the brightness brightness of ofthe the flash on the subject until it is one to two two stops less than than the the basic basic exposure from the sun.

CHAPTER 8

143

Simple Portrait Lighting have been been made made using using M any fine portraits have M

simple s imple lighting lig hting setups. You don’t don't need a com-

of lights ligh ts to to make make aa good good plicated arrangement of portrait. In fact, the t he simpler simpler the the setup, setup, the the more more comfortable co mfo rtable and relaxed relaxed your yo ur subject subject isis likely likely to to be. (See pages 166–169 166- 169 for for more more about abo ut photophotographing grap hin g people.) peopl e.)

Outdoors, open shade shade or or an an overcast overcast sky sky surrounds a subject in in soft, soft, even even lighting lighting (photo(photograph opposite, o pposite, bottom). bottom) . In In open o pen shade, shade, the the perperour of of direct sunlight, sunlight, perhaps perhaps under unde r aa tree tree son is out or in the shade of of a building. building. Illumination Illumination comes comes reflected from from the the ground, grou nd, aa nearby nearby from light reflected su rfaces. If If the the sun sun is is hidden hidden by by an an wall, or other surfaces. clo udy sky, sky, light light is is scattered scattered over over the t he overcast or cloudy subject from the the entire entire sky. In In sunlight, sunlight, shadows shadows ap pear relatively relatively bluish bluish because because they they are are hidhidmay appear den from the sun and illuminated illum in ated only onl y with with light light from the t he sky.

Indoors, window light lig ht isis aa convenient conven ient source so urce ligh t during du ring the the day (this (chis page, page, bottom). botto m). The The of light to the the window, window, the the brighter brighter yo ur subject is to closer your If direct sunlight sun light is is shining shining the light will be. If falls on on the the subject, subject, t hro ugh the t he window and falls through high : lit li t areas areas very very light, light, contrast will be very high: unlit areas very dark. dark. A A small window window will will create create than a large large one. one. Unless Unless you you want wane harder shadows than it's best best to to have have the the subject subject also also extreme contrast, it’s lit by indirect indirec t light bouncing bo u ncing off offother other surfaces. surfaces .AA o pposite the the window can can lighten lighten shadshadreflector opposite ows by adding fill fi ll light light to to the t he side side of of the the person person facing t he window. window. fac ing away from the

A main light—photoflood lig ht- photoflood or or flash—plus flash - plus available reflector fill is a simple setup when available opposite top). top). Bouncing Bouncing light is inadequate (see opposite ligh t (sometimes (sometimes called called the the key key light) ligh t) the main light in to an umbrella reflector refl ector provides provides aa softer softer light light into di rectly onto the the subject. subject. shin ing it directly than shining Amy Amy Stein. Window #2, 2005. Window lig ht can 2005. W indo w light be contrasty unless other windows, as here, a nearby light-colored wall, or a wellplaced reflector, provide fill. fill. Stein’s's series DomesticatStein Do mesticat“explores our paradoxical ed "explores ed 'wild. "' relationship with the ‘wild.’” Like the birds, the woman looks at the world from inside her geometric enclosure.

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U S I N G LLIGHT IGHT USING

Martin Benjamin. George Gilder, Technology TechnologJ Guru, Housatonic, Massachusetts, 2000. A main light light plus plus reflector fill is the simplest setup when you want to to yourself. The main source of arrange the lighting lightingyourself oflight is from from a photoflood or flash pointed into an umbrella umbrella reflector that is then pointed at the subject. A reflector reflector on the other side of ofthe subject bounces some of ofthe the light back to lighten the shadows.

John Weiss. John Weiss . Garry Templeton, San Diego Diego Padres, Padres, 1984. 1984. In open shade outdoors, a building, building, tree, tree, or other object blocks the direct rays of ofthe sun. Softer indirect light bounces onto the subject. Here, So~er Here, the ballplayer was shaded by the dugout roof. roof The The photographer hung a black cloth on the dugout dugout wall wall to provide a plain background.

CHAPTER C hapter 8 8

145 145

Using Artificial Artif icial Light PHOTOLAMP OR P HOTOLAMP O R FFLASH LASH

burning (incandescent) ( incandescent ) lamps lamps Continuously burning tungsten lights, lights, and and quartz quartz such as LED bulbs, tungsten (or halogen) lamps plug plug into into an an electrical elect rical outlet. outlet. let you yo u see see how h ow the the light light affects affects the the Because they let subject, they t hey are excellent for for portraits, portraits, still still lifes, lifes, and other stationary subjects subjects that char give give you you time rime to to adj ust the light exactly. Determining Determining the the exposure exposure adjust is easy: you meter meter the the brightness brightness of of the the light light just just Professio nal photographers photographers as you do outdoors. Professional so urces as as hot hot lights. lights.. often refer to continuous sources lights

Electronic flash fl ash or or strobe strobe is is the the most m ost popular popular source of of portable light. light. Power Power can can come come from from rechargeable power power pack, pack, or or an an either batteries, a rechargeable uni ts are are built built into into camcamelectrical outlet. Some units eras, but the more powerful powerful ones, ones, which which can can light ligh t objects at a greater g reater distance, dista nce, are are aa separate separate accesaccessory. Because electronic flash flash is is fast fast enough en ou gh to to freeze most motion, it it is is aa good good choice choice when when you you need unposed shots shots or or moving moving subjects. subjects. n eed to light unposed Flash must be synchronized with with the the camcamera’s of light occurs when when era's shutter so the flash of fully open. With With most m ost single-lens single-lens the shutter is fully reflex cameras that that have h ave aa focal-plane focal-plane shutter, shutter, o f 11/60 shutter speeds of ⁄60 sec. or slower will synchroelectro nic flash; flash; some som e models models have have ni ze with electronic nize that synchronize at at higher high er speeds, speeds, up up shutters that to 11/300 ⁄300 sec. At shutter speeds faster faster than than that, that, the the cam era's shutter s hutter curtains are are open open only only part part of ofthe t he camera’s way at any time so only part part of of the the sensor sensor would wo uld be exposed. The fastest fastest shutter shutter speed speed during during all the the way way is is called called the the which the curtains open all

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U S I N G LLIGHT IGHT USING

sync speed. leaf shutters shutters synchronize synchronize speed. Cameras with leaf with flash fl as h at any shutter speed. speed. Some Som e top-of-thetop-of-theflas h units units (intended (intended for for use use with with aa line dedicated flash model) can operate operate in in high-speed high-speed specific camera model) sync mode so the the camera’s camera's focal-plane focal-plane shutter shutter sec for fo r any shutter speed. See See your your owner’s owner's can be set on how how to to set set the the camera camera and a nd manual for details on to it. it. connect the flash to

Automatic flash units have have aa sensor sensor that that meam easures the amount of of light light reflected reflected by by the t he subject subject flash; the the unit unit terminates termina tes the the flash flas h during the flash; is adequate. ad equate. Even Even ifif you yo u have have when the exposure is unit, sometimes s01netimes you yo u will will want want to to an automatic unit, the flash flash exposure exposure manually, manually, calculate and set the is very very close close to to the the flash flash such as when the subject is fa r from fron1 it and not not within within the th e automatic a u to matic or very far flas h range. Like automatic auron1aric focus, focus, automatic auton1acic flash flas h flash less accurate acc urate results res ults when when your yo ur units may give less in the the frame. frame . Most Most dedidedisubject is not centered in models allow the the camera, camera, when when set set cated flash models fo r one of of its auto-exposure a uto-ex posure modes, modes, to to control control for of the the flash fl as h automatically a u to matically to to add add aa the brightness of of fill. preset level of Determining your you r own own exposure exposure with with flash flash isis so with other other light light sources sources different from doing so th e flash of of light light is is too too brief bri ef to to measure m easure because the m eter. Some Some professionals professionals with an ordinary light meter. li ght meter m eter that that can can measure measure the th e hand-h eld light use a hand-held brief burst of of a flash, flas h, but but you can can also also accurately accurately brief flas h exposure ex posure using u sing the the histogram hisrogran1 determine flash display on the back back of of a digital digital camera. can1era. Use Use a manual exposure ex posure mode mode and a nd test test exposures, expos ures, varying the aperture, aperture, ISO, ISO, or or flash flash power power setsetthe subject subject is is from from ting. Because the farther the a given flash unit, the the dimmer dimmer the the light ligh t that that calculate your yo ur flash flas h it receives, you can also calculate knowing- or guessing—the guessin g- the exposure by knowing—or subject’s subject's distance (opposite). (o pposite).

A utomatic electronic flash is a standard standard accessory accessory Automatic for an automatic exposure camera. The flash flash has aa light-sensitive cell and electronic circuitry that sets the duration of ofthe flash by metering metering the amount of of light reflected by the subject during the exposure.

Nikon, Inc.

A

A rtificial light lig ht sources let let you you bring bring your your own own the sun sun goes goes down, down, when when you you light with you when the relatively dark dark room, room, or or when when photograph in a relatively more light light than than is is available. available. you need just a little more a re consistent and and never never go go Artificial sources are yo u' re ready ready to to take take aa behind a cloud just when you’re manipulate them them to to produce produce any any picture. You can manipulate want- from light light that that looks looks like like natural natural effect you want—from sunlight to underlighting effects effects that that are are seldom seldom Different sources sources produce produce light light found in nature. Different of different color balances, each each requiring requiring aa differdifferof bala nce setting. setting. ent white balance

for flash flash The inverse square law is the basis for exposure calculations. The farther farther that light travels, travels, the more the light rays spread out and the dimmer and the resulting illumination. The The law law states that at twice a given distance, an object receives receives only one-fourth the light (intensity of ofillumination is inversely proportional to the square of ofthe distance from from light to subject). In the illustration here, only only one-fourth the amount of oflight falls on an object object at at 10 ft. from a light source as on an object 10 ft. object at 55 ft. from from the source. 55ft. ft.

0

ft. 20 ft. 1¼6 the light 16 ft. as at 5 ft.

ft. 10 ft. 1¼the light 4 ft. as at 5 ft.

Manually Calculating Calculating aa Direct Direct Flash Flash Exposure Exposure

To calculate your own flash exposure, you need exposure,you need to know two things: the distance the light travels travels to to the subject and the guide number number (a (a rating given by the manufacturer for the flash when used with used with a specific ISO). ISO). Divide the distance that the light light travels from flash unit to subject into the guide number to give you you the lens f-stop you should should use. use. Some flash flash units have a calculator dial that will you. Dial do the division for you. Dial in the ISO ISO and the the flash-to-subject distance, and the dial will show show the the correct f-stop. f-stop.

Guide number is is 80 80 with with this this flash flash unit unit used usedwith with ISO ISO100 100film. film.

0 Guide number Distance from from flash to subject flash subject

5 ft. 80 __ ｾ＠ =• 16 5

f-stop =- ff-stop stop

10 ft. ft.

20 ft. ft.

80 __ ｾ＠ =• 88 10

80 __ ｾ＠ =- 44 20

00 f/ 16 f/16

0

f/ 8 f/8

f/4 f/ 4

Manually Calculating Calculating aa Bounce Bounce Flash Flash Exposure Exposure

Bounce flash travels an extra distance. IfIfyou are calculating a bounce flash exposure, measure measure the distance not from flash to subject subject but from from flash flash to reflecting surface to subject. In In addition, open the lens aperture an extra one-half one-halfstop or or full full stop to allow for light absorbed by the reflecting reflecting surface. Open even more ififthe reflecting reflecting surface is not not white or very light in tone. Some automatic flash units have a head that can be swiveled up or to the side for bounce flash while the flash sensor remains pointed at the subject. This This type of ofunit can automatically calculate a bounce bounce flash exposure because no matter matter where the the head head isis pointed, the sensor will read the light reflected reflected from from the subject toward the camera. Some cameras can can measure flash light through the lens: these these also can be used automatically with bounce flash.

Reflecting surface

.

5f

5 ft

Guide number Distance from from flash to to reflecting flash reflecting surface to to subject

= ff-stop stop

shutter speed speed does does not not affect affect Changing the shutter the exposure from aa flash, as long as it is range for for synchronization synchronization within the acceptable range (the sync speed or slower). the amount amount of oflight light falling falling You can determine the on the subject by by dividing the the distance distance to to the the subsubfl ash unit’s unit's output output (its (its guide guide number number). ject into the flash number). ).

t.

80 __ ｾ＠ =- 88 10

Open lens one one stop stop or or more more to to compensate for light light absorbed absorbed compensate for by reflecting surface. surface. ｦ Ｏ ＸＭ ＠ ff//5 5.6 f/8 /5. .6

Then you set the aperture accordingly accordingly (see (see illustraillustramanufacturers overrate overrate guide guide tions above). Some manufacturers to make 1nake their their products products numbers a bit (in order to than they they actually actually are), are), so so sound more powerful than it's a good idea to to try try out aa new new flash flash unit unit with with it’s some test exposures or or aa professional professional flash flash meter n1eter for anything anything important. important. before you use it for

C HAPTER 8 CHAPTER

147

More about Flash HOW POSITION H O W TO TO P O S I T I O N IIT T ght gets dimmer dimmer the farther farther itit travels. travels. LU ight

Light from any source—a sou rce- a window, wi ndow, aa continuously continuously burning burni ng lamp, a flash—follows flash - follows the the same same general general rule: the light falls off off (gets (gets dimmer) dimmer) the t he farther farther the light source is from from an an object. object. You You can can see see and measure that effect if, if, for for example, example, you yo u meter meter objects that are near near aa bright bright lamp lamp compared compared to to farther away. away. But But light light from from aa flash flash those that are farther comes and goes so fast fast that that you you can’t can't see see the the effect effect of the flash on a scene at the the time time you you are are taking taking of the picture.

-lit scene may may not not be be evenly evenly illumiillumiA flash flash-lit nated. flash gets gets dimmer dimmer nated . Because light from a flash the farther it travels, you have have to to use use aa smaller smaller lens aperture for for subjects close close to to the the flash, flash, aa farther away. away. There There are are wider aperture for subjects farther several ways to determine detern1ine the the correct correct exposure expos ure for for (pages 146–147). 146- 147). But But a subject at a given distance (pages what do you do if ifdifferent parts parts of ofthe the same same scene scene from the the flash? flash? are at different distances from rearrange the the subject, subject, Sometimes you can rearrange such as the people in in aa group group portrait, portrait, so so all all are are t h e same distance distance from from the the flash; flash; more or less at the

perhaps you can change ch ange your yo u r own own position position to to have the same effect. You can can also also modify modify the the flash so it more evenly reaches reaches various various parts parts of of the scene, such as by by bouncing bouncing the t he light light onto onro the the subject or you yo u can use use more more than than one one flash flash unit. uni t. If If none of of these t hese options is is possible, possible, you you simply simply the fact fact that that those those parts parts of ofthe the ro work with the have to scene that are farther from from the the flash flash will will be be darker darker than th an those chose that that are closer. Unless Unless it it is is extreme, exrre1n e, for uneven uneven expoexpoyou can effectively compensate for sure in editing. If you know know the the light light falls falls off offand and d i miner the the farther farther it it travels, travels, you yo u can can at at least least gets dimmer predict how the t he flash flas h will illuminate illuminate aa scene. scene.

Flash portraits. In In one one way, way, flash flash isis easy easyto to use usefor for fl ash of oflight is so so fast fast that that you you don’t don't portraits: the flash light is have to worry about abo ut the the subject subject blurring blurring because because it moved during the the exposure. But But the the light light from from 1⁄1000 the flash fl ash is so quick ((1/1000 that you 1000 sec. or shorter) that can’t can't really see what the the subject subject looks looks like like when when lit. lit. son1e practice practice you you can can predict predict the the However, with some qualities of of light that that are are typical rypical of ofdifferent different flash flash th e opposite opposite page page are are some some positions. Shown on the for portraiture. portraiture. simple lighting setups for When objects are at different distances from a flash, flash, those that are closer will will be farther away. lighter than those that are farther Notice how dark the back of ofthe room is; even the dog’s dog1s tail is darker than his head. Try to position the most important parts of ofa scene (or (or position the flash) so they are more or less the same distance from the flash. flash. Notice the dog’s dog1s unusually bright eyes. In In a color photograph they would appear red. Red-eye of the eye’s Red-eye is a reflection of eye's retina through its lens and occurs when the flash is mounted too close to the camera’s camera's lens. Jens. The The retina’s retina's surface is covered with blood blood vessels vessels that make the reflected light red. For an example of ofred-eye in color, see page 218.

Karl Baden

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UISING S I N G LLIGHT IGHT

l f Direct flash on camera is simple and easy to to use because because the the flash flash is attached to the camera. The The light shining shining straight straight at at the subject from camera position, however, tends tends to to flatten flatten out out roundness and gives a rather harsh look.

h

Direct flash off camera off camera—usually camera-—usually usually raised raised and to to one one side— sidemodeling than than does flash flash on camera. camera. gives more roundness and modeling A synchronization (or sync) cord lets you move move the the flash flash away away from the camera. To avoid a shadow on the the wall, wall, move move the the more. subject away from it or raise the flash more.

J

subject gives a softer, so~er, more more Flash bounced from above onto the subject natural light than direct flash. flash. Light Light can also be directed into into aa large piece of ofwhite cardboard or an umbrella reflector reflector and and then then amount Bouncing the the flash flash cuts the the amount bounced onto the subject. Bouncing of of light that reaches the subject. Some flash units units automatically automatically compensate for this, or you you can make the the exposure adjustment adjustment yourself (see page 147). yourself 147).

subject gives a soft, so~, Flash bounced from the side onto the subject flattering light. You can use a light-colored light-colored wall, a large large piece of of white cardboard, or an umbrella reflector. The The closer closer the the the shadows will will subject is to the reflector, the more distinct the be. the subject subject be. To avoid a shadow on the back wall, move move the away from it.

C HAPTER 8 CHAPTER

149 149

Using Flash

Racetrack, Bruce Gilden. Old Man at a Racetrack, Ireland, 1996. 1996. Flash can be unflatterbuilt-in ing, especially direct light from aa built-in flash or one attached to the camera. Gilden often shoots with his camera in one one hand and the flash in the other, connected connected by a sync cord. By moving moving the light source away from the camera he creates shadows that give depth to his subject. And, because of ofits very short duration, 11/1000 ⁄1000 sec. or less, flash can also capture aa momentary expression. Gilden used used this this image in After the Off, his series on on rural the Off, racetracks in Ireland. Ireland.

150

U S I N G LLIGHT IGHT USING

Carl De Keyzer. GI. K. K. 6. 6. Krasnoyarsk, 2002. Flash Flash fills fills the shadows. Without the flash, shooting shooting into the the light like like this would put the subject in silhouette; the position of ofthe the sun is revealed by the shadows of ofthe man man and and the building building coming toward the photographer. The blur blur of ofmovement movement birds' wings is the result of ofmovement movement during during the the around the birds’ exposure and is noticable here because the the daylight provides more of of the overall exposure than the flash. flash. This photograph is from a self-assigned selfassigned project project investigatinvestigating Siberian prison camps, former former gulags, that that was was published published as the book Zona Zona..

C HAPTER 8 CHAPTER

151 151

M ARC P OKEMPNER MARC PoKEMPNER Down Down at at Theresa’s, Theresa's, 1974. 1974.

What's in the Picture. Picture...... 154 What’s Picture . . . . .. .... .. .. 154 The edges edges or or frame 154 The frame ......... . . . . . . . .. .... .. .. 154 The background . .......... . . . . . . . . .. ..... . . . 156 156

Focus ......................... . . . . . . . . . . . . . . . . . . . . . . . 158 158 Which parts are sharp .. ........... . . . . . . . . . 158 158 Time and Motion 160 in a Photograph .... . ...... . . . . . .... . . 160 162 Depth in a Picture ............. . . . . . . . . . . . 162 162 Three dimensions become two. two .. .... .. .. 162 163 Chaos into order ................ . . . . . . . . . . . . . . 163

168 Formal: Setting them up .... .. ...... . . . . .. 168

Photographing the Landscape ................ . . . . . . . . . . . . . . 170 170 Photographing 172 the Cityscape . .... . . .... .... .. .... .. .... .. 172 174 Photographing Inside. Inside .. .. .. .... .. .... .. 174

164 Photographing for Meaning .. .... 164

Assembled 176 to be Photographed .. .......... . . . . . . . . 176

166 Portraits . ..................... . . . . . . . . . . . . . . . . . . . 166 166 Informal: Finding them .......... . . . . . . . . 166

Responding 178 to Photographs. Photographs . .............. . . . . . . . . . . . . 178

Seeing Like a Camera you.'ll learn… learn ... In this chapter you’ll break down your intuitive intuitive way of of taking taking aa •• to break into conscious component parts—subject parts-subject picture into and content, framing and the edge, edge, and and the the relationship. foreground/background relationship. •• to make considered co nsidered decisions about how how your your location, and and subject subject will wi ll affect affect camera settings, location, of a photograph. photograp h. the meaning of photographs and those those •• how to discuss your photographs of of others in in ways that go beyond beyond “I "I like like it” it" "It's good.” good." or “It’s

9

PP

ictures translate the world you you see. see. Your Your photographs photographsleave leavebehind behind

their edges, edges, and and make make the the parts parts that that are are recorded recordedflatflatthe world outside their usually, much much smaller. Black-and-white Black-and-white photographs photographs are are even even ter and, usually, than those those in in color. color. No No photograph photograph isis the thesame samething thingas aswhat what more abstracted than p h otographed; it it refers refers somehow someh ow to to the the original original scene scene but buthas has its itsown ownlife life you photographed; to understand understand and and master master this this translation translation isis to to and meaning. The only way to make aa photograph, photograph, look look at at it, it, think think about aboutit, it,make make continue the work cycle: make anoth er. another. tell aa story, story, arouse arouse an an emotion, emotion, or or evoke evoke aa mood. mood. They They Photographs can tell can convey a political, political, sociological, sociological, or or theological theological insight, insight,or or they they can can merely merely of an event. evenr. The The weight weight and and import import of ofyour your photographs photographs will will be a reminder of depend on your own aspirations aspirations and and the the effort effort you you devote devote to to mastering mastering the the medium. n1edium.

Photography is a kind of literature—in literature-in two two ways. ways. First, First, any any time time you you kind of can spend absorbing the the work work of of recognized recognized masters masters will will reward reward your your own own and inspiration; inspiration; the the Internet In ternet isis useful useful but but aa good good library li braryisis work with insight and good lens. lens. Second, Second, photographs photographs can can be be assembled assembled like like sensenas important as a good consecutively to to carry carry aa larger larger and and more more complex complex meaning. meaning. For For tences placed consecutively example, the the two two photographs photographs on on pages pages 172–173 172- 173 show showaa romantic romanticand andaagritty gritty side of of city ciry life, and together together say say more more than than either either one one of ofthem them says says by byitself. itself. This chapter’s chapter's illustrations should shou ld be be aa jumping-off jumping-offpoint, point, but butthere thereisisno no better way to become a good good photographer photographerthan than to to keep keep making makingphotographs. photographs. Every time, before you yo u shoot, sh oot, ask ask yourself yourselfwhat what you you want want in in the the photograph. photograph. the photograph photograph as as you you imagined imaginedit, it,stop stopfor foraamoment momentto to Once you have taken the consider other options. How How would would itit look look ififyou you framed framed the the scene scene vertically vertically of horizontally? What What ififyou you moved moved the the camera camera to to aa very verylow lowpoint pointof of instead of slow shutter shutter speed speed do do to to motion motion in in the the scene? scen e? Try Try some some view? What would a slow of the variations, even if ifyou are are not not sure sure how how they they will will look look in in aa print. print. In Infact, fact, of are not not sure, sure, because because that that isis the the way way to to learn learn how how try them especially ifif you are translate the the world world before before it. it. Photographs Photographsaffect affecttheir theirviewers, viewers, the camera will translate profoundly. Take them them seriously; seriously; see see and and read read more more about about your your someimes profoundly. choices, and how h ow to to make n1ake them, rhetn, on on the the following following pages. pages. Colombia, 1985. 1985. You You Santiago Harker. Norte de Santander, Colombia, have choices. To begin with, what do you choose to to photograph? photograph? In In aa Their face? face? Or Or just just aa part part of of portrait, the whole person, head to toe? Their them that reveals something about their their life? life? Opposite, PoKempner moved in close to to concentrate on on the the hand hand holding the snapshot. Depth of offield is shallow shallow when when the the camera camera isis close to the subject, so it is important important to select select and and focus focus on on the the part part of you want to be sharp. ofthe scene you Left, Le~, Harker made many choices that were different. He He chose chose full full color, natural light, a more distant vantage point, more more depth depth of offield, field, and a vertical format. format. More More important, he chose aa different different balance balance between form and content (see page 164), 164), choosing choosing to to emphasize emphasize bold colors and strong graphics over over aa clear clear description of ofan an event. event.

153

What's in the Picture What’s T H E EEDGES DGES O R FFRAME RAME THE OR O ne of of the first choices to to make make with with aa phophoO to include include and and what wh at to to leave leave out. out. tograph is what to the rectangle rectangle you you see see when whe n you you The image frame, the th ro ugh the the viewfinder viewfinder or or at at the the LCD LCD monimonilook through on ly a section of ofthe the much much wider wider scene scene tor, shows only ofyou. The frame frame crops crops the the scene— scenethat is in front of rath er, you crop it—when it- when you you decide decide where wh ere to to or, rather, ca1nera, how h ow close to to get get to to your your subject, su bject, point the camera, to shoot. sh oot. and from what angle to

shoot whether wh ether you you want want to to Decide before you shoot wh o le scene scene (or (or as as much much of ofit as you you can) can) show the whole it as wh ether you want to to move move in in close close (or (or zoom zoom in in or whether for a detail. detail. You You can can focus focus attenatten with a zoom lens) for by framing framing itit tightly tightly or or you yo u can can tion on something by step back and have have it it be be just just another another element element in in aa larger scene. Where is your subject positioned positioned in in the the frame? We naturally naturally look look at at the the middle middle of ofthings t hings gee the clearest view. Most Mose of of us us have have aa similar similar to get tendency to to place a subject subject squarely squarely in in the the middle middle of the frame, especially especially when when hand h and holding holding aa camcamof fram ing through through aa viewfinder. viewfi nder. Usually Usually it’s it's era and framing better not to to center your your subject, subject, although although there there co this chis and and to co any any other ocher rule. rule. are exceptions to

When you look through the the viewfinder viewfinder or or at at the camera’s camera's monitor, monitor, imagine you yo u are viewviewing the final image image on on display. display. This This will will help help you yo u tendency is is to to “see” "see" frame the subject better. The tendency only the main subject and and ignore ignore its its surroundsurroundprint, however, however, the the surroundings surround in gs ings. In the final print, and immediately noticeable. noticeable. a nd the framing are immediately

You can also change framing framing later laterby bycropping cropping the edges of of a picture picture when when it it is is printed. printed. Many Many improved by by cropping cropping out our photographs can be improved distracting elements at the th e edges edges of of the the frame. frame. to frame frame exactly exactly when wh en you you take take the t he But it is best to pictu re; the highest highest quality q uali ty results results from from using using all all picture; capture. Keep Keep in in mind mind the rhe old o ld the image area you capture. saying, “crop "crop with your feet.” feet."

154 154

S E E I N G LLIKE IKE A C AMERA SEEING CAMERA

ofthe subject should should you include? What What you put put in in How much of the picture and what you leave out are among among the the most most important important decisions you you have to make when photographing. Do you need to move Do need to move in close to your your subject or your ideas? or will will a wider view view better better represent represent your ideas?

Terry E. Eiler. Old Fiddler’s Fiddler's Convention, Convention, Galax, Galax, Virginia, Virginia, 1978. 1978. You You can can frame fram e the t he central cent ral subject of ofa picture with with other parts of ofthe t he scene. scene. Showing the instruments surrounding at center, center, while while cropping cropping surrounding the fiddler fiddler at out most of ofthe other musicians themselves, themselves, focuses focuses attention on on the the fiddler. fiddler.

THE cun1NG CUTTING EDGE EDGE Project: THE Expose a few few dozen dozen digital digital pictures pictures or or aa roll rollof offilm film using using PROCEDURE Expose of the picture, picture, the the frame, frame, in in various various ways. ways. As As you you look look through through the edges of the viewfinder, use use the frame to to surround surround and and shape shape the the image image in in difdif• Make a viewing viewing aid aid by by cutting cutting aa small smallrectangle rectangle in in an an 88 ×x ferent ways. Make piece of of black black cardboard. ItIt will will be be easier easier to to move move around around and and 10-inch piece camera and and can can help help you you visualize visualize your your choices. choices. look through than aa camera off to to one one side side or or in in one one corner corner of ofthe the frame. frame. Put the main subject off Put balance the the image image so so that that the the scene scene doesn’t doesn't feel feel lopsided? lops ided? Can you balance Put the horizon line line at at the the very very top top or or very very bottom bottom of ofaa photophotoPut intentionally. graph, or try tilting itit intentionally. Have “nothing” "nothing" at the the center center of of the the frame, frame, like like the the photograph photograph Have Keep the viewer’s viewer's interest interest directed directed toward toward the the edges. edges. above. Keep Make a portrait of of someone someone without without his his or or her her head head in in the the picture. picture. Try to have have the image image express something something of ofthe the subject’s subject's personality. personality.

looking at or or reaching reaching for for something something outside outside the the Have someone looking Have Have them close to to the the side side of ofthe the frame frame they they are are looking looking or or frame. Have have them them far far from from that that side, side, at at the the other other side side reaching toward. Then have of the frame. of Photograph something in in its its entirety: entirety: aa person, person , aa shopfront, shopfront, an an Photograph chair~whatever gets your your attention. attention. Move Move animal, an overstuffed chair —whatever gets How will you you use use the the frame frame to to cut cut into into the the object? object? in a little closer. How Do you crop the object evenly evenly all all around? around? More More on on one one side side than than Do Move in in even closer. closer. Closer. Closer. Photojournalist Photojournalist Robert Robert Capa Capa the other? Move "If your pictures pictures aren’t aren't good good enough, enough, you you aren’t aren't close close enough.” enough." said, “If Do you agree? Do DO? What worked wo rked best? best? What What wouldn’t wouldn't you you ordiordiHOW DID YOU DO? nari ly have done? narily

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What's in the Picture What’s THE B ACKGROUND THE BACKGROUND

SS eeing

the background. background. When When you you view view aa n1ost sharply sharply whatever whatever you you are are looklookscene, you see most see less less clearly clearly objects objects in in ing at directly, and you see the periphery periphery of ofyour your vision. vision. the background or at the If If you are concentrating on on something son1ething of of interinternor even notice notice other other things things nearby. nearby. est, you may not camera's lens does does see see them, them, and and itit shows shows But the camera’s everything within within its its angle angle of of view. view. unselectively everything details can can be be ignored ignored by by Unwanted or distracting details the eye looking at aa scene, but but in in aa picture picture those those n1ore conspicuous. Before Before shootshootdetails are much more imagi ne how how the the scene scene will wi ll look look ififthe the ing, try to imagine are given given equal equal emphasis. emphasis. subject and background are the effect of of a distracting distracting background, background, To reduce the that the the background background is is out out of of you can shoot so that focus or change your angle angle of of view view as as shown shown in in right. There is is no no rule rule that that the photographs at right. shouldn't have have aa distracting distracting background; background; says you shouldn’t sometimes that that can be be exactly exactly the the point, point, as as in in the the be aware aware of of the the different different picture opposite. Just be way the camera sees.

Where’s Where's the subject? The clutter clutter of ofobjects in the background attracts the eye at least least as much as do the man and bird in the foreground. foreground. IfIf the picture is about the location, then the the

building can make a useful contribution. But But ifif the photograph is supposed to be about the man and his bird, then the busy background seems an unnecessary distraction.

The relationship of of subject subject to to background background is called figure/ground figure/ground, figure/ ground,, or positive and negative

Polly Brown

space, terms give you you aa way way to to talk talk about about space, and these terms or doesn’t doesn't work. work. Having Having aa why a picture works or the way pictures pictures are are structured structured vocabulary for the (their formal qualities) doesn’t doesn't necessarily necessarily make make photographer, but bur does does allow allow you you you a better photographer, to discuss these issues issues with others others and and to to analyze analyze migh t be doing subconsciously. subconsciously. See See what you might 178- 179. pages 178–179.

A less -intrusive background resulted resulted when when less-intrusive the photographer simply moved moved to aa lower lower vantage point and changed the angle from

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which she shot. The plain sky provides a clear clear separation between figure and ground, and and doesn’t doesn't distract from the subject.

York City, Ciry, 1974. 1974. Make sure sure Lee Friedlander. New York you background of ofa scene as well well as the the you look at the background main subject of you aren’t ofinterest. IfIfyou aren 't paying paying attention, you may lose your your subject entirely. Confusion Confusion of ofthe the you background and foreground, foreground, however, may may itself itselfbe be the the subject. Here, Here, Friedlander uses chiaroscuro chiaroscuro,, as subject. as artists call patterns of light and dark, to suggest the intensity of the intensiry

of of life—even life- even for a statue—in statue- in New York. York. The picture is visually chaotic and ambiguous, but intentionally intentionally so. Remember that the camera records everything everything within within its angle of ofview with equal importance, even ififyou are looking only at one subject. A photograph can render render the the relation between a foreground object and aa background background very differently than you you perceive it.

THE BACKGROUND us1NG THE sAcKGRouNo Project: USING Make photographs photographs in in which which the the background background either either PROCEDURE Make comp lements or contrasts with the the subject. subject. For For example, example, someone someone complements drinking coffee in front of of a large large ornate ornate espresso espresso maker; maker; an an arguing arguing of a smiling-face poster; poster; aa child child by by aa “Library "Library Closed” Closed " couple in front of in front front of of aa store. store. sign; a shopkeeper standing in Look through the viewfinder (or (or aa viewing viewing aid, aid , like like the the one one

Project box box on on page page 155) 155) as as you you try try different different posiposidescribed in the Project to photograph. photograph. tions from which to DO? Compare several several of of your your most most successful successful HOW DID YOU DO? background be be seen seen as as clearly dearly as as the the subject? subject? What W hat prints. Could the background did the background contribute?

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Focus WHICH P ARTS A R E SSHARP HARP WHICH PARTS ARE

W

W hen you look at a scene you you actually actuallyfocus focus distance at at aa time; time; objects objects your eyes on only one distance at all other distances are are not not as as sharp. sharp. Your Your eyes eyes automatically adjust their their focus focus as as you you look look from from one object, or part part of of an an object, to to another. another. If Ifyou you opposite, bottom, bottom, you you were at the scene shown opposite, might look at the the wire rack rack and and not nor notice notice you you much less less sharply. sharply. If If you you were seeing the sailors much looked at the sailors your eyes eyes would would instantly instantly refocus to see them them sharply. But Bur in in aa photograph, photograph, the sharpness of ofobjects objects at at different different differences in the distances are immediately evident evident because because the the frozen at at the the time time of ofexpoexpofocus relationships are frozen can be be distracting distracting or or they they sure. Such differences can to the the photograph, photograph, depending depending on on can add interest to how you use them. chem.

Controlling the depth of of field. field. In ln some some phophotographs you have no no choice choice about about depth depth of of {the area from near near to to far far within within which which all all field (the objects appear acceptably sharp). sharp). For For example, example, low ISO, ISO, or or under under other other in dim light, or with a low of field field may may have have to to be be very very conditions, the depth of can control control the the depth depth of of shallow. But usually you can as shown shown on on pages pages 44–45. 44- 45. It It field to some extent, as to have have everything everyth ing sharp, sharp, is not necessarily better to our of of focus, focus, or or to to follow fo llow any any or the background out other rules, but it it is is important important to to remember ren1ember that char will notice notice what what isis sharp sharp in the photograph you will isn't. and what isn’t.

of Eliot Porter. Gravel and Mud at Edge of River below Piute Rapids, San Juan Juan Canyon, Canyon, Utah, Utah, May 24, 1962. 1962. Landscapes are often ofl:en photographed so that everything is sharp from foreground to background. The entire image is more important than any single part part of you had been standing next of it. it. If Ifyou next to the the camera when this picture was taken, each part of of the scene would have looked sharp to to

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you. of simply enhancing the realism you. Instead of of of the picture, this kind of ofall-over sharpness can also call attention to its two-dimensional vain that that graphic qualities. Porter hoped in vain his photographs of ofscenic splendor in the Glen Glen Canyon area of Arizona and Utah could stop of the construction of ofa dam that eventually submerged everything he photographed photographed under under Lake Powell, which it created.

Project: USING DEPTH DEPTH OF FIELD PROCEDURE As you subj ects, look at various subjects, how try to anticipate how yo u much depth of field you want, and how you can increase (or decrease) of field fie ld to to get the depth of (o r less) less) of of the more (or photograph to appear Page 45 shows sharp. Page how to use aperture foca l length, lengt h, and/ and / size, focal d o this. this. or distance to do severa l photophotoMake several graphs grap hs of of each scene, of field in in using depth of different ways. See for example, the landscape landscape might on page 47. You might ent ire scene sce ne have the entire sharp, as shown, or for the same scene, the river in front sharp and of the background out of abo ut just focus. How about in the th e the mountains in in focus? Is Is distance in there some object you you ca n call cal l attention to can sha llow depth of of using shallow fie ld that might might be be overfield looked with everything in focus? notes of of your Keep notes aperture size, focal an d length, distance, and why you chose them, to remind you later what d id. you did. HOW DID YOU Com pare your yo ur DO? Compare ab le results. Were you able everyt hing sharp to get everything when you wanted itit that way? When you wanted so mething out of of focus, focus, something of focus was it out of enough? eno ugh? Now Now that you t he prints, do do look at the you see anything you yo u next time? might try next

Elliott Erwitt. Metropolitan Museum of ofArt, 1949. The illusion of ofdepth isis New York City, 1949. enhanced when the foreground is in sharp focus focus and the background becomes gradually softer. so~er. The gentle transition from near to to middle distance to background in this photograph emphasizes its realism.

Ray K. K. Metzker. The Loop: Chicago, 1958. 1958. Here the background offocus—but focus -but is out of focus— but the photographer wanted the out-of-focus out-of focus figures to become the most important element. We naturally give more attention to what is in focus and what is close but there are always exceptions. This photograph pushes its subject toward the edge of ofrecognizability. recognizability. Even further fi,rther toward that edge is the photograph on page 163, 163, top. top. Both reverse our expectations, putting putting the foreground out of of focus and leaving the background sharp.

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Time and Motion in a Photograph A photograph is a slice ofof time. time. Just Just as as you you A

that you want want to to photograph photograph select the section that of a larger scene, you can also also choose choose the the out of of time you want want to to record. record. You You can can think think section of of a photograph as carving through through time, time, taking taking of shutter speed speed or or aa narrow narrow a wide slice at a slow shutter In that that slice slice of of time, time, slice at a fast shutter speed. In n1oving, and, depending depending on on the the shutter shutter things are moving, of the the motion, motion, and and other other factors facrors speed, direction of you can can show show 18- 21), you discussed earlier (pages 18–21), until in mid-movement, m id-movement, blurred blu rred until objects frozen in unrecognizable, or or blurred blurred to to any any they are almost unrecognizable, extent in between.

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Blur part of of a picture picture for for emphasis. emphasis. IfIf the the little during the the exposure exposure (or (or ifif subject moves a little panning- see page page 19—you 19- you keep keep the the subject subject by panning—see the background) you you create create visual visual still and move the the comparison. Use Use aa tripod tripod to to interest with the sharp while while your your subsubkeep the background very sharp in the the photograph photograph below. below. ject moves, as was done in to have have the the entire entire image image Rarely is it effective to blurred by motion, motion, the the way way it it would would be be ifif you yo u or didn’t didn' t hold hold the the used too slow a shutter speed or camera steadily. But But even aa photograph photograph that that is is of focus focus can can be be aa visual visual treat; treat; it it is is everywhere out of up to you to make it work.

Mike Mandel. Emptying the Fridge, Fridge, 1985. 1985. ExpoExpo• sure time controls the of motion. In a suggestion of reference to motion studies made by efficiency efficieno/ experts Frank and Lillian Gilbreth th century, early in the 20 20th Mandel tied blinking blinking lights to the person’s person's hands and left le~ the camera’s camera's shutter open for five minutes. The objects moved to the councoun ter later in the exposure (for less of of the total time) appear more translucent. translucent.

Project: SHOWING SHOWING MOTION MOTION YOU WILL NEED A tripod, when you want steady to keep the camera steady during long exposures. Make PROCEDURE Make of photographs photographs a series of chat depict motion motion in in that d iffe rent ways. Select aa different let you scene that will let same photograph the same action several times, such on a as people moving on crowded street, children moving on swings, or moving have water or leaves. Or have perform the the someone perform same action for you several times, such as aa runner, skateboarder, a runner, or a dancer. H ow can you make make aa How makes photograph that makes a viewer feel the subject showing is moving? Try showing the subject sharp. Try showing it blurred. Try pann ing the camera with panning the the subject, so that the subject appears sharp blurred backbackagainst a blurred Page 19 19 shows ground. Page of the ways you some of represencan control the represenof motion. motion. tation of Try photographing from a different angle, low to the such as very low ground. IfIf you move move subject's closer to your subject’s feet or skateboard, or or is moving, moving, you’ll you'll whatever is of a blur blur than than ifif get more of you stay farther away. notes of of the Keep notes shutter speed, distance, and relative subject speed reconso later you can reconstruct what you did.

Russell Lee. Soda Jerk, Corpus Christi, Texas, Sodajerk, Texas, 1939. 1939. (Tash. The rapid rapid motion of of Time is frozen by a flash. the flying ice cream has been halted halted in midair midair by by the the quick burst of oflight from an on-camera flash. flash. Stopping Stopping time this abruptly can be unflattering, for example example by by catching faces in between expressions, but but itit can can also produce magical visions the eye could never have seen. could never have

Lou Jones. Jones. Boston, 1998. 1998. Move the camera along with your subject to keep it in focus. focus . Here, Here, the the carnival ride ride photographer was positioned on the carnival itself itself so his relatively-long shutter speed speed held held nearby nearby passengers in focus but allowed the parts of ofthe the scene not moving with him to blur. Panning Pann ing., or moving the camera during exposure to follow a moving moving subject, ofof ten makes your your photograph appear this this way: a subject subject in focus against a streaking background.

HOW DID YOU DO? What worked well? What didn’t, didn 't, but but might might have worked for another of subject? Did Did type of produce some exposures produce blur? Did Did the t he too much blur? d isappear entirely subject disappear in any frame?

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Depth in a Picture THREE D IMENSIONS B ECOME T WO THREE DIMENSIONS BECOME TWO change the the depth depth PP hotographs can seem to change

in a scene. scene . When you photograph, photograph, you transtranslate the three dimensions of of aa scene scene that that has has real real depth into the two two dimensions dimensions of of aa visual visual image. image. expand space space so so objects objects seem seem In doing so, you can expand very far apart or you you can can compress space space so so objects objects and crowded crowded close close together. together. appear to be flattened and these two two photographs photographs of of For example, compare these shows us us flat flat planes planes that that buildings in a city. One shows they were were pasted pasted one one on on top top of of look almost as ifif they the other gives gives the the scene scene volume, volume, the other and the mass, and depth.

Your choices make aa difference. difference. The The top top photograph was made made with with aa long-focal-length long-focal-length of view and and close close cropping, cropping, lens. Its narrow angle of combined with the the straight-on vantage vantage point, point, photographer reduce reduce what what we we can can see see helped the photographer simple-and flattened—geometry. flattened-geometry. The T he botbotto a simple—and made with with aa normal-focal-length normal-focal-length tom photo was made elevated position. position. This This wider wider lens but from an elevated of view includes more more buildings, bui ldings, and and more more angle of of of the bottom and top top of ofeach each building. bui lding. There There was was probably a limited selection selection of of possible possible vantage vantage this one was was still still carefully carefu lly chosen. chosen. points, but this Pages 48–49 48- 49 explain more more about about how how to to use use your your to control the the way way aa photograph photograph lens and position to shows depth. of your choices affect the the viewer’s viewer's impresimpresAll of of your subject’s subject's depth, depth, something something the the phophosion of itself- being two two dimensional—doesn’t dimensional- doesn't tograph itself—being only part part of of an an object object or or aa have at all. Showing only of a scene, scene, for for example, example, may may contribcontribnarrow view of viewer's impression impression of of volume volume ute to reducing a viewer’s in a photograph. This may may be be easy easy to to do do by by chooschooslens, but but framing, framing, focus, focus, ing a longer-focal-length lens, lighting are are all all important important facfacvantage point, and lighting we ll. tors as well. take a picture, picture, the the three t h ree Every time you take of the the real real world are are translated translated autoautodimensions of the two two dimensions din1ensions of of aa photoph otomatically into the taking control control of ofautomatic automatic focus focus graph. But, like taking is usually usually best best to to make make and automatic exposure, itit is your own decisions.

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1973. Dan McCoy. Midtown Manhattan, 1973. ofthe city. Buildings Buildings Two perspectives of (top) seen from the side seem to lie on top of of each other. A bird’s-eye bird's-eye night view view (bottom) gives the buildings volume. All your choices,

especially focal lengh, lighting, vantage vantage point, and focus, focus, can contribute to enhancing enhancing or or suppressing the sense of your ofa third dimension in your photographs. photographs. Berenice Abbott. New York at Night, 1934. 1934.

C H A O S IINTO NTO O RDER CHAOS ORDER

Y

Y our choices of of timing, t1m1ng, vantage vantage point, point, focus, and lens are a complex complex mix. mix. You are photographs, not not just taking caking them, them, and and making photographs, that viewing them them will wi ll be be aa must keep in mind that seeing the the world world from from from seeing different experience from which they were made. made. What What kind kind of of experience experience do you want to communicate? Consider the t he two photographs photographs on on this this page. page. The one below is carefully carefully ordered ordered and and organized organized co create a mood of of calm and and serenity. serenity. We We imagimagto of the the way way it it is is shown shown to to place- because of ine the place—because us- co have a storybook quality quality that that we we can’t can't us—to oflens or depth depth of offield. field. credit to a simple choice of lens or At left is a photograph so chaotic chaotic it it is is difficult difficult at at co sort out. It It is is jangled and and energetic, energetic, with with first to no clear subject. photographer has has imposed imposed In both cases the photographer what was was in in front front of ofthe the a personal sensibility on what in viewing viewing lens and so directed our experience in abili ty to to create aa unique unique sensibility, sensibili ty, them. The ability consistently, is is often often called called style style.. and to do so consistently, style. to develop, and and itit hinges hinges on on Style takes time to of the the available available tools cools and and both an understanding of a sense of of what it is is important to to use use them them for. for. Pete Turner. Ibiza Woman, 1961. 1961. You You can simplify yyour our subject with choices of of where, where, when, and how to take the picture. Larry Fink. Man Drinking, Alan Turner Turner Larry 1982. The The eye and brain hesihesiParty, 1982. tate to be be ta te when an image is too complex to quickly deciphered. Creating that that kind kind of of hesitation is a goal of ofsome photographers (see page 157). 157).

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Photographing for for Meaning G ood G

composition compos1t1on and technical technical quality quality are not the only goals you could keep in mind mind as you photograph. For some, some, it it is is enough enough to to make a competent, competent, well-designed well-designed photograph photograph of of of your choosing. In In fact, fact, many many phophothe subject of tographers make aa good living living doing doing just just that. that. All All form- the way way aa picture picture photographs have both form—the looks, including its composition—and composition- and content— contentwhat a picture is is about, including including its its subject. subject. And And form and and content content that that there is a balance between form the photographer can can control. If If you’d you'd like like an an challenge, however, however, consider consider the the way way additional challenge, you can use form and content content together together to to create create forn1 and photograph. meaning in a photograph.

Meaning can be be reinforced, reinforced, as as in in the the photophototwo pages, pages, by by arranging arranging the the way way graphs on these two For example, exatnple, meaning meaning can can you show your subject. For metaphor based based on on appearappearusing a metaphor be created using ance, like the supermarket stretching stretching its its mouth mouth the sensual shapes shapes and and curves curves of of (opposite) or the expand aa picture’s picture's possibilipossibiliPepper #30 (right). To expand only about what what something something looks looks ties, think not only it looks looks like like or or might might mean. mean. like, but what else it Mythology, literature, and religion religion have have invested invested literature, and many subjects with symbolic symbolic meaning—a meaning- a pomepomegranate in a still life or a rutted rutted path path in in aa landlandYour pictures pictures can can scape- that can add significance. Your scape—that be more than just a record record of ofaa subject’s subject's existence. existence. Consider the physical physical qualities qualities of of your your photograph . A slightly brown or sepia color color of of photograph. photograph is is called called warm warm tone tone a black-and-white photograph emotional warmth warmth to to the the because it imparts an emotional

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of the image. image. The T he wide wide panoramic panoramic shape shape subject of of the landscape below below suggests suggests an an endless end less horihoriof can't be be contained contained zon, a topography so vast itit can’t rectangle. Scale Scale also also changes changes the the in an ordinary rectangle. of an image: image: aa tiny tiny print print often often exudes exudes effectiveness of intimacy; one can can project project power. power. AA intimacy; a very large large one thoughtfu l presentation of ofyour your work work will will make make aa thoughtful in its impact. impact. big difference in

Edward Weston. Weston . Pepper ##30, 30, 1930. 1930. Common shapes can be suggestive when photographically isolated. ed. About this image Weston said “It "It is classic, completely satisfying—a pepper—but satisfying-a pepper-but more than a pepper; abstract, in that it is completely outside subject matter.” matter. "

Warren Padula. Mouth, 1996. 1996. Your Your subject subject can be be a metaphor metaphor for something else. Here, the dairy aisle in aa supermarket supermarket becomes becomes an an open mouth in an amusing study of ofconsumer consumer culture. Made Made by by using using the bottom rack of ofa supermarket cart as a tripod tripod to to hold hold aa homehomemade pinhole camera—a camera- a simple lensless box—it box- it reminds us us that that the the success or failure of ofa photograph is not not the result result of ofexpensive expensive equipequipofthe efforts and ability of ofthe the user. user. Another Another example example of ofaa ment, but of photographic metaphor is on page 202, bottom. bottom.

Art Sinsabaugh. Midwest Landscape Landscape #24, 1961. 1961. A photograph’s photograph's shape can affect its meaning. The extreme panoramic format used for for this image image was the photographer’s photographer's response to to the relentlessly ofthe the horizontal and often featureless landscape of American Midwest.

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Portraits IINFORMAL: N F O R M A L : FFINDING INDING T HEM THEM A A

good portrait shows more more than than merely merely what what someone looks like. It It captures captures an an expression, expression, reveals a mood, mood, or tells tells something something about about aa perperson. Props, clothing, clothing, or or a view view into into the the subject’s subject's essential, but but they they can can help help environment are not essential, show what a person does does or or what what kind kind of ofaa person person photographs at at right right and and on on the the he or she is (see photographs opposite page).

Put your subject at ease. ease. To To do do this, this, you you have have to be relaxed yourself, or at least least look look that that way. way. You'll feel better if if you are are familiar familiar with with your yo ur You’ll how it it works so so you you don’t don' t have have equipment and how to worry about how how to to set set the the exposure exposure or or make make other adjustments. Don't skimp on shooting when when making making aa Don’t portrait. Make sure you you aren’t aren't imposing i1nposing on on somesomeone’s one's time, rime, then take rake three, three, four, four, or or aa dozen dozen shots shots to warm up so your subject can can get get past past the the nervousness nen,ousness that that many many people people have have at at first first when when being photographed. ⁄60 Try to use a fast enough shutter shutter speed, speed, 11/60 60 if possible, possible, so so you yo u can can shoot shoot when wh en sec. or faster, if yo ur subject looks good, rather rather than than your your having having your " Hold it,” it," which is is only only likely likely to to produce produce to say, “Hold a wooden expression. Don’t Don't automatically automatically ask ask your you r subject to smile, either. either. A A quietly quietly pleasant, pleasant, better than than aa pasted-on pasted-on expressio n looks looks better relaxed expression big smile. Lighting. See what itit isis doing doing to to the the subject. subject. Soft, Soft, light is is the the easiest easiest to to use; use; itit isis relatively diffused light faces and won’t won't change change much much even even ifif kind to most faces position. you alter your position. in the t he photographs photographs on on Side lighting, like in pages, adds roundness roundness and and aa threethreethese two pages, modeling. The more more to to the the side side the the dimensional modeling. main light is, particularly particularly ifif it it is is not not diffused, diffused, facial texture, texture, including including the more it emphasizes facial wrinkles and lines. lines. That’s That's fine fine for for many many subjects, subjects, instance, for for your yo ur Uncle Uncle Pete Pete ififhe still but bad, for instance, he still himself as as the the young adult ad ult he he used used wants to see himself produces less less modeling modeling than than to be. Front lighting produces (see pages pages 140–141), 140- 141 ), but but itit minmindoes side lighting (see min or imperfections. imperfection s. Three Three simple simple portrait portrait imi zes minor imizes on pages pages 144–145. 144- 145. lighting setups are shown on

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Alec Soth. Charles, Vasa, Minnesota, 2002. Leave Leave yourself yourselfopen open to to chance meetings. Soth, driving through an unfamiliar unfamiliar neighborhood, neighborhood, noticed a large glass room built on the roof roofof ofaa house. house. He He introduced introduced himself was his “cockpit,” "cockpit," aa place place himselfto the owner, who said the glass room was where he and his daughter built model airplanes. built

Project: A PORTRAIT ere are are PROCEDURE Th There many different different at least as many portrait of of ways to make a portrait peo ple someone as there are people worl d to photograph. photograph . in the world dozen Use at least three dozen photograp h the the exposures to photograph person in as as many many difdifsame person fere nt ways as you can. Twice ferent of the same person person as many of better. ItIt may may take take are even better. both you and a nd wh il e before both a while fee l relaxed and and your subject feel co mfortab le. Here Here are are some comfortable. but you can can possibilities, but more. t hink up even more. think baseline, consider co nsider As a baseline, conventional head-andhead-andthe conventional sho ulders graduation-type grad uation-type shoulders portra it. Where can you go portrait. from there? T ry different sites and a nd Try in backgro unds, such as in backgrounds, park, at home, ho me, at work. a park, Does the background background have have Does pleasan t? How How about about to look pleasant? row of of beat-up beat-up in front of a row schoo l lockers? lockers? school T ry different angles: angles; from Try as above or below, as well as level. Try T ry moving moving from eye level. cl ose, so the camera in very close, facia l features. fea tures. exaggerates facial perso n always have have Does the person Does sitti ng or standing? stand in g? to be sitting IfIf the person feels relaxed person fee ls relaxed ca n role-play, ro le- play, have have enough or can her express different different him or her sademotions, such as anger, sadsi lly good humor. humor. ness, silly ligh ting: front, fro nt, Vary the lighting: side , top, bottom, bottom, back back (see (see side, in direct direct 140- 141 ), in pages 140–141), su n, by by a window, in in the the sun, 136- 137). shad e (see pages pages 136–137). shade yo u have have to see see their Do you Do Ca n you make make aa revealrevealface? Can portrait from the back? back? ing portrait sil houette? As a silhouette? You' ll know you have have shot shot You’ll eno ugh when both both you you and and enough a re worn out. ou t. your subject are DO? HOW DID YOU DO? Whic h are your favorite favor ite Which photograp hs> Why? W hy> Which W h ich photographs? subjec t's favorites? favorites? are your subject’s W hy? How di d the bac kWhy? How did backgrou nd , props, pro ps, or other other ground, ele me nts contribute co ntribute to the t he elements p icture? What would wo ul d picture? so meo ne who didn’t didn ' t know know someone t hi s person perso n think th ink about abou t this t hem , based based simply simp ly on them, see ing the photographs? p hotographs? seeing

Ki/lip. Torso, Torso, Pelaw, Pe/aw, Gateshead, Gateshead, Tyneside, Tyneside, 1978. 1978. Chris Killip.

face. A person can be revealed by more than just just a face.

Killip Ki/lip lived in Newcastle during the 1970s, 1970s, aa period period of of economic decline and high unemployment unemployment in England’s England's industrial north. He was drawn to photograph this this man, man, Ki/lip 's home, by by the the stained stained trousers; trousers; seated on a wall near Killip’s

didn 't notice the poorly repaired coat coat and and mismatched mismatched he didn’t shoelaces until he printed the image. Years later, when asked to participate in a museum museum exhibit on portraiture, Killip Ki/lip sent this photograph. The The museum sent it back with a note saying saying itit wasn’t wasn 't aa portrait. portrait. Do you you think it is? CHAPTER C HAPTER 9

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Portraits FFORMAL: O R M A L : SSETTING E T T I N G THEM THEM U P UP

C

C ontrol more of of the situation situation when when you you want want your yo ur portraits to to look a certain certain way. way. You You may n1ay want want your yo ur portrait to to look spontaneous, spon tan eous, like like you yo u just just stumbled on your subject, subject, but but aa photograph photograph can can if you’ve yo u've made made an an appointment appointment in in feel casual even if advance, asked as ked your yo ur subject subject to to wear wear your yo ur choice choice of of m ade them them hold ho ld aa given given posture. posture. Like Like clothes, or made pages 166–167 166- 167 show, show, there there the photographs on pages presenting someone someone in in aa believable believable is a power in presenting setting, especially es pecially if if you want want your your constructed constructed narrative to to have the the ring rin g of oftruth. truth.

Some portraits should look look more more formal. formal. AA lead er or o r business executive executive may m ay want wane aa political leader photograph that suggests the the traditions traditions of ofaa stustut he one on on this chis page. page. A A celebrity celebrity dio portrait, like the m ay want someone som eon e photographed photographed in in aa magazine may but one one (like (like on on the the opposite opposite more expressive way, but char appears just ju st as as deliberate. d eliberate. These T hese styles styles page) that understanding of of!ighting (see Chapter Chapter require an understanding lighting (see usually made mad e in in artificial a rtificial illumination illumination 8) and are usually supplied by the the photographer. p h otographer. A model release protects protects you you ifif you yo u sell sell aa of someone som eone for for commercial commercial use. use. It It photograph of yo ur subject that that gives gives you yo u the t he is a contract with your p ublish his his or or her her image. image. You You can can right to sell or publish releases online with with aa simple simple Internet Internee find sample releases ASM P (American (Am erican Society Society of of Media Media search. The ASMP as mp.org) displays displays several several useusePhotographers, asmp.org) ve rsions online, and offers offers legal legal and and business business ful versions to its its members. m embers. Remember, Rem ember, even even ifif information to as ks you yo u (or pays pays you) you) to to make make their their someone asks pho tograph, its ownership, ownership, or or copyright, copyright, remains ren1ai n s photograph, yours yo urs unless you yo u sign it it away. away.

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Yousuf Yousuf Karsh. Karsh. Sir Winston Churchill, 1941. 1941. The The ofthis photographer was given only two minutes of world leader’s leader's precious time. Lighting Lighting was was arranged arranged using using a stand-in. Churchill arrived with his trademark cigar cigar clenched in his teeth; Karsh instinctively reached reached out out and and removed it, capturing the angry and belligerent belligerent response that, for him, represented England’s England's wartime wartime defiance.

Arnold Newman. Newman . Igor Igor Stravinsky, 1946. 1946. The The structure structure of ofaa photograph photograph can can reinforce its meaning. Newman cropped depar ting cropped this this portrait portrait to to its its essentials, essentials, departing departing from the conv con ventional rectangle. Composer conventional Composer Stravinsky Stravinsky isis shown shown with with aa piano, piano, the the image connects him to music. The qquarter uarter uar ter The isolated isolated piano top’s top's shape shape suggests suggests the the quar note no te in musical notation. notation. Newman says that m y feelings that the the image image “echoed "echoed my my feelings about about SStravinsky's traavinsky’s music: strong, harsh, but tr but with with aa stark beauty beauty of ofits its own.” own."

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Photographing the Landscape H ow do you photograph aa place? place? There There are are H

as many different ways to to view view aa scene scene as as there there are photographers. Most Most important important for for you: you: what what do you want to remember? remen1ber? What What is is the the best best part part of the place for you? you ? Is Is it it the the sweep sweep of of the the landlandof scape as a whole that that is is breathtaking breathtaking or or is is some some part of of it it especially especially significant? signifi cant? In In what what particular part way does the place place speak to to you? yo u?

M israch. Tracks, Black Black Rock Desert, Desert, Nevada, 1989. 1989. Richard Misrach. A landscape can have an opinion. Beautiful A Beautiful as they they are, the the

pattern of ofthese tire tracks make us wonder wonder ififwe we are doing doing

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Look at a scene from different different angles, angles, walkwalkaro und to to view it it from from different different positions. positio ns. ing around Your Yo ur location can profoundly profoundly affect affect the the relation relation foregro und and background; background; the the closer closer between foreground you the more more aa slight sligh t change change of of yo u are to an object, the its relationship relationship to to the the backbackposition will alter its gro und. Change your point point of of view view and and aa subject subject ground. may reveal itself itself in a new new way. way.

enough to protect the earth from ourselves. Many Many landscape photographers try to exclude signs of ofcivilization from from their their images; Misrach has made such encroachments aa major major theme. theme.

Stuart Rome. Horsetail Falls, Falls, Oregon, 1996. 1996. Landscapes Landscapes are often o~en sharp from foreground to to background. Depth of offield increases with smaller smaller apertures, but but you must compensate with longer exposures. Here, Here, the the longer longer exposure allowed the motion of ofthe waterfall waterfall to to blur blur into into aa soft, so~, surreal presence—in presence- in marked marked contrast contrast to to the the hardness hardness and sharpness of ofthe surrounding surrounding rock. Rome photographed from inside a cave to frame frame the the waterfall in rock and show it against aa background background of offorest. forest. between Your location can profoundly affect the relation between foreground and background; the closer closeryou are to to an object, the more a slight change of ofposition will will alter alter its relationship to the background.

1972. Barbara London. Point Lobos, California, 1972. A landscape doesn’t doesn't have to be a wide wide view. view.

This photograph of ofdried mud taken from up up close and directly overhead is slightly disorienting. Not only only is the subject matter ambiguous, but but itit isn’t isn 1t clear clear which way is up. The top of ofa picture usually identiidentifies the top of ofa scene because we are used used to seeing seeing things—and things- and photographing photographing them—from them - from an upright upright position. Change your your point of ofview view and and a subject subject may may reveal itself itselfin a new way. C HAPTER 9 CHAPTER

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Photographing the Cityscape H

H ow do you see the city? city? Is ls itit aa place place of ofcomcomfort or o r of of chaos? Is ls it it the the people people or or the the buildings buildings characte r? Whether Whether you yo u live live in in the the city city t hat give it character? that or you yo u are just visiting, use use the the camera cam era as as your yo ur excuse to explore it.

Walking gives g ives you time to to photograph. photograph . Stop Stop if you yo u see something som ething interesting; interesting; don’t don' t be be in in such such if hurty that that you yo u can’t can't pause pause to to think think about about how how a hurry best to frame your yo ur subject or or wait wait for for aa moving moving presence p rese n ce to co enter en ter the the scene. A A passing passi ng pedestrian, pedestrian, dog, or city bus in in transit transit may may be be just just the the graphic grap hic element to make ma ke your yo ur cityscape distinctive. distinctive. Return to a place place when the the light light isis best. best. The The different side side of ofaa building building in in sun will illuminate a different morn ing than it does does in in the the afternoon. afternoo n. Clouds Clo uds the morning sky impart impart an an entirely entirely different differen t or an overcast sky than aa bright, bright, sunny sunny day. day. emotional tone than Don't ignore the possibilities possibilities of of photographphotographDon’t dusk, or at at night. night. A A tripod tripod will will let let you you ing at dawn, dusk, make n1ake long exposures, but but be be careful careful setting setting one one up on a busy sidewalk.

The time of of day affects more more than than just just the the of the the week. week. Downtown Downtown light, as does the day of loo k strangely deserted deserted on on Sunday Sunday mornmornstreets look h our is is a great opportunity opportunity to co capture capture ings; rush hour human interaction.

A lfred Stieglitz. The Flatiron Building, Alfred New York, 1903. 1903. Choose your moment

carefully. Soft focus and winter weather weather combine for a peaceful, contemplative scene. scene. Stieglitz asserted this photograph’s photograph 's role as an art object by emphasizing its picturesque qualities and printing printing it on an elegant, textured paper.

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Walker Evans. Graveyard and Steel Mill, 1935. Your Your Bethlehem, Pennsylvania, 1935. vantage point creates relationships. Evans helps us see parallels here between ofapartment the rhythmic appearance of

house windows, the gravestones, and the smokestacks in the background. All these unrelated elements seem purposefully convened before the foreground cross as sermon. though for a sermon.

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Photographing Inside I

nterior spaces multiple chalchal- Vantage points are limited Ii mited indoors. indoors.Often O ften there there Interior s paces always present present multiple le nges for fo r the photographer, photograp her, but but overcoming overco ming is an lenges a n inconveniently incon ve niently located located wall wall that th a t prevents p reve n ts them t hem will be rewarding. rewarding. Every Every indoor indoor space space has has cha racter and can can imply im ply meaning, n1eaning, much much its own character may want want to to capture capture the the like a landscape. You may of the t he space itself, itself, as as in in the the volume and scale of the opposite o pposite page, page, or or you yo u may m ay use use photograph on the it- like below—to below- to highlight hi ghli ght your yo ur subject subject the the way way aa it—like acto rs. Interiors Interiors reflect reflect the th e lives lives stage set features actors. wo rk in in them, them, and and even even of of of people who live or work t hose who just pass pass through th ro ugh them. them. When When photophotothose of the t he subjects’ subjects' grap hs of people reveal reveal something something of graphs surroundings su rro u ndings they t h ey can find find resonance reson a n ce with with aa wid er audience than than can can aa simple sim ple head-andhead-andmuch wider shoulders portrait.

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yo u from backing up up to to fit fit everything everythi ng into into your yo ur you picture. It is is no wonder that that architectural architectural photogphotogasked to to photograph photograph interiinteriraphers, who are often asked wide-angle lenses lenses in in several several focal focal lengths. lengths. ors, carry wide-angle Even for the t he professional who who is is allowed allowed to to move m ove fi nding the the right right spot spot for for the t he camera camera the furniture, finding can be a challenge. Don’t Don't ignore ignore the the possibilities possibi lities opened o pened up by by a vantage point point above above your yo ur head head or or yo ur waist. below your Shelby Lee Adams. The Napiers’ Napiers Napiers'’ Living Living Room, Room, 1989. 1989. Bring Bring your your own own light ligh t ifif necessary. For his extended series on Appalachian families, families, Adams Adams carried carried aa set set ofstudio strobes to provide enough light for for dark interiors interiors like like this this one one and and to to let let of him control the illumination on his subjects for for the clarity clarity and and depth depth he he wanted. wanted.

Pay attention to the light. light. Most Mose interior in terior spaces spaces There is less light indoors indoors than than you’d yo u'd find find outoutill um inated by several sources; sources; there there may may be be are illuminated more than t h an one one wall, wall, and and window window windows on more li ght is often supple suppl emented by artificial artifi cial lighting lighting light mented by day. Watch for for unwanted unwanted shadows shadows during the day. chat may appear more more bothersome bothersome in in aa photophotothat graph than in the the scene itself, itself, and and be be on on the the looklooko u t for excessive contrast from from strong strong side side or or top top out li ght. If If you are working workin g in in color color and and can’t can't control control light. the in t he lighting, you yo u may may see different different color color casts casts in different areas.

alm ost invariably. Stay Seay aware aware of of depth depth of of doors, almost important to co interior interior photogphotogfield; it is especially important yo u are often often close close to co your your subject. subject. raphy because you Remen1ber that that the the closer you are are to to aa subject, subject, the th e Remember of field you’ll you'll get gee with with any any given given focal focal less depth of length and aperture. If If you yo u need need to co close close down down to keep keep most most of of the the environment environment in in the aperture to the photographers photographers in in the the examples examp les focus, as did the on these t h ese two pages, you yo u may 1nay need need aa tripod, tripod, some son1e extra light, or both.

Deda Chicken Chicken Processing Processing Plant, Plant, Edward Burtynsky. Manufacturing #17, Deda Oehui City, City,Jilin It is often impossible to to control control anything anything Dehui Jilin Province, 2005. It your subject. Burtynsky shot large manufacturing about your manufacturing facilities facilities in in China, China, with with workers too numerous for him to direct and in buildings too too large large for for him him to to light, light, searching for “a "a dialogue between attraction and and repulsion, repulsion, seduction and and fear.” fear."

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Assembled to be Photographed

Y

Y ou can photograph scenes scenes that that could could from your your imagiimaginever exist by creating directly from nation. There is is an idea idea most n1ost of ofus us share sh are that that to the the truth. truth. Even Even photography has aa connection to the most sophisticated and and skeptical skeptical observers observers perceive photographs differently d iffere ntly than than paintings. paintings. Even when wh en we know we we can’t can't really really believe believe aa phophotograp h, we want to. to. This natural natural reaction reaction to to phophotograph, tographs tograp hs is a powerful tool tool in in your yo ur hands. hands.

Nix an individual publication. publication. If If you’re you're not not reporting reporting Lori Nix. Library, 2007. Nix the news, however, however, you yo u can can exert exert as as much much control control fabricated and assembled of this every element of as you’d you'd like over what what your yo ur photographs photographslook look like. like. photograph in miniature, with certain certain decideci- {,fling You are already comfortable with filling the living room of ofher New York apartment over over a sions sion s when wh en you yo u capture an an image, image, choosing choosing subsubperiod of ofabout seven months. ject matter, n1atter, vantage point, point, timing, titning, and and lighting. lighting. The image is not digitally maas k someone to to smile sm il e for for the t he camera. camera. You may ask nipulated. She gets ideas while It’s It's only a short s h ort step to to hiring, hiring, costuming, costun1ing, and and commuting on the subway and “…postulates "... postulates what it might might be model, or or creating creating an an entire entire environenvironposing a model, like to live in a city that is post ment (photograph on on opposite opposite page). page).

rules for personal personal expression. expression. There are no rules Journalists must abide by by aa set set of of general general ethical ethical and- usually- a specific specific set set imposed imposed by by principles and—usually—a

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one eye. eye. You You don’t don't need need The camera sees with one anythi ng outside outside its its vision. vision. to be concerned with anything

mankind, where man has left le~ his mark by the architecture, but mother nature is taking back these spaces.” spaces.,,

Jeff Wall. After Jeff A~er Invisible Invisible Man by Ralph Ellison, the 1999- 2001. Wall Prologue, 1999–2001. " acwas inspired by an “accident of of reading” reading" to create crea te this environment, based on “the "the hole in the basement” basement" with “exactly "exactly 1,369 1,369 lights” lights" in ofEllison’s Ellison 's which the narrator of novel lives. lives. Wall presents this photograph, a composite of ofseveral exposures, as a transparency over eight feet wide that is illuminated from behind so, when exhibited, it becomes itself itselfa light source. Ellison’s Ellison's character says “With"Without light fight I am not only invisible but formless as well.” well. "

environment to to be be photographed, photographed, To construct an environment t hese two two pages, pages, itit helps helps to to lock lock like the ones on these place while whi le building building the the structure, structure, the camera in place its unique unique vantage vantage point point often often so you can refer to its rin1e it it takes rakes to to complete. co1nplece. Like Like aa movie 1novie during the time of view needs needs to to be be finished. finis hed. set, nothing out of

Perspective can be be manipulated. manipulated . We We normally normally of our depth perception perception from from stereoscopic stereoscopic get most of slighrly different different image. image. But But vision, each eye sees a slightly photograph is is flat, flat, we we perceive perceive depth depth by by because a photograph

cues- for example, examp le, objects objects at at aa u sing other visual cues—for using By creating creating objects objects smallsmalldistance appear smaller. By be normally normally or, or, for for example, example, er than they would be table that that is is narrower narrower at at one one end end than than n1aking a table making the other, you can use u se forced perspective perspective to to create create of depth. depth . In the the world world of of Hollywood Hollywood a false sense of movies, many props and and special special effects effects depend depend on on forced perspective. photographs, as as well well as as Look at advertising photographs, Corporate clients clients have h ave immense immense films, for ideas. Corporate materialize almost almost anything. anything. budgets and can materialize

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Responding to Photographs t's “I "I t’s

good." "It's not so so good.” good." What What good.” “It’s to say when you you look look at at aa photophotoelse is there to is there there to to see—and see- and to to say—when say- when graph? What is yo u respond to to work in in a photography photography class class or or you ocher people’s people's pictures pictures workshop? Looking at other especially ifif you you helps you improve your own, especially rake some time rime to to examine an an image, in1age, instead instead take of merely glancing at it it and and moving moving on on to to the the of to responding responding to to other other next one. In addition to people's work, you need need to to be be able able to to look look at at and and people’s evaluate your own.

The elements of of design are are aa commonly commonly used used pictures that char will will be be vocabulary for describing pictures useful for responding to to photographs. photographs. You You might might begin with wirh point point,, like like the the ice-cream ice-cream scoop scoop on on page page like the the sides sides of ofbuildings bui ldings on on page page 161 top, or line, like 162 top or the curve of of the the track track on on page page 161 161 cou ld describe d escribe the the shadow shadow in in the the bottom. Shape could ofrhe page 35. 35. Other Other design design eleelemiddle of the image on page or movement, movement) size size or or scale, scale) n1ents include direction or ments volume) texture, texture) color color or hue hue,, and and value value or or lightness. lightness. volume, of these these in in this this book—and book- and Try finding examples of

What do Roe Ethridge. Old Fruit, 2010. What you This you respond to in a photograph? This scene suggests the kind of ofstill-life paintings th and 17 th century Europe, J6th 1Jth popular in 16 called vanitas, vanitas, that suggest the transience of of you see hope in this picture or living things. things. Do you or despair? Is it beautiful or offensive? Spiritual offensive? Spiritual or temporal? Could it symbolize the cycles of of life or be a meditation on the wastefulness of of consumer culture?

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th e other ocher examples exam ples in in the the box box below. below. See See look at the pictu re into into formal formal elements— elen1entsif breaking down a picture fron1 its its content content or or what what itit rhe way it looks, apart from the describes- n1akes you more more attentive attentive to co their t heir prespresdescribes—makes p hotographs. ence in your own photographs. own photographs, photographs, ask ask When evaluating your own yo u saw saw when when you you brought brought the the yourself what you co your eye? eye? How How well well did d id what what you you had had camera to into aa picture? pictu re? Would Wo uld you you do do in mind translate into differencly next next time? time? anything differently items to to consider consider when when Following are other items photograph. You You don’t do n' t have have to co conconyou look at a photograph. time, but but they they can can give give you you aa sider each one every time, place to start.

Visual Elements

Type of of photograph. photograph . Is Is itic aa portrait? portrait? AA landlandp h otograph? News News photo? p h oto? scape? Advertising photograph? ch ink the th e photograph p h otograph was was intended intended What do you think to mean? mean? Was Was it ir meant meant to to be be functional functional to do or to A caption caption or or title title can can provide provide or expressive? Both? A look at at the t he picture picture first first so so the the information, but look lin1ir your your response. response. caption does not limit piccure is is aa portrait. portrait. Is Is itic one one Su ppose the picture Suppose chat might m ight have have been been made made at at the the request request of of the the that made for for the the personal personal satisfaction satisfaction subject? One made of the photographer? p h otographer? Is Is the the sitter sitter simply simply aa warm warm of he or she contribute contribute some some individuindividubody or does he

Here are some of of the terms terms we we Here or can use to describe the visual or ofaa photograph. photograph. graphic elements of page cited for an an illustraill ustraSee the page of a particular particular element. element. tion of

Focus and Depth Depth of Field Field (pages 158, 158, 164 164 Sharp overall (pages overall bottom), soft focus overall 165top) (page 165 top) O ne part part sharp, sharp, Selective focus: One not (page 44). See See also also others not of field. field. Shallow depth of offield: field: Little Little disdisShallow depth of ranee between between nearest nearest and and farfartance chest sharp areas (pages 152, 152, thest 158 bottom) offield: field: Extensive depth of between Considerable distance between fart hest sharp sharp nearest and farthest 59, 170) 170) areas (pages 59, Motion even though though subsubFrozen sharp even 35, 46) jeer ject was moving (pages 35, Moving camera or or subsubBlurred: Moving all of of the the jeer part or all ject blurred, part 161 bottom) bottom) image (pages 3, 161

Light Light comes from from Front light: Light position, shadows shadows not not camera position, prom inent (page 145 145 bottom) bottom) prominent Light comes toward toward Back light: Light of subject subject is is camera, front of 65, 71) 71) shaded (pages 65, Light comes from from Side light: Light side , shadows cast to side side side, 144) (pages 2, 144) Hard-edged, often often Direct light: Hard-edged, 136) dark shadows (page 136) light: Directional diffused light: Distin ct, but bu t soft-edged Distinct, 137 left) lefi:) shadows (page 137 No, or almost almost Diffused light: No, 137 right) right) no, shadows (page 137 dark Silhouette: Subject very dark backgro und against light background (pages 52, 72 top) Glowing light: Subject glows refl ected light light wit h its own or reflected with 139 bottom) bottom) (pages 67, 139 Contrast and Tone Full scale: Black, Black, white, and and of gray many tones of 121, 138) 138) (pages 121,

aliry? Does the th e environment, environn1ent, the th e setting setting in in which wh ich ality? anything? the sitter appears, add anything?

Is your eye drawn drawn to co some some part pare of ofthe the Emphasis. Is leads your eye eye there? t here? For For example, example, picture? What leads of field field shallow, shallow, so so that ch at only only the the main main is depth of an d everything everyth ing else else out ou t of offocus? focus? subject is sharp and

Technical considerations. Do Do they chey help help or or h inder? For For example, example, is is contrast con trast harsh ha rsh and an d gritty? gricry? hinder? tec h nique suitable suitable to co the t he subject subject or or not? not? Is the technique impact. Does Does the the picpicEmotional or physical impact. t u re make you feel sad, sad, amused, am u sed, peaceful? peaceful? Does Does itit ture n1ake your eyes widen, your muscles n1uscles tense? tense? What What make elemen ts might cause these t h ese reactions? reactions? elements

What else does the picture picture tell tell you you besides besides immediately evident? Photographs Photographs often often what is immediately to say than th an may may appear appear at at first. first. For For have more to fas hion photograph p hotograph about abo u t the the design design example, is a fashion of the th e clothes, cloches, or is is it ic really really about abo u t the the roles roles of ofmen men of in our culture? culture? and women in Trust your own responses responses to co aa photograph. photograph. respond to co an an image im age and and How do you actually respond actually notice notice about about it? ic? What What do do you you what do you actually it the th e next next day? day? remember about it

and High contrast: Very dark and tones very light tones, few gray tones bottom, 205) 205) (pages 204 bottom, Mostly gray tones to nes Low contrast: Mostly 172,205 top) (page 172, 205 top) Mostly light light tones tones High key: Mostly (page 52) Mostly dark tones Low key: Mostly (page 38) Texture Usua lly results resu lts Emphasized: Usually light striking subject subject from fro m from light 138, 150) 150) an angle (pages 138, Usua lly results results from from Minimized: Usually light coming from camera all sides sides position or from all (page 101, 207) Framing Viewpoint and Framing Eye-level viewpoint (pages 167) 160, 167) 162 bottom), bottom), High (page 162 low (page 155), 155), or unusual un usual 161 bottom) bottom) viewpoint (page 161 Framing: Th e way the edges The the edges of the photograph photograp h meet meet the of 153) shapes in itit (page 153)

Perspective Compressed perspective effect): Objects Objects (telephoto effect): closer seem crowded together, closer really are (pages (pages 36, 36, than they really 162 top) Expanded perspective udistortion"): (wide-angle “distortion”): of the scene seem Parts of positioned stretched or positioned from each other other unusually far from bottom) (pages 38, 39 bottom) Line 163 bottom) bottom) Curved (page 163 170) Straight (page 170) 164-165 Horizontal (page 164–165 bottom) bottom) Vertical (page 48 bottom) 21, top) top) Diagonal (page 21, ofhorizon line Position of bottom, 173) 173) (pages 97 bottom, Balance p hysica l response. response. An internal, physical Does the image image feel feel balanced balanced feel heavier heavier in in or does itit tilt or feel tha n another? one part than

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SJ O TH UBLEY ESTHER BUBLEY L O UE NEERS B

A PictureA Picture-Taking Machine in the Lobby Title of Toking Photograph, 1972 at the United Nations Service Center, Center, Source lines go here Washington, DC, 1943. 1943. From its start, phoWashington, tography was most popular for its ability to of the 19 19th centurecord a person. For most of ry, portraits were made only by professionals or very serious amateurs. amateurs. George Eastman’s Eastman's 1888 1888 Kodak camera gave the general public a way to memorialize themselves and others nearly any time, but getting the prints meant sending the camera away to have the film inside processed, and that took time. time. The photobooth’s photobooth's inventor, a Siberian immiJosepho, opened the first grant named Anatol Josepha, photobooth on New York City’s City's Broadway 1925; it made eight portraits on a strip in 1925; of paper, paper, in about ten minutes, for 25 ¢. of 25¢. Josepho’s Josepha 's Photomaton Studio was a sensation; there, over a quarter-million people slipped behind the curtain of of one of of its photobooths in the first six months, day. 7,SOO a day. as many as 7,500

182 Daguerreotype ................ . . . . . . . . . . . . . . 182 “Designs . . . . . . 182 silver bright” bright" .. ........ 182 "Designs on silver

Photography and Social Change ............ 194 . . . . . . . . . . 194

Calotype ...................... . . . . . . . . . . . . . . . . . . . . 184 184 184 Pictures on paper ............... . . . . . . . . . . . . . 184

Photojournalism .............. . . . . . . . . . . . . 196 196 Photography as Art th Century ............ in the 19 19th 200 . . . . . . . . . . 200

185 Collodion Wet-Plate ........... . . . . . . . . . 185 185 Sharp and reproducible. reproducible. .......... . . . . . . . . 185

Gelatin Emulsion/ 186 Roll-Film Base ............... . . . . . . . . . . . . . 186 Photography for everyone .. ........ . . . . . . 186 186 187 Color Photography ............ . . . . . . . . . . 187

Early Portraits ................ . . . . . . . . . . . . . . 188 188 Early Travel Photography . . . . 190 Photography ...... 190 of War ........... 191 Early Images of . . . . . . . . . 191 Time and Motion in Early Photographs ......... 192 . . . . . . . 192 The Photograph 193 as Document ................. . . . . . . . . . . . . . . . 193

Pictorial Photography . . . . 201 and the Photo-Secession ...... 201 202 The Direct Image in Art ........ . . . . . . 202 203 The Quest for a New Vision .... . . 203 Photography as Art in the 1950s and 1960s 1960s ........ 204 . . . . . . 204 Photography as Art . . . . . . 206 in the 1970s and 1980s 1980s ........ 206

Color Photography Arrives-Again 208 Arrives—Again ............... . . . . . . . . . . . . . 208 Digital Photography ........... . . . . . . . . . 210 210 210 Predecessors ................... . . . . . . . . . . . . . . . . . 210 Becomes mainstream ............ . . . . . . . . . . 212 212

Histor of Photography Photo History cha p ter you’ll you 'll learn… leurn ... In this chapter history into into which w hich •• about the unique era in history photography was born. born. •• the limits that chat early photographic photographic materials materia ls and and placed on the kinds kinds of of photographs photographs that chat processes placed cou ld be be made. could photograp hy grew as an art form, form, and and •• how photography overcame opposition oppos itio n from from many many directions. directions.

10

PP

th century hotog raphy was one one of of many many inventions inve ntions in in the the 19 19th century-— hotography

light, the the safety safety pin, pin, dynamite, dy namite, and an d the the automobile au to mobile are are t he electric elect ric light, the just a few others—and others- and of of all all of of them, t hem, photography photography probably pro bab ly created created astonish ment and delight. deligh t. Today, Today, most mos t people people take take photographs photographs t he most astonishment the earl y viewers were were awed awed and and amazed am azed by bythe t heobjective objectiverecords reco rds for granted, but early t h e camera can1era made. n1ade. the Photograp hy took too k over what what previously previo usly had had been been one oneof ofthe t hemain main funcfu ncPhotography art- the recording recording of of factual fac tual visual visual information, in fo rm ation, such such as as the t heshape shape tio ns of o f art—the tions of of an object, its size, and its its relation relation to to other other objects. objects. Instead Instead of ofhaving having aa portrait p ain ted, people people had had “Sun "S un Drawn D rawn Miniatures” M iniatures" made. m ad e. Instead Instead of of portra it painted, fo rm ing romantic ro mantic notions notions of o f battles battles and and faraway faraway places places from fro m paintings, paintings, forming people began to to see firsthand fi rsthand visual visual reports. reports. And And soon soon photography photographybecame became an a n art in its own right. right.

The camera obscura was the the forerunner forerunner of of the the modern modern camera. camera.ItIt was known that that rays rays of of light light passing passing through th ro ugh aa pinhole pinhole formed fo rmed an an image. image. th century Arabian 1Qd, Arabi an scholar scholar Alhazen Alhazen described desc ribed the the effect effect and and told told how how T he 10 The a n eclipse ecli pse of of the t h e sun s un in in aa camera can1era obscura obscu ra (literally, (li te rally, “dark "dark chamber”), ch an1ber"), to view an pinh ole opening opening to to the t he outside. o utside. By By the the time tim e of of roo m with aa pinhole a darkened room th e Renaissance, Ren a issan ce, a lens len s had had been been fitted fi tted into into the t h e hole h o le to to improve i1nprove the t h e image, image, the and the t he room-sized device had had been been reduced reduced to to the the size size of ofaa small small box box that that could easily be carried cacried about. abou t. The The camera camera obscura o bscura became becam eaa drawing d cawingaid aidthat that enabled enab led an artist arti st to to trace t race an an image im age reflected refl ected onto onto aa sheet sheet of o fdrawing drawi ngpaper. paper.

Niciphore Niépce. Nii pce. View from His His Window Window at at Le Le Gras, Gras, JJoseph oseph Nicéphore

1826. Niépce Niepce produced produced Saint-Loup-de-Varennes, France, c. 1826. the image t he world’s world's first photographic image—a image-—aa view view of ofthe the courtyard courtyard buildings on his estate in about 1826. 1826. ItIt was made on on aa sheet sheet of pewter covered with bitumen of Judea, aa kind of ofjudea, kind of ofasphalt asphalt that hardened when exposed to to light; he called called itit aa Heliograph. Heliograph. The unexposed, still-soft bitumen was then dissolved, leaving leaving aa permanent image. The exposure time was so long long (eight (eight hours) hours) that the sun moved across the sky and illuminated illuminated both both sides sides of of the courtyard. courtJard.

What remained to be be discovered discovered was was aa way way to to fix fix the thecamera cameraobscura obscura image permanently. The darkening dar kening of of certain silver silver compounds compounds by by expoexpoligh t had been observed observed as as early early as as the the 17 17th century, but the the unsolved unsolved sure to light d iffi cult problem was how how to to halt halt this this reaction reaction so so that that the t he image image would wo uld and difficult completely. not darken completely. , The first permanent permanent picture picture was was made made by by Joseph Joseph Nicéphore Nicephore Niépce Niepce, gen tleman inventor in ven to r living living in in central central France. Fran ce. He He first fi rst experimented ex perimen ted with with a gentleman silver chloride, which he he knew knew darkened darkened on on exposure exposure to to light, light, but but then then he he bitum en of of Judea, aa kind kind of of asphalt as phalt that t hat hardened harde ned when when exposed exposed turned to bitumen to light. lig h t. Niépce Nif: pce dissolved the t he bitumen bit umen in in lavender lave nder oil, o il, aa solvent solve nt used u sed in in varvarof pewter pewtet with with the the mixture. mixture. He He placed placed the the sheet sheet nishes, then coated a sheet of in a camera obscura aimed aimed through th ro ugh an an open open window win dow at at his his courtyard courtyard and and fo r eight hours. ho urs. The The light light forming fo tmi ng the theimage imageon onthe theplate platehardened harde ned exposed it for t he bitumen in in bright bright areas and and left left itit soft soft and and soluble soluble in in dark dark areas. areas .Niépce Niepce the then washed the t he plate plate with lavender lavender oil. oil. This This removed removed the the still-soft still-softbitumen bitu men by light, ligh t, leaving leaving aa permanent permanent image image of of the the scene scene that had not been struck by Niepce named named the t he process process heliography heliograp hy (from (from the th e Greek Greek helios helios, "sun ," (left). Niépce helios, , “sun,” "drawing") . and graphos, graphos, “drawing”).

181 181

Daguerreotype “"DESIGNS DESIGNS O N SSILVER ILVER B RIGHT” ON BRIGHT" N ews of of Niépce’s Niepce's work came came to to the the attenattenN

tion of of another Frenchman, Frenchman, Louis Louis Jacques Jacques Mande Daguerre. Daguerre. Daguerre Dagu erre had been been using using Mandé for sketching sketching and and had h ad also also the camera obscura for become interested in in trying trying to to preserve preserve its its images. images. Niepce suggesting suggesting an an exchange exchange of ofinforinforHe wrote Niépce mation, and by 1829 1829 had had become become his his partner. partner. th century was ripe for The mid-19 mid-19th for an an inveninvention like photography. Interest in a new new inveninvenh ave spread simply simply by by aa growing growing tion might have interest in science, but but photography photography was was more. more. rising middle middle class class with with In Western countries a rising to spend wanted pictures, pictures, especially especially family fami ly money to until then, then, only on ly the the rich ri ch had had been been portraits, which, until ro afford. In addition, people people were were interested interested able to in faraway places; places; they they traveled traveled to to them them when when they they a n d bought travel travel books books and and pictures pictures when when could and they could not. not. Niepce did not not live to to see the the impact impact that that Niépce photography was to to have. have. He He died died in in 1833, 1833, several several Daguerre perfected perfected aa process process that that he he years before Daguerre from Niépce’s Niepce's to to considered different enough from to the the world world as as the the daguerreotype daguerreotype be announced to (right and opposite).

The response to the daguerreotype daguerreotype was was experin1encing for for many many years, years, sensational. After experimenting Niepce and alone, Daguerre Daguerre was was finally finally both with Niépce satisfied with his his process, process, and it it was was announced anno unced French Academy of ofSciences Sciences on on January January before the French 1839. A French newspaper newspaper rhapsodized: rhapsodized: “What "Wh at 7, 1839. What knowledge knowledge of ofchiarchiarfineness in the strokes! What What exquisite exquisite finish!… finish!.. oscuro! What delicacy! What the foreshortenings fores h ortenings given: given: this this How admirably are the itself! " is Nature itself!” Almost immediately after after the the process process was was studios were were opened opened a nnounced, daguerreotype studios announced, nsun Drawn Drawn Miniatures” Miniatures" to to aa very very willwillto provide “Sun By 1853 1853 an estimated estimated three three million million ing public. By per year were were being being produced produced in in daguerreotypes per alone- mostly portraits portraits but but also also the United States alone—mostly scenic views.

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H ISTORY O F P HOTOGRAPHY HISTORY OF PHOTOGRAPHY

Louis Jacques Jacques Mandé Mandi Daguerre. Boulevard Boulevard du Temple, Temple, 1839. The busy streets of ofa Parisian Parisian boulevard boulevard Paris, 1839. ofthe the long long exposure this this appear depopulated because of daguerreotype required. required. Only a person getting getting aa shoeshine near near the corner of ofthe sidewalk stood still still long long enough to to be be recordrecorded; all the other people, horses, and carriages had had blurred blurred so much that no image of ofthem appeared on the plate. The The shutter was probably open for several minutes, much less than than the the eight hours required by Niépce’s Niipce's heliograph, and and the the results results were far superiorsuperior—rich rich in detail and tonality. The The enthusiastic enthusiastic reception of ofDaguerre’s Daguerre's process extended to to poetry: “Light "Light isis that silent artist // Which without the aid aid of ofman man // Designs Designs on on silver bright //Daguerre’s Daguerre's immortal plan.” plan."

The daguerreotype was made made on on aa highly highly polished surface of of silver silver that that was was plated plated on a copper sheet. s heet. It Ir was sensitized by by being being down, over over aa container container of ofiodine iodine placed, silver side down, box. Rising Rising vapor vapor from from the the iodine iodine crystals inside a box. producing the the light-sensiligh t-sensireacted with the silver, producing si lver iodide. iodide. During During exposure exposure in in tive compound silver plate recorded recorded aa latent latent image: image: aa the camera, the plate chemical change had had taken taken place, place, but but no no evidence evidence of it was visible. To develop develop the the image image the the plate plate of was placed, silver si lver side down, down, in in another another box box conconof heated heated mercury mercury at at the the bottom. bottom. taining a dish of Vapor from the mercury mercury reacted reacted with with the the exposed exposed of the plate. plate. Wherever light light had had struck struck the the areas of frosrlike amalgam, amalgam, or or plate, mercury formed a frostlike the silver. This amalgam made made up up the the alloy, with the of the the image. image. Where Where no no light light had had bright areas of an1algam was formed; formed; the the unchanged unchanged struck, no amalgam in sodium sodium thiosulfate thiosulfate silver iodide was dissolved in metal plate, plate, which which looked looked fixer, leaving the bare metal the dark areas of ofthe the picture. picture. black, to form the

Photographer Unknown. Unkno wn. Emily Dickinson at at Seventeen, c. c. 1847. 1847. Daguerreotype. The Th e daguerreotype daguerreo type reached of its popularity in America. Millions of of the height of Americans, famous and obscure, had their their portraits made. Although the exposure time was reduced to less than a minute, it was still long enough to demand a quiet quiet dignity on the part of of the subject. This portrait, taken by an itinerant daguerreotypist, isis th-century poet Emily the only known photograph of ofthe 19 19''•century Dickinson. Just Just like her poems, it seems direct on the the surface but elusive on more intimate levels. Dickinson Dickinson later later described herself herselfas “small, "small, like the wren; and and my my hair hair isis bold, like the chestnut burr; and my eyes, like the the sherry sherry in the glass that the guest leaves.” leaves."

The daguerreotype was very very popular popular in in its its technolog ical dead dead end. end. time, but it was a technological There were complaints about about the the difficulty difficulry of of viewing, for the rhe highly highly reflective reflective image image could could be be from certain angles. angles. The The mercury mercury seen clearly only from vapor used in the the process process was was highly highly poisonous poisonous th e life life of of more more than than one one and probably shortened the daguerreorypist. But But the the most most serious serious drawback drawback daguerreotypist. plate was unique; unique; there there was was no no way way was that each plate of producing copies except by by rephotographing rephotographing of the original. The beautiful daguer reotype was daguerreotype was rapidly—and rapidly-and easily—eclipsed easi ly-ecl ipsed by by aa negative-posinegative-positive process that that allowed any number nun1ber of of positive positive from aa single single negative. negative. images to be made from

C H A P T E R 110 0 CHAPTER

183 183

Calotype P ICTURES O N P APER PICTURES ON PAPER

A

A nother photographic photog raphic process process was was announced almost almost at at once. once. On January 25, 25 , 1839, less than than three three weeks weeks after after the the announceannounceof Daguerre’s Daguerre's process process to to the the French French ment of Academy, an English amateur amateur scientist, scientist, William William Henry Fox Talbot, appeared appeared before before the the Royal Royal of Great Britain Britain to co announce announce that chat he he Institution of too had invented invenred a way to to permanently permanently fix fix the the of the the camera can1era obscura. obscura. image of

image visible, Talbot used used silver silver iodide iodide (the (the lightligh tof the the daguerreotype) daguerreorype) treated treated sensitive element of with gallo nitrate of of silver. silver. He He called called his h is invention invention calorype (after the the Greek Greek kalos, kalos, “beautiful,” "beautiful," and and a calotype typos, typos>“impression”). "impression").

latent image, in1age, which which then then was was enough to produce a latent make the the latent latent negative negative chemically developed. To make

Talbot realized the value of of photographs photographs on on metal: reproducibility. reproducibility. paper rather than on metal: He placed the the fully fu lly developed paper paper negative n egative in in contact with another sheet of ofsensitized sensitized paper paper and and light, aa procedure procedure now now known known as as exposed both to light, contact conract printing. The T he dark dark areas areas of of the the negative negative the light from from the the other other sheet sheer of of paper, paper, blocked the light through. through. The The wh ile the clear areas allowed light while positive image image on on paper paper resembling resembling result was a positive of the original original scene. scene. the tones of Because the the print was made made through through the the paper paper of a negative, the the calotype lacked lacked the the sharp sharp detail derail of of the daguerreotype. daguerreotype. Calotypes Calotypes are are beautiful— beautifulof the fibers in in the the paper paper producing producing aa soft, soft, slightly sli gh tly textured image that char has has been been compared compared to to aa charcharBu r the the process process didn’t didn't displace displace the the coal drawing. But one-of-a-kind daguerreotype until until the the transparent tran sparent appeared. negative appeared.

William Henry Fox Talbot. Talbot’s Talbot's Photographic Photographic EstablishEstablishc. 1844. 1844. The activities at Talbot’s Talbot's establishment es tablishment ment, c. near London are shown in this early calotype taken in two two parts and pieced together. At left, an assistant copies aa painting. In In the center, possibly Talbot himself himselfprepares aa camera to to take take

a portrait. portrait. At right, the man at the racks racks makes contact contact prints while another photographs a statue. At At far far right, the the kneeling kneeling man holds a target for the maker of ofthis photograph to to focus focus on. on. Talbot gave assurance that “the "the plates of ofthe the present present work work are impressed by the agency of oflight alone.” alone. "

Talbot made his his images images on on paper. paper. His His first first been with negative negative silhouettes silh ouettes experiments had been made by placing placing objects on on paper paper sensitized sensitized with with ch loride and exposing exposing them chem to to light. light. Then Then silver chloride he experimented with with images images formed formed by by aa camcamera obscura, exposing the the light-sensitive light-sensitive coating coating long enough for for the the image image to to become become visible visible durduring the exposure.

In June June 1840 Talbot Talbot announced announced aa technique technique that became the basis basis of of modern modern photographotography: the sensitized paper paper was was exposed exposed only only long long

184

H ISTORY O F P HOTOGRAPHY HISTORY OF PHOTOGRAPHY

Collodion Collodion Wet-Plate Wet-Plate SSHARP HARP A N D RREPRODUCIBLE EPRODUCIBLE AND T he he collodion collodion wet-plate wet-plate process process combined combined T

the the best best feature feature of of the the daguerreotype— daguerreotypesharpness—and sharpness- and the the best best of of the the calotype— calotypereproducibility. reproducibility. And And itit was was more more light light sensitive sensitive than than either either of of them, them, with with exposures exposures as as short short as as five five seconds. seconds. ItIt combined combined so so many many advantages advantages that chat despite despite its its drawbacks drawbacks virtually virtually all all photographotographers phers used used itit from from its its introduction introduction in in 1851 1851 until until the the commercial commercial availability availabilityof ofthe thegelatin gelatindry dryplate place almost almost three three decades decades later. lacer. For For some some time, time, workers workers had had been been looking looking for for aa substance substance that chat would would bind bind light-sensitive li ght-sensitive salts sales to to aa glass glass plate. place. Glass Glass was was better better than than paper paper or or metal metal as as aa support support for fo r silver si lver chloride chloride because because itit was was textureless, textureless, transparent, transparent,and and chemically chemicallyinert. inert. One One binding binding material material was was the the newly newly invented invented collodion collodion (nitrocellulose (nitrocellulose dissolved dissolved in in ether ether and and alcohol), alcohol), which which isis sticky sticky when when wet, wee,but but soon soon dries dries into into aa tough, rough, transparent transparent skin. skin.

The disadvantage disadvantage of of collodion collodion was was that that the the plate plate had had to to be be exposed exposed and and processed processed while while itit was still still wet. wet. A A mixture mixture of of collodion collodion and and potassium potassium iodide iodide was was poured poured onto onto the the middle middle of of the the plate. place. The The photographer photographer held held the the glass glass by by the the edges edges and and tilted tilted itit back back and and forth forth and and from from side side to to side side until until the the surface surface was was evenly evenly covered. covered. The excess excess collodion collod ion was was poured poured back back into into its its

container. container. Then Then the the plate place was was sensitized sensitized by bybeing being dipped dipped in in aa bath bath of ofsilver silver nitrate. nitrate. ItIt was was exposed exposed for for aa latent latent image image while whi le still still damp, damp, developed developed in in pyrogallic pyrogallic acid acid or or iron iron sulfate, sulfate, fixed, fixed, washed, washed, and and dried. dried. All All this chis had had to co be be done done right rightwhere wherethe the photograph photograph was was taken, taken, which which meant meant that chat to co take cake aa picture picture the the photographer photographer had had to co lug lugaa complete complete darkroom darkroom along along (below). (below).

Collodion Collodion could could be be used used to to form form either either aa negative negative or or aa positive positive image. image. Coated Coated on on glass, glass, itit produced produced aa negative negative from from which whichaapositive positivecould could be be printed printed onto onto albumen-coated albumen-coated paper. paper. IfIf the the glass glass was was backed backed with with aa dark dark material material like like black black velvet, velvet, paper, paper, or or paint, paint,the the image image was was transformed transformed into into aa positive, positive, an an ambrotype, ambrocype,aa kind kind of ofimitation imitation daguerreotype. daguerreotype. Coated Coated on on dark dark enameled enameled metal metal itit also also formed formed aa positive positive image—the image- the durable, durable, cheap cheap tintype tintype popular popular in in America America for for portraits portraits to co be be placed placed in in albums, albums, on on campaign campaign buttons, buttons,and and even even on tombs. combs.

By By the 1860s 1860s the the world world had had millions millions of of photographic photographic images; images; 25 25 years years earlier earlier there there had been none been none. none.. Photographers Photographers were were everyeverywhere—taking where- caking portraits, portraits, going going to to war, war, exploring exploring distant places places and and bringing bringing home home pictures piccures to co prove prove it. it.

The The collodion wet-plate wet-plate process had had many many advantages, advantages, but convenience was was not not among among them. them. The glass plates on which which the the emulsion was was spread spread had had to to be be coated, coated, exposed, and developed before before the the emulsion emulsion dried, dried, which which required transporting an entire darkroom to wherever transporting entire to wherever the the photograph was to to be made. made. A A Photographer in the Field, Field, c. 1865. 1865.

C H A P T E R 110 0 CHAPTER

185 185

Gelatin Emulsion/Roll-Film Base P H O T O G R A P H Y FFOR O R EEVERYONE VERYONE PHOTOGRAPHY LJ ntil U

the 1880s, few photographs photographs were were public. Almost everyone made by the general public. had been photographed at one one time time or or another, another, had seen seen photographs, photographs, and and certainly everyone had probably many people people had had thought though t of of taking raking But the the technical tech nical skill, ski ll, the t he pictures themselves. But massive the expense expense and and sheer sheer quantity quantity n1assive effort, and the of equipment needed needed for for the t he collodion collodion wet-plate wet-plate of process restricted photography photography to to professionals professionals and the most n1ost dedicated amateurs. amateu rs. Even Even they they comcomof the inconvenience of of the the process process and and plained of made many attempts to to improve improve it. it.

perfection of of two two techtechBy the 1880s, the perfection niques created a fast, dry dry plate plate and and elimielimithe fragile glass glass plate plate nated the need for the itself. T was aa new new gelatin gelatin he first development was The wh ich the the light-sensitive light-sensitive silver si lver salts salts emulsion in which could be suspended. It on gelatin—a gelatin- a jeljelIr was was based based on processed from from cattle cattle bones bones and and lylike substance processed hides. It retained its its speed speed when when dry dry and and could could be be invention- film in in rolls. rolls. Roll Roll applied on the other invention—film film revolutionized photography photography by by making making itit for anyone to to enjoy. enjoy. simple enough for

Much of of the credit for popularizing popularizing photogphotogGeorge Eastman, Eastman, who began as raphy goes to George Rochester, New New York, York, and and built buil t his his a bank clerk in Rochester, Company into into one one of of the the councoun· Kodak Company Eastman Kodak try’s tty's foremost foren1ost industrial industrial enterprises. enterprises. Almost Almost from from bought his his first first wet-plate wet-plate camera camera the day Eastman bought in 1877, he searched for way to to take take picpicfor aa simpler simpler way "It seemed,” seemed," he he said, “that "that one one ought ought to to be be tures. “It than a pack-horse pack-horse load.” load." able to carry less than had experimented experimented with with roll roll film, fi lm, Many people had the first first to to market marker it it comcon1but Eastman was the of the the equipment equipmen t his invention invention of mercially, with his film. The T h e result res u lt was was Eastman’s Eastn1an's to mass-produce film. roll of of paper paper coated coated with with aa American Film, a roll t hin gelatin emulsion. The emulsion emulsion had had to to be be thin stripped from its paper paper backing backing to to provide provide aa t hat light could cou ld shine shine through through for for makmaknegative that Most photographers photographers had had trouble trouble with with ing prints. Most the film fi lm was was usually usually sent sent to to the the this operation, so the company for processing.

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H ISTORY O F P HOTOGRAPHY HISTORY OF PHOTOGRAPHY

Roll film made possible possible aa new new kind kind of of camera-—inexpensive, inexpensive, light, light, and and simple sin1ple to co operopercamera ate-that made everyone everyone aa potential potential photographotograate—that pher. Eastman introduced the the Kodak Kodak camera camera in in with enough enough film film for for 100 100 Ir came loaded with 1888. It the roll roll was used used up, up, the the owner owner pictures. When the returned the camera with with the the exposed exposed film film still still Easttnan company company in in Rochester. Rochester. Soon Soon in it to the Eastman the developed and printed printed photographs photographs and and the the fi lm, were were sent sent back back to to the the camera, reloaded with film, T he Kodak Kodak slogan slogan was, was, “You ''You push push the the butbu towner. The to n, we do the rest.” rest." ton,

The Kodak camera camera became became an an international international overnight.. With the invensensation almost overnight tion of a truly truly modern modern roll roll film film (a (a transparent, transparent, tio n of coated with with aa thin thin emulsion emulsion and and flexible plastic, coated sturdy enough to to be used used without without aa paper paper supsupnew photographic photographic era era had had begun. begun. The T he port), a new Kodak Company Company knew knew who who would would be be Eastman Kodak users of of its its products, products, and and itit directed directed its the main users directe d its "A collection collection of ofthese these picpicadvertising accordingly: “A made to to furnish furn ish aa pictorial pictorialhistory history of of tures may be made by the the owner, owner, that that will will grow grow more mo re life as it is lived by passes." t hat passes.” valuable every day that

Fredrick Church. Church. George Eastman with a Kodak, 1890. George Eastman, 1890. box who put the Kodak box camera on the market and thereby put photography into everybody’s everybody's hands, stands aboard the S.S. Gallia in the act of of using his invention. invention. Roll film made the camera small enough to carry easily. Fast gelatin emulsions permitted 1½s-sec /25-sec exposures so subjects did not have to strain to hold still.

Color Color Photography D aguerre aguerre himself himselfknew knew that that only onlyone onething thing D

was was needed needed to to make make his his wonderful wonderful invention invention complete—color. complete- color. After starts, one one After several several false false starts, of of the the first first successes successes was was demonstrated demonstrated in in 1861 186 1 by by the the British Briti sh physicist physicist James James Clerk Clerk Maxwell. Maxwell. He He had had three three negatives negatives of of aa tartan tartan ribbon ribbon made, made, each th ro ugh aa different di ffe rent color color filter—red, fi lter- red, green, green, each through and and blue. blue. Positive Positive black-and-white black-and-white transparencies transparencies were were made made of of the the three three negatives negatives and and projected projected through through red, red, green, green, and and blue blu e filters filters like like those those on on the the camera. camera. When When the t hethree three images images were weresuperimsuperimposed, posed, they theyproduced produced an an image imageof ofthe theribbon ribbonin inits its original Maxwell had had demonstrated demonstrated addiaddioriginal colors. colors. Maxwell tive in which whi ch colors colorsare areproduced producedby by tive color color mixing, mixing, in adding adding together together varying varying amounts amo unts of oflight light of ofthe the three primary colors, colors, red, red, green, green,and and blue. blue. t hree primary

In In 1869, 1869, an an even even more more significant significant theory theory was made made public public by by two two Frenchmen, Frenchmen, Louis Louis Ducos Ducos du du Hauron Hauron and and Charles Charles Cros, Cros, working wo rking independently independently of of each each other. other. Their Their process, process, subsubtractive tract ive color color mixing, m ixing, is is the t he basis basis of of present-day present-day color photography. photography. Colors Colors are are created created by by comcom-

Alfred T. Palmer. Women 1942. War Workers, Worker.s, circa 1942. War transparency Kodachrome transparency 1936, film, introduced in in 1936, was created for the 35mm 35mm still photography market. market. It was the first accurate, accurate, inexpensive, easy-to-use, easy-to-use, and and reliable method for for creating color photographs.

bining and yellow yellowdyes dyes (the (thecomcombining cyan, cyan, magenta, magen ta, and plements of red, red, green, green, and and blue). blue). The The dyes dyes subsubplements of tract tract colors colo rs from fro m the the “white” "white" light light that cha t contains contai ns all all colors. colors.

The The first first commercially commercially successful successful color color was was an an additive additive process. process. In In 1907, 1907, two two French French brothbrothers, ers, Antoine An toine and a nd Louis Louis Lumière, Lumihe, marketed marketed their their Autochrome covered Autoch ro me process. process. AA glass glass plate plate was was covered with with tiny tin y grains grains of ofpotato potato starch starch dyed dyed red-orange, red-orange, green, green, and and violet, violet, in in aa layer laye r only only one one starch starch grain grai n thick. Then, aa light-sensitive light-sensitive emulsion emulsion was wasadded. added . thick. Then, Light struck the t he emulsion emu lsion after after passing passing through through Light struck the the colored colored grains. grains. The The emulsion emulsion behind behi nd each each grain grai n was was exposed exposed only on ly by by light light from from the the scene scene that that was was the the same same color color as as that that grain. grai n. The The result res ult after after development development was was aa full-color full-colortransparency. t ransparency.

Kodachrome, Kodachrome, aa subtractive subtractive process, process, made made color color photography photography practical. practical. It It was was perfected perfec ted by Mannes and and Leopold Leopold Godowsky, Godowsky, two two by Leopold Leopold Mannes amateur photographic photograph ic researchers researchers who who eventually eventually joined forces fo rces with wi th Eastman Eastman Kodak Kodak research research scienscientists. in Their collaboration collaboration led led to to the theintroduction introductionin in tists. Their 1935 1935 of ofKodachrome, Kodac hro me, aa single singlesheet sheet of offilm fi lm coated coated with three three layers laye rs of of emulsion, em ulsion, each each sensitive sensitive to co one primary primary color color (red, (red, green, green, or or blue). blue). AA single single exposure exposure produced produced aa color color image image (left). (left). In In the the 1940s, 1940s, Kodak Kodak introduced int roduced Ektachrome, Ektach ro me, which whi ch allowed allowed photographers ph orographers and and small sm all labs labs to process process slides, sli des, and and Kodacolor, Kodacolor, the t he first fi rs t color color negative film. film .

Today it it is is difficult difficult to to imagine imagine photography photography without color. color. Amateurs Amate urs make make photographs photograp hs by by the t he millions milli ons each each day, day, and and the th e ubiquitous ubiqu irous snapshot is is always always in in color. co lor. Commercial Co mmercial and and publishing publishing markets ma rkets use use color color almost almost exclusively. exclu sively. Digital Digital cameras always start start by bycapturing capturin g aa color colo r image; anyone anyone who who wants wants aa black-and-white black-and-white end end product produ ce must m ust discard di scard the th e color color information. info rm a ti o n. Even Even photojournalism, ph otojournalism, documentary, docu mentary, and and finefin eart photography, p horography, which whi ch had had been bee n in in black blac k and and white w hite for fo r most m os t of o f their their history, history, are a re most m os t often o ften now colo r. n o w in color.

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Early Portraits P

P eople wanted portraits. portraits. Even Even when when expoexpohaving one’s one's portrait portrait sure times were long and having taken meant sitting in in bright bright sunlight sunlight for for several several crying not not to to blink blink or or n1inuces with eyes watering, trying minutes to portrait portrait studios studios to to have have move, people flocked to by “the " the sacred sacred radiance radiance of of their likenesses drawn by Sun." Images of of almost al1nost every every famous fan1ous person person the Sun.” before 1839 1839 have have come come down down who had not died before to us in portraits by photographers photographers such such as as Nadar Nadar Cameron (right). (right). Ordinary Ordinary and Julia Margaret Cameron photographed as as well—in well- in Plumbe’s Plumbe's people were photographed National Daguerrian Daguerrian Gallery, Gallery, where where hand-tinthand-tint"Patent Premium Pretniutn Coloured Coloured Likenesses” Likenesses" were were ed “Patent where double-lens doub le-lens made, and in cut-rate shops where them “two "two at at aa pop.” pop." Small Small portraits portraits cameras took them were immensely immensely popular popular in in called cartes-de-visite were 1860s (opposite). For For pioneers pioneers moving moving West West the 1860s An1erica, the pictures pictures were were aa link link to to the the family fan1ily in America, and friends they they had had left left behind. behind. Two Two books books went went pioneers- a Bible Bible and and aa photograph photograph West with the pioneers—a album.

Photographs had an almost almost mystical mystical prespresence. After seeing some daguerreotype portraits, portraits, Barrett wrote wrote to to aa friend friend in in the poet Elizabeth Barrett 1843, “Several . . like "Several of ofthese these wonderful wonderful portraits portraits .... like and delicate delicate beyond beyond engravings- only exquisite and engravings—only of graver—have graver- have II seen seen lately—longing lately- longing to to the work of memorial of of every every Being Being dear dear to to me me have such a memorial is not not merely merely the the likeness likeness which which in the world. It is cases- but the the association association is precious in such cases—but of nearness involved involved in in the the thing thing and the sense of .... . . the fact of of the the very shadow shadow of ofthe the person person lying lying there fixed for ever! .... . . II would would rather rather have have such such a memorial of of one I1 dearly loved, loved, than than the the noblest noblest artist’s artist's work ever produced. produced. II do do not not say say so so in in to Art, Art, but but for for Love’s Love's sake. sake. respect (or disrespect) to Will you understand?—even understand?- even ififyou you will will not not agree?” agree?"

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Julia Duckworth, 1867. 1867. Cameron Cameron Julia Margaret Cameron. Mrs. Duckworth, well-known and and the the photographed her friends and peers, the well-known well-born, in Victorian England. This Julia Jackson Jackson Duckworth, This isis Julia Duckworth, now best known for being ofauthor author Virginia Virginia Woolf. Woolf being the mother mother of

Photographer Unknown. André Andre Adolphe Disdéri. Disderi. CartesCartesde-visite were taken with a camera that that exposed exposed only only one section of of the photographic plate at a time. time. Thus Thus the customer could strike several different poses poses for for the the price price of one. At left is shown a print before itit is cut of cut into separate separate pictures. People collected cartes-de-visite in in albums, inserting inserting of themselves, friends, friends, relatives, and and famous famous people pictures of like Queen Victoria. Victoria. One album cover advised: “Yes, "Yes, this is my my Album, but but learn learn you look; // that all are ex pected to add to ere you expected to my my book. book. // You You your own are welcome to quiz it, the penalty is, // that you add add your own quiz." Portrait for others to quiz.” André Andre Adolphe Disdéri, Oisdiri, who popularized popularized these these multiple multiple Carte portraits portraits portraits, is shown above on aa carte-de-visite. Carte became a fad when Napoleon III Ill stopped on the the way way to to war war to to pose for cartes-de-visite at Disdéri’s Oisdiri's studio. studio. Photographer Unknown. Woman in Costume.

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Early Travel Photography Timothy H. O’Sullivan. O 'Sullivan. Black Black Canyon, Canyon, Colorado River, 1871. 1871. Expeditions to to phowere launched as tograph distant places were soon as the invention of ofphotography photography was was announced. In addition to all all the the materials, chemicals, and knowledge needed to to coat, expose, and process their photographs in remote places, expeditionary photographers also had to have considerable fortitude. fortitude. Timothy H. H. O’Sullivan, 0 1Sullivan, whose whose darkroom on a boat appears at left, described an area called the Humboldt Sink: “It "It was aa pretty pretty location to work in, and viewing viewing there there was as pleasant work as could be desired; the the only drawback was an unlimited unlimited number number of of the most voracious and particularly poisonpoison~ ous mosquitoes that we met with during our our entire trip. Add to this…frequent this .. .frequent attacks of of that most enervating enervating of ofall fevers, fevers, known as 'mountain ail,’ ail,' and you why we we the ‘mountain you will see why did not work up more of ofthat country.” country.,,

met aa demand demand EE arly travel photographs met

for pictures of of faraway faraway places. places. In the rhe midmidth century, the 19,h the world seemed seemed full full of of unexplored unexplored 19 and railroads railroads were were making making wonders. Steamships and more people people to to travel, travel, but but distant distant it possible for more exotic and and mysterious mysterious and and peopeo• lands still seemed exotic for photographs photographs of of them. them. There There pie were hungry for ple drawings portraying portraying unfamiliar unfamiliar had always been drawings places, but they were an an artist’s artist's personal personal vision. vision. an extension extension of of one’s one's own own The camera seemed an vision; travel photographs photographs were were accepted accepted as as real real images. and faithful images.

The Near East East was of of special special interest. interest. Not Not but its its biblical biblical associations associations and and only was it exotic, but made it it even even more more fascinating. fascinating. ancient cultures made months of of the the 1839 1839 announcement announcement Within a few months of Daguerre’s Daguerre's process, process, a photographic photographic team ream was was in in of Egypt. “We "We keep daguerreotyping daguerreotyping away away like li ke lions,” lions," "and from fron1 Cairo Cairo hope hope to to send send home home they reported, “and batch." Because Because there there was was no no way way to to an interesting batch.” reproduce the the daguerreotypes directly, directly, they they were were traced and reproduced as as copperplate copperplate engravings. engravings. of the the calotype calotype and and later later the t he With the invention of collodion processes, actual actual pictures pictures from from the the Near Near East were soon available.

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spectacular scenery scenery of ofthe the western western The most spectacular United States was not graphed not much much photo photographed until the late 1860s. 1860s. Explorers and artists had had been in the Rocky Rocky Mountain Mountain area area long long before before this this tales they they told told of of the the region region and and time, but the tales the sketches they they made made were were often often thought thought to to be be the Civil Civil War, War, when when several several exaggerations. After the set out out to to explore explore and and government expeditions set photographers accompanied accompanied them, them, map the West, photographers to the the delight delight of of the the other other members members not always to of the expeditions. “The "The camera camera in in its its strong strong box box of was a heavy load load to to carry up up the the rocks,” rocks," says says aa description of a Grand Canyon Canyon trip trip in in 1871, 1871, “but "bur d escription of to the the chemical chemical and and plate-holder plate-holder it was nothing to box, which in in turn turn was featherweight featherweight compared con1pared hand organ organ which which served served for for aa to the imitation hand darkroom. This dark dark box box was was the the special special sorrow sorrow of the expedition…” expedition ... " of phorogra p h ers Timothy Timothy H. H. Civil War photographers and opposite) opposite) and and Alexander Alexander O'Sullivan (above and O’Sullivan with governmentgovernment• Gardner both went West with Will iam Henry Hen ry Jackson’s Jackson's sponsored expeditions. William of Yellowstone helped helped convince convince photographs of Congress to to set the the area area aside aside as as aa national national park, park, photographs of of Yosemite Yosemite made made by by as did the photographs Carleton Eugene Eugene Watkins.

of War Early Images of Timothy Timothy H. O’Sullivan. O'Sullivan. A Harvest Harvest of ofDeath, Death, Gettysburg, July 1863. Gettysburg,)uly 1863. The first realistic realistic Civil War War phophoview of war was shown by Civil tographers such as Brady, Gardner, and O’Sullivan Wendell Holmes Holmes O'Sullivan (right). Oliver Wendell had been on the battlefield at Antietam searching for his wounded son and later later saw saw the photographs Brady made there: “Let "Let him who wishes to know what war is look at this this series of ofillustrations… illustrations... It was so nearly nearly like like visiting the battlefield to look over these views, views, that all the emotions excited by the actual sight of ofthe stained and sordid scene, strewed strewed with rags and wrecks, came back to us, and we buried them in the recesses of ofour our cabinet as we would have buried the mutilated mutilated remains of of the dead they too vividly represented.” represented. "

war scenes scenes authority, authority, PP hotographs gave war

then1 more more immediate in1mediate for for those those at at and made them home. Until Until photography’s photography's invention, invention, wars wars seemed remote and rather rat her exciting. exciting. People People learned of of war from from delayed delayed news news accounts accounts or or even later from the the tales tales of of returning retu rning soldiers soldiers or or from paintings or poems. poems. The disastrous British British campaigns campaigns in in the the of the the 1850s 1850s were were the the first first conconCrimean War of extensively photographed. photographed. The The illillflicts to be extensively of the the Light Ligh t Brigade Brigade against against Russian Russian fated Charge of one of of the the catastrophes; catastrophes; 1854 was only one forces in 1854 official bungling, disease, disease, starvation, starvation, and and expoexporook more British British lives lives than t han did did the the enemy. enemy. su re took sure However, Roger Fenton, Fenton, the the official official photographotograhad been introduced introduced to to photography photography pher (who had only three years earlier), generally generally depicted depicted the the idealized images. images. war with scenic and idealized

Photographs from the the American American Civil Civil War War were the first to show show the the reality reality of of war war (above). Mathew B. B. Brady, Brady, aa successful successful portrait portrait the idea idea of ofsending sendingteams teams photographer, conceived the the war. war. No No photographs photographs were were to photograph the made during a battle; it it was was too too hazardous. hazardous. The The required up up to to several several seconds’ seconds' collodion process required the glass plates plates had had to to be be processed processed exposure and the made the the photographer’s photographer's darkdarkon the spot, which made room•wagon a target target for for enemy enetny gunners. gunners. room-wagon to sell his his photographs, photographs, Although Brady hoped to they often showed what people people wanted wanted only only to to only a few, few, ifif any, any, photographs photographs forger. Brady took rook only forget. of his his men men (Alexander (Alexander Gardner Gardner himself, and some of and Timothy H. H. O’Sullivan O'Sullivan among among them) them) broke broke h in1 and set up up their their own own operation. operation. But But with him Brady's idea and personal personal investment investment launched launched this this Brady’s ofAmerican American history. history. invaluable documentation of

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Time and Motion in Early Photographs T

T he earliest photographs required required very very long exposures. Today, photographers using using m od ern cameras consider aa one-second one-second exposure exposure modern relati vely long. But But photographers photographers using using earlier earlier relatively to work wo rk with with much much slower slowe r materimateriprocesses had to expos ure of of sev several seconds was was conconals, and an exposure eral seconds sh ort. sidered quite short. People or objects that that moved moved during during the the expoexpowe re blurred blu rred or, or, if if the the exposure exposure was was long lon g sure were enough, disappeared di sappeared completely. Busy Busy streets streets sometimes looked deserted ((page page 182) deserted (page 182) because because no t stayed stayed still still long long enough enough to to most people had not register an image. in1age. photographs were were the the first first to to Stereographic photographs show action as itit was taking taking place, place, with peon1idsrride or horses ho rses and and carts carts in in motion. n1orion. ple in midstride This was possible because because the the short-focal-length sho rt-focal-len gth lens of of the stereo camera camera produced produced aa bright, bright, sharp sh arp image at wide apertures apertures and and thus thus could could be be brief exposure exposure times. times. used with very brief These “instantaneous” "ins ta ntaneou s" photographs photographs revealed revealed aspects aspec ts of of motion that that the the unaided unaided eye eye was was not not able to see. Some Som e of of the the arrested arrested motions m otio ns were we re so so different from the the conventional conventional artistic artistic represenrepresenthe photographs photographs looked looked wrong. wrong. A Agalgaltations that the loping horse, ample, had h orse, for ex example, h ad often often been been drawn drawn wit h all four feet feet off off the the ground—the gro und- the front front legs legs with hind legs legs extended extended back. back. extended forward and hind

St,onded on Rocks Rocks in in the the Platt D. Babbitt. Joseph Joseph Avery Stranded Niagara River, 1853. 1853. This is an early example of ofa news photograph, unusual because newsworthy events rarely rarely held still for the long exposures a daguerreotype required. This unlucky man was stranded clinging clinging to a log log after after aa boating accident; his situation held him motionless enough to be recorded. recorded.

Eadweard Muybridge was was aa pioneer pioneer in in motion studies. When his photographs photographs of of aa galloping gall oping horse, ho rse, published publi shed in in 1878, 1878, showed showed that that all four of of its feet were off off the th e ground ground only only when when t hey were bunched under under the the horse’s h orse's belly, belly, some som e they people thought that that Muybridge had had altered altered the the Using the the new, new, fast fast gelatin-silver gelatin-silver photographs. Using a nd a specially specially constructed constructed multi-lens multi-lens emulsion and cam eras, Muybridge compiled compiled many many studies studies of of cameras, ani n1als and humans hun1ans in in action action (right, (right, different animals widely. bottom) that were distributed widely. 1885. Capturing Capturing Eadweard Muybridge. Muybridge. Motion Study, c. 1885. motion became technically possible as the sensitivity of sensitivity of photographic emulsions increased. Muybridge’s Muybridge 's project project Locomotion analyzed Animal Locomotion analyzed the the movements movements of of humans humans and many animals. Muybridge often used several several cameras cameras synchronized to work together so that each stage of ofaa movemovement could be recorded simultaneously from from different angles.

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The Photograph as Document documents on on many many PP hotographs can bebe documents

record aa particular particular scene scene Mose snapshots record levels. Most co help the participants remember remember itit later. later. AAnews news to chat this chis is is what what you you would would photograph implies that if you had had been there there yourself, yourself, although although have seen if digital photography continues continues to co chip chip away away at at chis belief belief (see page page 112). 112). On On another level, level, aa this O n another photograp h can record record reality reality while while at at the the same same photograph time recording the photographer’s photographer's comment comment Lewis W. W. Hine Hine said said of of his his work: work: on that reality. Lewis co show the t he things things that that had had to co be be corcor"I wanted to “I co show the the things things that chat had had to co rected. I wanted to appreciated." His His statement statetnent describes describes the the use use be appreciated.” of of photography as aa force force for for social social change change and and aa co be be known known as as documentary documentary (see (see chat came to style that pages 194–195). 194- 195).

Eugène Eugene Atget. Café Cafe la Rotonde, Boulevard Boulevard Montparnasse, Montparnasse, Paris, date unknown. Eugène Eugene Atget artfully revealed revealed the the essence of of Paris while seeming merely merely to to document its external external appearance. An uncluttered street in the early morning, appearance. morning, with with its its graceful trees, broad sidewalks, and empty cafés cafes speaks of ofthe the pervasive charm and architectural harmony of ofthe the city. city. Sander Bricklay er,, er August Sander. Sander.. Bricklayer Bricklayer, 1928. 1928. August Sander’s Sander's photographs are documents of of social types rather than portraits of of individuals. individuals. This photograph of a laborer with a load of of of bricks was one of ofhundreds Sander made of ofthe types he saw in pre-World War II Germany. Germany. Holding his pose as ifif standing for a portrait painter, the subject displays his trade with stoic strength. There is no indication of oftime or even place. In fact, fact, the background is deliberately absent; Sander eliminated it from the negative.

Eugène Eugene Atget’s Atget's work went went beyond beyond simple simple records, although he considered his his photophotoco be documents. A A sign sign on on his his door door graphs to read “Documents "Documents pour pour Artistes.” Artistes." Atget Atget made made of photographs photographs in in the the early early 1900s, 1900s, of of thousands of the streets, cafés cafes (left, top), top), shops, monuments, monuments, parks, and people of of the the Paris Paris he he loved. loved. His His picpicnotice during during his his lifetime; lifetime; tures won him little notice he barely managed to co eke eke out out aa living living by by selling selling arc hi tects, and and others others who who wantwantprints to artists, architects, ofche city. Many Many photographers photographers ed visual records of the city. can record the the external appearance appearance of of aa place, p lace, but Atget conveyed the the atmosphere atmosphere and and mood mood of of Paris as well.

August Sander chose to to document document an an entire entire people—the people-the citizens of of pre-World pre-World War War IIII Germany. His pictures were not not meant meant to to reveal reveal personal character but but to to show show the the classes classes makn1akof that chat period. period. He He photophotoing up German society of graphed laborers (left, (left, bottom), bottom), soldiers, soldiers, mermerfami lies, and and other other types, types, all all chants, provincial families, formally posed. The portraits portraits are are so so utterly utterly as to ro be be chilling chilling at at factual and unsentimental as times; tin1es; the t he individual disappears into into class class and and social role.

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Photography and Social Change went from from documentdocumentPP hotography soon went

ing the world to documenting itit for fo r aa cause. ca us e. Ri is, a Danish-born Danish- born newspaper newspaper reporter reporter of of Jacob Riis, th century, 19,h centu ry, was one of of the the first fi rs t to to use use the late 19 photography for for social social change. change. Riis Riis had had been been abo ut the the grinding brutality brutality of oflife in New New writing about life in York City’s City's tenements te nements and and slums slums and and began began to to rake pictures (right, (right, top) top) to to show, show, as as he he said, said, what what take "no mere description descriptio n could, could, the the misery misery and and vice vice “no that t hat he had noticed no ticed in in his his ten ten years years of ofexperience experience t he direction directio n in in which which good good might migh t .... . and suggest the d o ne." To rake photographs ph otograph s inside in side the th e tenete nebe done.” To take me n ts at night, n ight, Riis Ri is used u sed magnesium m ag n es ium powder powd er ments o pen pan pan to to provide provide lighting ligh t ing in in the the ignited in an open roo ms. The technique tec hni q ue was was the th e forerunner fo rerunn er dark rooms. of of the t he modern mode rn flash fl as h.. trai n ed sociologist socio logist with wit h Lewis W. Hine was a trained social awareness, especially especially of of the t he passio nate social a passionate abuses of child labor (right, (right, bottom). bo tto m). This This evil evil th century, wides pread in the the early early 20 2Q,h centu ry, and Hine Hine was widespread to provide provide evidence evidence for for reformers. reformers. d ocumented it to documented sarcasti c fury fu ry he h e wrote wrote of of “‘opportunities’ portuni ties' With sarcastic “"'op ‘opportunities’ fo r the child and the the family family to to …relieve ... relieve the the overoverfor burde ned manufacturer, manufac turer, help help him him pay pay his hi s rent, rent, burdened equipment, take rake care care of of his his rush rush and and sup ply his equipment, supply help him him to to keep keep down down his his slack seasons, and help scale." wage scale.”

Inches High, High, Has Has Worked Worked Half Half Lewis Hine. Sadie Pfeifer, 48 Inches a Year, Year, Lancaster Cotton Mills, Lancaster, Lancaster, South Carolina, Carolina, 1908. 1908. Lewis Hine documented the the abuses of of child child labor labor 192 1, making making 5,000 pictures pictures for for the the 1908 and 1921, between 1908 National Child Labor Committee. One One foreman foreman casually casually dis missed accidents, such as children getting getting caught dismissed caught in in the the machinery. “Once "Once in a while a finger finger isis mashed mashed or or aa foot, foot, but but it doesn’t amount to anything.” doesn't anything."

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Jacob ofItalian Italian Rag Rag Picker, Picker,Jersey 1894. Jacob Riis. Home of Jersey Street, 1894. Riis used his camera to expose the the slum conditions of of New York City. His His photographs led to to housing housing regulations regulations that outlawed overcrowded overcrowded quarters and and windowless windowless rooms. rooms.

The photographers of of the the Farm Farm Security Security the Depression Depression of of Administration recorded recorded the the 1930s 1930s,, when the nation’s nation's entire economic economic trouble and and farm farm families fan1ilies structure was in deep trouble of were in particular need. Assistant Assistant Secretary Secretary of Agriculture Rexford Rexford G. Tugwell realized realized that that the the government's program program of of aid aid to to farmers farmers was was government’s prove both both the the expensive and controversial. To prove extent of of the problem and the the effectiveness effectiveness of ofthe the Stryker to to supervise supervise phophocure, he appointed Roy Stryker tographic rographic coverage of of the the program. program. remarkable band band of of taltalStryker recruited a remarkable Dorothea Lange Lange (left, (left, top), top), Walker Walker ent, including Dorothea Lee (page (page 161, 161, top), top), 173), Russell Russell Lee Evans (page 173), Arthur Rothstein Rothstein (left, (left, botbotMarion Post Wolcott, Arthur Parks, and Ben Ben Shahn. Shahn. The The photogphotogtom), Gordon Parks, of the Farm Security Security Administration Administration proproraphers of monu mental collection collection of of images in1ages showshowduced a monumental of “one "one third third of of aa nation” nation" during during ing the plight of the Depression. 1936. Dorothea Lange. Migrant Mother, California, 1936. Lange’s Lange's work reveals her empathy for her subjects. She had a unique ability to photograph people at ot the the moment that their expressions and gestures revealed revealed their their lives and feelings. feelings. Her photograph of ofa mother mother of ofseven who tried to support her children by by picking picking peas, was was one one of ofthose that came to symbolize the 1930s 1930s Depression. Depression.

Arthur Rothstein. Dust Storm, Cimarron A rthur Rothstein. County, Oklahoma, 1936. 1936. Rothstein was was the first photographer Roy Stryker hired to document the plight of of people during the Depression. During that period, drought turned parts of ofOklahoma into a dust bowl. Here, Here, the building and fence posts are almost buried in drifts of of sand. Rothstein later wrote that while taking the picture, “I "I could hardly breathe because dust was everywhere.” everywhere. "

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Photojournalism W

W hatever the news event—from event- from aa prizeprizefight to a war—we war-we expect expect to to see see pictures pictures of of it. Today we take photojournalism photojournalism for for granted, granted, but news and pictures were not not always always partners. partners. appeared only only occasionoccasionDrawings and cartoons appeared th-century press. th cen13,h.century press. The 19 19d, ally in the drab 18 the growth of of illustrated illustrated newspapers newspapers tury saw the London News News and, and, in in America, America, such as the Illustrated London Harper's Leslie's Illustrated Illustrated Harper’s Weekly, and Frank Leslie’s Newspaper. Because Newspaper. Because the the various various tones tones of of gray gray needed to reproduce reproduce aa photograph photograph could could not not be be printed simultaneously simultaneously with with ordinary ordinary type, type, phophotographs had to to be converted converted into into drawings drawings and and before they they could could appear appear as as then into woodcuts before news pictures. The photograph photograph merely merely furnished furnished n1aterial for the artist. material The halftone process, perfected perfected in in the the photographs and and type type to to 1880s, permitted photographs be printed together, and photographs became to news news stories. stories. “These "These are are an expected addition to no fancy sketches,” sketches," the th e Illustrated American American promprom"they are the the actual actual life life of of the t he place place reproreproised, “they duced upon paper.” paper." sequence of ofphotographs photographs The photo essay, a sequence plus brief brief textual material, material, came came of of age age in in Stefan Lorant Lorant in in the 1930s. It was pioneered by Stefan European picture magazines magazines and and later later in in America America of publications publications such such as as Life Life and and Look Look.. by a score of Look. Today, the heyday of of the the picture picture magazine magazine has has part to to competition from from televitelevipassed, due in part Bu t photographs remain remain aa major major source source sion. But of our information about the the world world and and photo photo of on the the Internet. In ternet. essays have returned on

of The halftone process converts the continuous shades of gray in a photograph (right) into distinct units of ofblack and and white that can be printed with ink on paper paper (far (far right).

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ofGerman Statesmen Erich Salomon. Visit of to Rome, 1931. 1931. Not until the 1920s 192 0s did photographers get a small camera able to take pictures easily in dim light. Early Early cameras were relatively bulky, and the slowness of of available films meant that using using a camera indoors required a blinding burst of of flashpowder. flashpowder. The first of of the small cameras, the Ermanox, to be followed soon by the Leica, Leica, fast-f/2 - that unobtrusive, had a lens so fast—f/2—that candid shooting finally became practical. Cameras began to infiltrate places where they they public began to hadn't been before, and the public hadn’t see real people in the news.

Erich Salomon was one of ofthe pioneers of of this practice, with a special talent for dressing dressing in formal clothes and crashing diplomatic gatherings—sometimes shooting through a hole erings-sometimes in his bowler or disguising his camera within a bouquet. bouquet. He often recorded those in power power while they were preoccupied with other matters, ters, such as at this 1931 1931 meeting meeting of ofGerman statesmen. In tribute to Salomon, and Italian statesmen. the French foreign minister, Aristide Briand, is said to have remarked, “There "There are just three things necessary for a League of ofNations conference: a few foreign secretaries, a table, and ference: Salomon.” a Salomon."

W . Eugene Smith. From Spanish Village Village,, 1951. 1951. The photo W. essay—pictures text— was the essay-pictures plus supporting text—was text-was the mainstay mainstay of magazines such as Life of mass-circulation picture magazines Life and and Look. Look Look.. Above are two pages from “Spanish "Spanish Village,” Village," photographed for Life by W. W. Eugene Smith, whose picture essays are unsurpassed in their power power and photographic photographic beauty. beauty.

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photojournalism (continued) (continued) Photojournalism Photojournalists were the the first first to to embrace embrace digital photography. The news is now. location need need to to get get pictures pictures Photographers on location middle of of the the action action to to the the editors’ editors' desks desks from the middle Film requires requires transportation transportation as rapidly as possible. Film drying, and and proofing proofing before before to a lab, development, drying, the pictures pictures can can be be used. used. anyone can tell whether the of a roll limits limits the the number number of of photophotoT he length of The graphs that can be be exposed quickly. quickly. And And itit isis easy easy picture's content content to to get get for information about a picture’s separated from from the picture picture itself. itself.

Gilbertson. Baghdad, Iraq, Ashley Gilbertson. Iraq, 2004 Gilbertson has photographed conflict in Iraq since 2002, on assignment for a variety varief:)t of ofpublications and as a personal personal project. Here, Here, an Iraqi’s Iraqi's attempt to extinguish the fire burning burning in a van ends spectacularly. Gilbertson’s Gilbertson's book, book,

198

The Associated Press Press (AP) (AP) began began transtransphotographs digitally digitally mitting conventional photographs before 1980. Their system was used used to to distribdistribdifferent newspapers. newspapers. ute pictures to editors at different practical digital digital cameras cameras began began to to In the mid-90s practical hands of of a very very few few photographers. photographers. appear in the hands modified 35mm 35mm SLRs, SLRs, specially modified The cameras were specially many photojournalists photojournalists were were t he same models many the already using, and were very expensive. expensive. By By 2001 200 1 of all journalists used used digital digital cameras; cameras; nearly half of today virtually virtually all do.

Whiskey Tango Tango Foxtrot, Foxtrot, records records not not on(y only the the drama of ofscenes like this, but also the people that are caught up in the conflict. George George Packer, writing in The New Yorker, Yorker, said said that war photography can “give "give back their their subjects the humanity that the war is taking away.” away.,,

H ISTORY O F P HOTOGRAPHY HISTORY OF PHOTOGRAPHY

Alfred Eisenstaedt. Ethiopian Soldier, 1935. 1935. War and social injustice are among the the staples of of news photography. The The best best of ofthese photographs go beyond the the simple recording of ofan event. They become symbols of ofthe time in which they occurred. In 1935, 1935, when the overwhelming overwhelming force force of of a modern, mechanized Italian Italian army invaded an ill-prepared Ethiopia, Ethiopia, Eisenstaedt Eisenstaedt focused on the feet of ofa barefoot Ethiopian Ethiopian soldier.

Susan Meiselas. Meise/as. Awaiting Awaiting Counterattack by the Guard, Matagalpa, Nicaragua, 1978. During the Sandinista revolt in 1978. Nicaragua, Susan Meiselas Meise/as photographed photographed these men at a barricade awaiting attack by government troops. troops. She had to decide whether to stay and continue photographing photographing or to leave to make the deadline for for publication. “As "As a documentary photographer, II would have liked to stay, but II had to leave to get the pictures out. It was the first first time that II realized what it means to be a photojournalist and deal with a deadline.” journalist deadline." C H A P T E R 110 0 CHAPTER

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th Century 19th Photography as Art in the 19

just a photograph or W as it just or was was itit art? art? W

the moment of of its its birth, birch, photogphotogAlmost from the out claims claims in in areas areas that that raphy began staking out resetved for for painting. painting. Portraits, Portraits, had long been reserved nudes, and and even even allegories allegories landscapes, nudes, still lifes, landscapes, subject matter. matter. became photographic subject the most most famous fan1ous and and commercommerAt the time, the of those chose intending intending to ro cially the most successful of elevate photography photography to ro an art art was was Henry Henry Peach Peach turned out our many many illustraillustraRobinson. Robinson turned photographs. tive and allegorical composite photographs. plorred in in advance advance and and comcomThese were carefully plotted negatives to to form form the the final final print print bined several negatives cop). Robinson Robinson became became the the leader leader of of aa (right, top). th-century Arr movement movement in in 19 19la ｾ＠

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Peter Henry Emerson. Gathering Water Water Lilies, Lilies, 1885. 1885. Peter Henry Emerson rejected the methods of ofthe the High High Art photographers. He He insisted that photography photography should should not imitate art but should strive for for a naturalistic naturalistic effect effect that was not artificially contrived. He illustrated his theories theories with his own photographs of ofpeasants on the the East East Anglian marshes in England.

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Pictorial Photography and the Photo-Secession Photographers were were IIss photography anan art? Photographers

Robert Demachy. Une Balleteuse, 1900. 1900. Pictorialist photography at the turn of ofthe century often resembled impressionist paintings, with light and atmosphere more important important than sharp details. details.

chis question question at at the the turn turn of of still concerned with this or pictorialists, pictorialists, the century. Art photographers, or their photographs photographs from from those those wanted to separate their taken for some other purpose—ordinary purpose- ordinary snapsnapExhibitions were were organized organized shots, for example. Exhibitions internationally where photographs photographs were were judged judged merits. on their aesthetic merits.

Many pictorialists believed believed that that artistic artistic merit merit increased ifif the photograph photograph looked looked like like of art art-—charcoal charcoal drawing, mezmezsome other kind of other than than photography. photography. They They zotint, or anything other quite frankly frankly on on painting, painting, patterned their work quite of the the French French Impressionists, Impressionists, especially the work of for whom mood mood and aa sense sense of of atmosphere atmosphere and and The pictorialists pictorialists favored favored light were important. The and soft soft cityscapes; cityscapes; light light mist-covered landscapes and was diffused, line was was softened, and and details details were were suppressed (left, top). top).

In America, Alfred Stieglitz Stieglitz was was the the leader leader photography as as an an art art form form and catalyst for photography

Alfred Stieglitz. The Steerage, 1907. 1907. Alfred Alfred Stieglitz Stieglitz championed photography as art, including including pictorialist pictorialist photographotography. However, Hawever, his own photographs (except for for aa brief briefearly early period, see page 172) 172) did not include soft soft focus, focus, handwork, handwork, or or ofthe direct camera image. other alterations of

is hard hard to to overestimate. overestimate. He He and his influence is (left, bottom), bottom) , organized organized shows, shows, photographed (left, influential and and avant-garde avant-garde work work and published influential photographers other artists. artists. In In his his gallergallerby photo graphers and other ies—the Galleries of of the the Photo-Secession Photo-Secession ies- the Little Galleries simply by by its its address, address, 291), 291), the t he (later known simply Intimate Gallery, and An American American Place—he Place- he not only only what he he considered considered the the best best showed not but also, also, for for the the first first time time in in photographic works but the works works of ofCézanne, Cezanne, Matisse, Matisse, the United States, the modern artists. artists. In In his his magan1agaPicasso, and other modern published photographic photographic he published zine Camera Work, Work, he whose only only requirement requirement was was criticism and works whose of the the word word art. art. Not Not only only that they be worthy of museum curators curators and and did he eventually force museum photography aa place place beside beside art critics to grant photography but by by example example and and sheer sheer force force of of the other arts, but twice set the the style style for for American American personality he twice photography: first first toward toward the the early early pictorial pictorial photography: and later later toward toward sharply sharply ideal and impressionistic ideal "straight" photography. photography. realistic, “straight”

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The Direct Image in Art SS ome

photog raphers interested interested to to make make photographers th century created unma20th unmaart in the early 20 nipulated images images even while pictorialists were were that looked looked very very much much like like making photographs that was forming forming to to return return to to paintings. A movement was photographs that that characterized characterized so so much much the direct photographs th-century imagery. In of 19 J9,h-century In 1917 1917 Stieglitz Stieglitz devoted devoted of of Camera Work Work to to Paul Paul Strand, Strand, whose whose the last issue of he saw saw as as a powerful powerful new new approach approach to to photographs he phorography as an art form. form. Strand Strand believed believed that that photography “objectivity is of "objectiviry of the very essence essence of of photography… photography ... realization of ofthis this is is accomplished accomplished withwithThe fullest realization of process or manipulation.” manipulation." out tricks of photographs were were direct direct and and Stieglitz's own photographs Stieglitz’s He felt that that many many of of them them were were unmanipulated. He images of of objects objects in in visual metaphors, accurate images of his camera and at the the same same time rime external external front of "equivalents" of of his his inner inner feelings. feelings. After After 1950, 1950, “equivalents” on and expanded expanded Stieglitz’s Stieglitz's Minor White carried on concept of of the the equivalent. For For White, White, the the goal goal of grapher was of the serious photo photographer was “to " to get get from fron1 the intangible” intangible" so so that that aa straight straight the tangible to the photograph also functions functions as as aa metaphor metaphor for for the the photographer's or the the viewer’s viewer's state state of ofmind. n1ind. photographer’s

Paul Strand. Strand. The White Fence, Port Port Kent, New New York, York, 1916. 1916. Strand’s Strand's straight straight approach approach to to phophotography as an art form combined an objective view view with with personal personal meaning. meaning. “Look "Look at at the the things things you, the immediate world around you. IfIfyou are alive you.”" around you, alive itit will will mean mean something somethingto to you.

Straight Straig ht photography photography dominated dominated photography photog raphy as an art form from the 1930s 1930s to to the the 1970s 1970s by Edward Edward Weston Weston (page 164). and is exemplified by ((page page 164). technique and and aa bare bare miniminiHe used the simplest technique of equipment: generally, an an 88 ×x 10 10 view view mum of down to to the the smallest smallest camera with lens stopped down overall. He He contact-printed contact-printed aperture for sharpness overall. cropped. “My "My way way negatives that were seldom cropped. of working—I working- I start with no no preconceived preconceived idea— ideaof di scovery excites me me to to focus—then focus - then rediscovery rediscovery discovery lens- final form form of ofpresentation presentation seen seen through the lens—final the finished finished print print previsioned previsioned on ground glass, the of texture, texture, movement, movement, complete in every detail of exposure- the shutter’s shutter's release release proportion, before exposure—the finally fixes fixes my my conception, conception, automatically and finally manipulation- the ultimate u ltimate allowing no after manipulation—the print, is but a duplication duplication of ofall all that that II saw saw end, the print, my camera.” camera." Many Many other other phophoand felt through my Adams, Paul Paul Caponigro Caponigro tographers, such as Ansel Adams, Cunningham have have used used the the (right), and Imogen Cunningham straight approach.

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Paul Caponigro. Galaxy Apple, New York York City, City, 1964. 1964. The The apple apple isis aa symbol symbol of ofthe the biblical biblical story sto,y of ofcreation; in this photograph it resonates with with the visual visual metaphor metaphor of ofaa universe universe reflected reflected in in its its skin. skin. “Photography’s "Photography's potential,” potential," Caponigro said, “…is "... is really really no different different from from the the same same potential potential in in the the best poetry where familiar, familiar, everyday words, words, placed placed within within aa special special context, context, can can soar soar above above the the intellect intellect and touch subtle reality in a unique way.” way."

The Quest for for a New Vision T

th century saw T he beginning of of the 20 20th great changes in many many areas, areas, including science, technology, mathematics, mathen1atics, politics, politics, and and also also the the Moven1ents like Fauvism, Fauvism, Expressionism, Expressionism, arts. Movements Surrealism were were permanently permanently Cubism, Dada, and Surrealism changing the meaning meaning of of the the word word “art.” "art." The The Futurist art arr movement n1ovement proposed proposed “to "to sweep sweep from from of art all motifs motifs and and subjects subjects that that have have the field of already been exploited…to exploited ... to destroy destroy the the cult cult of of the the past...to despise utterly utte rly every every form form of of imitation… imitation .. past…to of originality.” original ity." to extol every form of

Man Ray. Solarization, 1929. 1929.

László Laszlo Moholy-Nagy. Jealousy, 1927. Jealousy, 1927. Photographers such as László Ldsz/0 Moholy-Nagy and Man Ray used many techniques in their explorations of of real, unreal, and abstract imagery. The photomontage (right) combines pieces of of several photographs. Moholy defined photomontage as "a tumultuous collision of of “a whimsical detail from which hidden meanings flash,” flash," a definition that fits this ambiguous picture. In Man Ray’s Ray's photograph (above), (above), the dark lines along the woman’s woman's hand, as well as other altered tones, are due to solarization (Sabattier effect), exposing the image to light during development.

At the center of of radical radical art, art, design, design, and and Bauhaus, a school in Berlin Berlin to to thinking was the Bauhaus, Hungarian artist artist László Laszlo Moholy-Nagy Moholy-Nagy which the Hungarian 1922. He He attempted to to find find new new ways ways of of came in 1922. with radical rad ical seeing the world and experimented with uses of of photographic materials materials in in an an attempt attempt th-century pictorialist co replace 19 19rh-cenrury picrorialisr conventions conventions to "new vision” vision" compatible compatible with with modern modern with a “new life. Moholy Moho ly explored many many ways ways of of expanding expanding ph otographic vision, vision, through through photograms, ph otograms, phop h ophotographic tomontage (left, bottom), bottom), the the Sabattier Sabattier effect effect unusual angles, angles, optical optical (often called solarization), unusual multiple exposures. exposures. He He felt felt that that distortions, and multiple "properly used, they they help help to to create create aa more more comcom“properly ofphotography.” photography." plex and imaginary language of new art art forms forms was was Another artist exploring new An1erican expatriate expatriate in in Paris. Paris. He He was was Man Ray, an American drawn to Dada, a philosophy philosophy that that commented commented of modern modern existence. existence. “I "I like like on the absurdities of contradictions," he he said. “We "We have have never never obtained obtained contradictions,” contradictions that that exist exist the infinite variety and contradictions nature." Like Moholy, Moholy, Man Man Ray Ray used used aa variety variety in nature.” of media and techniques, techniques, including including the the Sabattier Sabattier of effecr (left, top). effect

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Photography as Art l 950s and 1960s l 960s in the 1950s A A

tremendous growth took took place place in in the the of photography photography as as an an art art form, form, acceptance of that started in in the the 1950s. 1950s. Since Since then, t hen, a change that part of of the the college college and and art art photography became aa part curricu lum, art museums museun1s devoted devoted conconschool curriculum, co photography, photography, art art galleries galleries siderable attention to on ly photographs, photographs, while wh ile photogphotogopened to sell only ocher galleries that chat previously previously had had raphy entered other or other ocher traditional traditional arts, arts, and and sold only paintings or as Artforum Artforum ((page (page established magazines such as page Art in America regularly regu larly published published phopho208) and Art the medium. medium. tographs and essays about the

Harry Callahan. Eleanor, 1947. 1947. Harry Callahan’s Callahan's work was lyrical and personal. He returned again and again to three main themes, the emptiness of of city scenes, the rich detail of of landscapes, and portraits of of his wife, wife, Eleanor. Eleanor. He said, “It "It takes me a long time to change. II don’t you don 't think you can just go out and figure out a bunch of ofvisual ideas and photograph. photograph. The change happens in living and not through thinking.” thinking. "

of the the 1950s 1950s was was often often American work of described in terms of of regional regional styles. styles. Chicago was identified with wi th the the work work of ofAaron Aaron Siskind Siskind(right, (right, Harry Callahan Callal1an (right, (right, top). top). The T he West West bottom) and Harry co the the so-called so-called straight smught photogphotogCoast was linked to raphers, such as Ansel Adams (page and Minor Minor (page 47) 47) and New York was was aa center center for for social social White (page 53). New documentation, such as by graphers in by photo photographers in the the tied to to Photo League. League. Meanwhile, Meanwhile, tied politically active Photo Frank, aa Swiss Swiss immigrant, immigrant, was was no region, Robert Frank, traveling across the the United United States States photographing photographing oflife (opposite). his own view of life (opposite).

An increasing number number of of colleges colleges and and art art schools in the late late 1960s 1960s offered offered photogphotography courses, often in their their art departments where a cross-fertilization of of ideas ideas took took place place between photographers traphotographers and artists artists working working in intraarc media. Some painters painters and and other other artartditional art ists used u sed photographs photographs in in their their work work or or sometimes sometimes altogether. Some Some phophoswitched to photography altogether. tographers combined their their images images with with painting, painting, printmaking, or other media. media. Older O lder photographic photographic revived, such as as gum gum bichromate bichromate processes were revived, and platinum printing. Whi te said that chat in in the the 1950s 1950s photographotograMinor White fu nction ing as artists were were so so few few that that they they phers functioning together for warmth. warmth. The The exploexploused to clump to gether for sion of of photography in in academia academia helped helped push push t he medium in many many directions, directions, and and the the long long the battle over whether photography photography was was an an art art was was finally resolved. The winners were were those chose who who said said it could be.

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Aaron Siskind. Chicago 30, 1949. 1949. Aaron Siskind’s Siskind's best-known best-known work work consists of of surfaces abstracted from their context context such as peeled peeled and and chipped paint or posters on walls. wolfs. The subject subject of ofthe the photograph isis the the shapes, shapes, tonality, and other elements that appear in it, not not the the particular particular wall wall itself. itself

- New York City, 1955. 1955. Robert Robert Robert Frank. Bar – ofAmerica exerted a great influence inf1uence Frank's ironic view of Frank’s on both the subject matter and style of ofphotography photography as an art form. form . Like Frank’s Frank's photographs, the works of ofDiane Diane Arbus, Lee Friedlander, Garry Winogrand, and others were personal observations of ofsome of ofthe peculiar and occasionally occasionally grotesque aspects of ofAmerican society. Above, a glimpse inside a New York bar is an unsettling unsettling

comment on the emptiness of Jack Kerouac ofmodern society. Jack wrote in his introduction to Frank’s Frank 's book The Americans Americans,, “After not knowing knowing "A~er seeing these pictures, you end up finally not any more whether a jukebox is sadder than a coffin.” coffin. "

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Photography as Art in the 1970s and 1980s hotog raphers continued to to explore explore aa varivariPP hotographers

Cindy Sherman. Untitled Film Still #13, 1978. 1978. Sherman examined modern culture by photographing herselfin i n various roles. In In herself Untit led this image from her Untitled Fil m Stil ls series, she plays Film Stills the role of of an actor playing a role.

ety of of subjects and issues. is sues . Some Som e remained rem ained

straigh t photography photography tradition tradition committed to the straight of of Edward Ed ward Weston (page (page 164) 164) or or Ansel Ansel Adams Ad a m s experimented with with form form to to (page 47), while others experimented visio n. Shaped by by repercussions repercussio ns of ofthe the find a new vision. Vietnam a nd other conflicts, con flicts, some som e photographotograVietn am War and m edium in in political political directions, directio ns, folfolphers took the medium lowing the t he leads of o f Robert Robert Frank Frank (page (page 205) 205) or o r W. W. Eugene Smith Sm ith (page (page 197). 197). Photographers Photograp hers like like Lee Lee Friedland er (page 157), 157), Diane Diane Arbus, Arbus, and and Garry Garry Friedlander Winogrand Winogra nd (page 134) 134) roamed roam ed the th e streets, st ree ts, recordreco rdth e humor, humo r, pathos, pathos, and irony iro ny of ofdaily daily life. life. ing the

Photography Photog raphy found acceptance acceptance as as aa legitileg itimate art form. During the the late 1970s 1970s and a nd early 1980s, 1980s, emerging artists artists using using photography photography like li ke Cindy Sherman Sherma n (right, (ri gh t, top), to p), Robert Robert MappleMap plethorpe, th orpe, and an d Barbara Kruger Kru ger were we re exhibited exhibited in in art art galleries, as opposed to to photography photography galleries, galleries, and found fo und they th ey could prosper. prosper. Photographers Photographers like like Richard Avedon Avedo n (opposite), (o pposite), betbetIrving Penn and Richard their commercial commercial work, wo rk, were were given given ter known for their of their their editorial editorial and a nd personal personal work work in in exhibi tio ns of exhibitions n1ajor art arr museums, n1useums, evoking evoking controversy controve rsy in in some so1n e major quarters. Technological T echnological advances advances in in color color photogphotography, seldom seldo m used used by by art photographers pho togra phers in in the t he past, popula rity. pas t, helped it it gain popularity. M useums hired photographic photographi c curators curato rs and a nd Museums charged wi th building building collections collectio ns and a nd ch arged them with photography more m ore regularly. regu la rly. New New exhibiting photography in stituti o ns like the International Internatio nal Center Cen ter for fo r institutions (1974) and the th e Center Center for fo r Creative Creative Photography (1974) Pho tography (1975) (1975) were founded. fo unded . By By the the early early Photography 1980s, photography pho tography had h ad become becom e aa fixture fixt ure in in n1useums, academia, acade mia, and an d the the art arr world wo rld at at large. large. museums,

Photography Photog raphy attracted the the attention attention of of respected intellectuals from fro m other o ther fields as well. well. ( 19 77), Susan Susan Sontag Sontag raised raised penpenIn On Photography (1977), etrating questions about abo u t the the medium, m edium, its its aesthetaes theta nd its ties ties with the th e culture cultu re at at large. large. Sontag Sontag ics, and photography as as aa subject su bject worthy wo rthy of ofseriserivalidated photography ous o us analysis. By By the the early early 1980s 1980s photography photography was was m erely accepted, it it was hot. h ot. n ot merely not

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Robert Cumming. Tile/Mirror, Tile/ Mirror, Milwaukee, Wisconsin, Wisconsin, 1970. 1970. “Photographic " Photographic conceptualism” conceptualism" is a label applied applied to Cumming’s Cumming's early photographic works, like this one, because they broke from the tradition of offormal formal beauty beauty in favor of ofstressing an idea. Many of ofhis “conceptual” "conceptual" pieces also display a very dry sense of ofhumor.

Richard year old, Richard Avedon. Avedon. Sandra Bennett, twelve year old, Rocky Ford, Colorado, Colorodo, August 23, 1980. 1980.

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Color Photography Arrives-Again Arrives—Again B

B y 1970 almost everyone’s everyone's snapshots snapshots were were in color color,, but art photographs ph o togra phs weren’t. weren 't. The T h e sudsud -

Color materials had had (and (and continue continue to to have) have) p ermane nce issues; issue s; over time, colors fade and and permanence

de n respectability res pectab ility received received by by serious seri o u s photography photography den in the th e late 1960s 1960s did not not include include color. color. Many Man y of of th e era’s era's well-known well-kn own artists a rtists had had photographed p h o togra phed in in the color- Ansel Adams, Ada ms, Harry Harry Callahan, Calla han , Helen H elen Levitt, Levitt, color—Ansel and a nd even Edward Ed ward Weston among am on g them—but them - but what what th eirs was always always black black and and white. white. was seen of theirs In part, this t hi s was due to to the th e expense ex pense of o f printp rinting books and a nd magazines n1agazines in in color. color. But But there t h ere were we re o th er reasons reaso n s as well. Serious Serio u s photographers p h o tographers other took too k pride p ride in their expressive darkroom da rk roo m craft; craft; the t he tones to n es of of a black-and-white black-and-wh ite print print were we re easily easily manipulated th e hands h and s of ofaa master. m as ter. Color Colo r phophom anipulated in the looked accurate acc u rate or o r they they looked looked tographs either looked wrong. darkro on1 color color chemicals ch em icals required required wro n g. Also, darkroom more n1o re attention, attentio n, so quality quali ty control contro l favored favored the the automated processing machines mac hin es in in high-volume high-volume a uto mated processing commercial labs. labs. Until Until the t h e 1970s 1970s no n o photographpho togra phcou ld make m ake a living living just just by by selling sell ing prints, pri nts, ic artists could so their darkrooms d arkroo n1s were we re usually u su ally economical— eco no micalsim p le equipment. equ ipm ent. There There were were sm all spaces with simple small color darkroom. da r kroo m. o pt io n s for fo r a modest m odest color few options

cha nge. In In museums you yo u can can see see many many pristine pristin e change. examples of of black-and-white black-and-white prints prints made mad e by by the the th cenfi rst generation of of photographers photographers in in the the 19 19,h first tu ry. Research into in to the t he longevity lon gevity of of photographs photograp h s tury. proved that, th at, with careful processing processing and and storage, storage, silve r-based black-and-white blac k-and-whi te prints prints and and negatives n egatives silver-based can last nearly n early forever. fo rever. But But the th e news news about abo u t color colo r was all bad. so bad bad that tha t until until the the mid-1970s mid-1 970s bad . It was so m ost museums, because because of oftheir their obligation obligatio n to to prep remost serve objects in their th eir care, would wo uld not n ot collect collect color colo r o bjects in photographs p ho tograph s at a t all. Photographers Photogra phers who who wanted wanted t heir prints pri n ts to to outlast them them wouldn’t wo uldn't take take aa chance. ch ance. their

Color photography photog raphy arrived—suddenly, arrived-suddenly, itit

In 1978 1978 JJan an Groover exhibited color photographs at the t he Sonnabend Gallery in New N ew York. York . Because Sonnabend was known for exhibiting prominent contemporary painters and sculptors, the appearance of of color photographs caused a sensation. Writing about her work almost ten years years later in the New York Ti mes,, critic Andy Times Grundberg said, “When "When one appeared on the cover of magazine, it of Artforum Artforum magazine, was a signal that photography had arrived in the art world—complete world- complete with a marketplace to support it.” it."

seemed—in seem ed - in the th e mid-1970s. mid-1970s. Art schools schools and and uniuniversities had only recently recently introduced introdu ced photogphotogversiti es that had raphy courses found fo u nd them t hem increasingly increasingly popular. popular. d epartments grew from fro m teaching teaching one on e or or two two Art departments photo pho to classes to to offering aa full full academic acade m ic major, majo r, which meant mean t expanding their their facilities facilities to co meet meet the t he demand. de man d. Color photography p hotograp hy classes classes entered entered January, 1979. Artforum. January, 1979.

William Eggleston. Greenwood, Mississippi, 1973. 1973. 3 5mm color transparencies transparencies Eggleston had his 35mm made into in to dye transfer prints. Now discontinued, the the

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H ISTORY O F P HOTOGRAPHY HISTORY OF PHOTOGRAPHY

dye transfer process was labor-intensive and and required required absolute precision, but the prints are among among the most most permanent and accurate color photographs ever ever made. made.

school labs labs set set up up color color the course catalogs and school machi nes. More More facilities faci lities meant meant more more processing machines. portfolios, and and more more emerging artists with color portfolios, color prints on view. sh owed that that low low tempertemperNew research showed the deterioration of of color color phophoatures slowed the began constructing constructing spespetographs. Museums began to store the the color color photo photo cial refrigerated vaults to graphs they could then then collect, and and some some photogphotogroom in in their their studios studios for for freezers freezers to to raphers found room negatives. keep their color negatives. ignored pleas pleas from from comcomFor years, Kodak ignored and artists artists alike alike for for aa more more mercial photographers and printing paper, paper, but but Fuji Fuji listened. listened. permanent color printing They began to market market color color paper paper in in 1980 1980 and and

in1proved its expected lifespan lifespan with with aa new new version version improved Photographers- and collectors— collectorsevery few years. Photographers—and that color color photographs photographs wouldn’t wouldn't began to trust that vanish overnight.

photography was validated by by musemuseColor photography represented um exhibitions. Stephen Shore was represented the enormously enormously influential influential New New by color prints in the Topographics Topograph ies exhibition at at the the George George Eastman Eastman 1975. Although color color photographs photographs had had House in 1975. occasionally at at New New York’s York's Museum Museum been shown occasionally of Modern Art since 1937, 1937, its its 1976 1976 exhibitions exhibitions of of of (in May) and and Shore Sh ore (October) (October) William Eggleston (in hai led as a watershed in in the the acceptance acceptance of of were hailed ph otographs as fine fine art. art. color photographs

ofKlamath Falls, U.S. 97, 91, Oregon, Stephen Shore. South of July 21 21,, 1973. July 1913. Shore photographed with an 8 × X 10 10 film.. The The resulting resulting prints view camera using color film. film

have saturated colors, fine detail, and crystalline clarity clarity but, he says, “…it’s "... it's that awareness of ofreally really looking looking at at the everyday world with clear and focused focused attention that that I’m I'm interested in.” in."

“There’s 'There's something arbitrary about taking a picture. So II can stand at the edge of ofa highway and take one step forward and it can be a natural landscape untouched untouched by by man and I can take one step back and include aa guardrail and change the meaning meaning of ofthe picture radically.” radically." His not-so-arbitrary decision to step back allowed allowed him to to raise questions about the nature of pictures. of C H A P T E R 110 0 CHAPTER

209

Digital Photography P REDECESSORS PREDECESSORS

T

T oday, it’s it's difficult to think think of of aa sector sector of of isn't affected affected in in some some meameaour society that isn’t sure by digitized imagery. imagery. The print and media media the arts, medicine, medicine, politics, politics, and and sports sports industries, the on digital images. images. Web Web sites sites all use and depend on Yo uTube, Facebook, Facebook, and and Flickr Flickr regale regale us us with with like YouTube, of friends, friends, pets, pets, kids, kids, and and everyeverythe latest pictures of that few few people people could could imagine imagine thing else in ways that even a decade ago ago..

Many of of photography’s photography's inventors inventors were were grounded in the sciences, for example, William Henry Fox Fox Talbot (page (page 184) 184) and and Sir Sir John th century. Talbot, cointhe early 19 19,h Herschel in the with Charles Charles Babbage, Babbage, aa cidentally, was friends with "difference engine,” engine," was was the the mathematician whose “difference calculato r- the direct direct first successful automatic calculator—the th of today’s today's computers. In In the the mid-20 mid-20,h ancestor of centu ry, scientists and engineers engineers played played key key roles roles century, imaging systems. systems. Space Space navinaviin developing digital imaging drove the the development development of, of, gation and mapping drove for example, the Hubble scope and Hubble tele telescope and advanced advanced television cameras.

the photographer photographer to to producproducinstant films limited the ing- like the early daguerreotype—only daguerreotype- only aa small, small, ing—like unique print.

Digital imaging soon reached reached aa popular popular audience. Sophisticated computer equipment equipment co generate new new special effects effects and an d anianiwas used to in popular popular films films like like Star Star Wars Wars mation techniques in imagery captivated captivated audiences, audiences, (1977). Dazzling imagery incl udi ng filmmakers and and artists artists who who began began to to including the visual vis ual possibilities possibilities (see (see pages pages glimpse and use the 212 - 213). Competition among amo ng Kodak, Kodak, Sony, Sony, Fuji, Fuji, 212–213). ocher corporations led led to co the the introduction introduction and other of of cameras that could capture capture an an image image digitally, digitally, to the the photographer photographer immediately, immediately, in in and show it to the t he early 1990s. 1990s. In In January, 2008, 2008, the the Japanese Japanese manufacturers' trade trade organization o rganization reportreportcamera manufacturers’ of less less than than 0.1% 0.1 % of of total total ed film camera sales of sold; after that that they they stopped stopped including includ ing cameras sold; in their their monthly monthly sales sales reports. reports. film cameras in

The impulse to manipulate photographs photographs is nearly as old as the medium medium itself. itself. Long compu ters were invented, invented, people people wanted wanted to co before computers one of of the the things things that that do (and some were doing) one well- combining imagimagdigital imaging does so well—combining Robinson (page (page 200), 200), Oscar Oscar G. G. es. Henry Peach Robinson Rejlander (right), (righ t), and others cut, cut, pasted, pasted, masked, masked, rep hotographed images images to to make make allegories, allegories, and rephotographed and create create dramatic dramatic or or illustrate Biblical stories, and simply amusing scenes. th century, artists like In the early 20 20"' like Man Ray Ray Laszlo Moholy-Nagy Moho ly-Nagy (page (page 203), 203), Hannah Hannah and László Höch, Hoch, and John Heartfield Heartfield created created surrealistic— surrealisticand political- n1ontages.. a nd sometimes political—montages

Instant feedback was an an elusive elusive goal goal for for photographers. Until the t he availability availability of of Edwin Edwin camera in in 1948, 1948, there there was was no no Land's first Polaroid Polaroid camera Land’s than years years of of experience, experience, to to practical way, other than if a captured captu red image image would wo uld match match the the expecexpecknow if of the photographer. photographer. Polaroid’s Polaroid's instantinstanttations of fi ln1 were were enormously enorn1ously popular popular print cameras and film their professional professional films films were were for snapshots, and their step in in studios, studios, but but most most essen tial proofing step an essential

210 210

H ISTORY O F P HOTOGRAPHY HISTORY OF PHOTOGRAPHY

Oscar G. Rejlander. Rejlander Rejlander Introduces Rejlander the Volunteer, Volunteer, c. 1865. 1865. Rejlander often pieced together together negatives to produce composite images. He enjoyed theatrics and photographed

himself himselfand others displaying emotions, made character studies, and created complicated allegorical scenes. In In this this self self portrait, he appears as both the artist artist and the soldier he is introducing.

Jim Lemonade Stand, Jim Stone. Dawn and Krista at the Lemonade 1984. To photograph strangstrangSyracuse, New York, 1984. ers, Stone used a now-discontinued ers, now-discontinued Polaroid Polaroid positive/ negative film in his 4 × X 5 view instant positive/negative

camera. camera. It made an instant print that that he gave to to his his subjects to make sure they were comfortable with with the the image, and a negative he kept to make larger larger prints. prints.

The film pack, a sandwich of ofblack-and-white film and print paper, contained a pod of ofdeveloping developing chemicals that would process the materials after a~er exposure—in posurein daylight—in daylight- in twenty seconds. The The frame’s frame 's distressed edges, visible in the image above, are the the result of ofincluding a part of ofthe negative that extended extended beyond the instant print’s print's masked white border. border.

C H A P T E R 110 0 CHAPTER

211 211

Digital Photography B ECOMES M AINSTREAM BECOMES MAINSTREAM

T

T he 1990 introduction of ofAdobe Adobe Photoshop Photoshop was a major turning in the the acceptance acceptance turning point point in of digital digital imaging. imaging. An early exhibiand use of tion, Digital Photography: Captured Captured Images, Images, Volatile Volatile Memory, New Montage (1988) (1988) gathered gathered work work by by Paul Berger, Berger, MANUAL MANUAL (Suzanne (Suzanne artists such as Paul Bloom and Ed Ed Hill, Hill, below), below), Esther Esther Parada, Parada, Martha Martha who used used digital digital Rosler (page 76), and others who of purposes. purposes. The The flexibility flexibi lity imaging for a variety of of of digital imaging and and the the integration integration of ofapplicaapplicaled many many artists artists to to explore explore tions on the computer led interdisciplinary production production cross-media and interdisciplinary music, and video. video. using installations, music, 1990s, many many traditional traditional photographers, photographers, In the 1990s, to black black and and white, white, who had long been committed to began using color, in part because because digital digital technoltechnolin part management and and made made the the ogy simplified color management more accessible. accessible. printing process more

In less than a generation, digital digital technoltechnology took over the medium medium of of photography. photography. Anyone who owns a camera, or or even even just just aa cell cell phone, is an image maker. maker. In In 2013, 2013, Facebook Facebook members upload upload 10 10 billion bill ion phophoclaimed that its members tos every month. In the the same same year, year, about about 90% 90% of of in use use worldwide worldwide were were the 5 billion cell phones in camera phones; soon virtually virtually everyone everyone in in the the world will be carrying aa camera. camera. of images images is is commoncommonDigital manipulation of place, whether in in the the news, news, in in advertising, advertising, or or in in of removing removing unwanted unwanted telephone telephone the simple act of wires (or unpleasant relatives) relatives) from from our our snapsnapshots. The allure all ure of of photography photography has has always always in in part been about controlling and and even even altering altering our our of reality. We We have have experienced experienced aa revorevoexperience of lution whose contours and and implications implications we we are are just beginning to to understand. understand. MANUAL (Suzanne Bloom and Ed Hill). Broken Frame, 1996. 1996. Digital manipulations facilitate commentary. The work of ofcollaborators Ed Hill and Suzanne Bloom often steps off offfrom the myths of of American life. fife. Left, a gleaming frame encloses what we do to our environment in order to create such objects.

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H ISTORY O F P HOTOGRAPHY HISTORY OF PHOTOGRAPHY

1982. Burson Burson made combination combination portraits portraits like like this this Nancy Burson. Warhead I, 1982. one a~er after working with scientists at MIT MIT in the 1970s 1970s to to develop develop software software to to graphically graphically advance a portrait subject’s subject's apparent age (it was was used used to to find find several several missing missing children). children). This digital composite superimposes images of offive five world world leaders, leaders, the the visual visual weight weight of of each face represents how many of ofthe world’s world's nuclear nuclear warheads they they controlled: controlled: Ronald Reagan (55%) and Leonid Brezhnev (45%), with with Margaret Margaret Thatcher, Thatcher, François Franrois Mitterand, and Deng Xiaoping (each less than than 1%). 1%). ItIt was was made made nearly nearly aa decade decade before before photo-quality digital printers appeared; Burson Burson used aa film film camera camera to to photograph photograph her her composites displayed on a CRT CRT monitor, then then made made exhibition prints prints in in aa darkroom. darkroom.

C H A P T E R 110 0 CHAPTER

213 21 3

How to Learn More universities and Most universities and public public libraries libraries have have computers that that are are always always online, online, meaning meaningthey they connected to the Internet. Many cities are connected to the Internet. Many cities have have lnternetcafes rly fee Internet cafés that that charge charge aa modest modest hou hourly feefor for Internet access. access. Coffeehouses Coffeehouses and and other other busibusinesses offer free free wireless wireless (Wi-Fi) (Wi-Fi) connection connectionto to the Internet that that you you can can use use ifif you you bring bringyour your appropriate ly equ ipped laptop own appropriately own equipped laptop computer, computer, tablet, or smartphone. smartphone. To connect from from your your home, home, you you need needaa computer and and aa contract contract with with an an Internet InternetService Service ISP). A Provider(or Provider (or ISP). A local local computer computer retail retailstore store help answer can help answer questions, questions, and and numerous numerousselfselfhelp books are are available available on on the the topic. topic.

The Internet Internet ca n aanswer nswer almost ny questio n can almost aany question have about you may have about photography. photography. Like Likean an imimmense library, the the World World Wide Wide Web Web (the (the most most used part part of the widely used the Internet) Internet) gives gives you youacacinformation, opin ions, and cess to information, opinions, and images. images.On On it you can search for prices and order books, can search for prices and order books, supplies, and supplies, and equipment. equipment. And And you you can can show show photographs to your own own photographs to anyone anyone with withan an Internet connection, connection, worldwide. worldwide.

AW eb browser is Web is the the software software program programyour your d Wide computer uses uses to to reach reach the the Worl World WideWeb. Web. Dominating the the field field are are Mozilla Mozilla Firefox, Firefox,Apple Apple Safari , Google Safari, Google Chrome, Chrome, and and Microsoft Microsoft Internet Internet Explorer. They Explorer. They are are free free (but (but you you need needto to use use one to download download another) another),, and and most mostcomcomputers are are supplied supplied with with at at least least one onealready already installed. Your installed. Your Web Web browser browser lets lets you you type type ininaa location or address, location address, called called aa URL URL (for (for Uniform Uniform Locator), to Resource Locator), to reach reach aa specific specificWeb Web page. Addresses Addresses begin begin with with http://. http://. Most Most pages pages contain li nks that connect you directly to contain links that connect you directly toother other related pages pages simply related simply by by clicking clicking on on them. them.Your Your lets you browser lets you save save any any URL URL as as aa bookmark bookmarkso so you you can can easily return return to to it. it.

Innova Art, Ltd.

National Museum of American Art

tore pe rsonnel ca n an swer ques tio ns Camera sstore personnel can answer questions about products tthey sell. Additionally, Additionally, abo ut the products hey sell. in most most camera the staff in camera stores stores are are often oftenavid avid photographers themselves, photographers themselves, and and they they may may be be to discuss especially when eager to discuss photographyphotography—especially when the store store is not not crowded. crowded. Adva nced classes nd workshops re offered Advanced classes aand workshops aare offered almost everywhere, everywhere, from from guided guided photo phototours toursto to professiona l lighting professional lighting seminars. seminars. Ask Ask about aboutthem them camera store, at a camera store, aa local local community community college collegeor or or university, or search university, search the the Internet Internet (see (see below). below).

ion is Product informat information is plentiful plentiful on on the theWeb. Web. makers feature Camera makers feature new new products products and and proprolistings of lenses vide listings lenses and and accessories. accessories. Paper Paper manufacturers ' sites, 's shown , manufacturers’ sites, like like lnnova Innova’s shown here here, have printer profiles profiles you you can can download, download, as as we ll as complete well complete product product listings. listings.

Museum s have Museums have sites sites on on the the Internet. Internet.This Thisone one line version length catahas an an on online version of of aa bookbook-length catalog- an exhibition log—an exhibition of of landscape landscape photography photography held at that was held at the the Smithsonian Smithsonian American American Art Museum. Museum. Information Information about about individual individual artists is often often presented presented along along with with images. images.

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H OW T O LLEARN EARN M ORE HOW TO MORE

ific Use aa search search engine engine to to find find pages pages on on aaspec specific topic. Firefox, Firefox, Safari, topic. Safari, and and Internet Internet Explorer Explorerall all as bookhave search engines already stored have search engines already stored as bookmarks; three three useful useful ones ones among among many manyare are Google , Ask.com Google, Ask.com,, and and Yahoo. Yahoo.Type Type keywords keywords to locate your topic topic,, using using severa severall to to narrow narrow the search. search. A recent recent search search on on the the keyword keyword photography in in English English turned turned up up over over900 900 milmilNarrowing the lion sites. sites. Narrowing the search search to tophotography photography museum listed listed 98 million possibilities. Changing 98 million possibilities. Changing the search search to to photography photography museum museum Rochester RochesterNY NY reduces the the number number to to aa still-daunting still-daunting450,000 450,000 entries, but the entries, the first first one one on on that that list list isis probably probably 'd wantthe home the one one you you’d want—the home page page for forthe the Eastman House. George Eastman House.

Portal sites are are very very useful useful for for many many topics. topics.AA portal is aa compilation compilation of of links links to to other othersites sites of interest on of on the the topic. topic. Fortunately, Fortunately,there thereare are several good good ones ones for for photography, photography, organizing organizing links into areas areas of interest interest such such as as manufacturmanufacturers , museums, museums, schools, line ga lers, schools, stores, stores, and and on online galleries and and discussion discussion groups. groups. AAvery very complete complete Photography Portal site is The The Photography Portal (www.the (www.the (www.the photographyportal.com).). Other photographyportal.com Other photography photography porta ls can portals can be be found found with with aa general general search searchfor for photography portal. portal. portal. A list of Web Web sites sites featuring featuring the the work work of of photographers represented photographers represented in in this this book book isison on 220, but that's page 220, that’s only only aa start. start.

Light Work

Furth er information n photography Further information oon photography isis readily readily available. Many books books and and magazines magazines extend extend others reproduce technical information; technical information; others reproducegreat great examples-both contemporary • examples—both contemporary and and histori historipractical and cal- of practical cal—of and artistic artistic photography. photography.The The bibliography on on page page 226 226 and and aa local local library library places to are good good places to start. start.

tions have es and Photography organiza organizations havegalleri galleries and libraries; publish newsletters newsletters and and books books libra ries; many publish and- like Light Light Work, and—like Work, the the Syracuse, Syracuse, New NewYork, York, artist's space sponsor artists artist’s space shown shown aboveabove—sponsor artistswith with residencies , grants, residencies, grants, and and in in other other ways. ways.Find Findout out about their programs programs from from their their Web Websites. sites.

Troubleshooting

FF

rom time to time, time, every every photographer photograph er encounters encounters captured captured images, im ages, scans, scans,

or prints prints that chat display display unexpected unexpected problems. probl ems. This This section section can can help helpyou you identify identify the cause of of some so me common com mon problems—and problems-and how how to to prevent preventthem them in in the thefuture. future.

S O L V I N G CAMERA C A M E R A AND A N D LENS LENS SOLVING P ROBLEMS PROBLEMS

PICTURE PICTURE NOT NOT SHARP. SHARP. Easier Ea sier to to see see in in an enlarged en larged print or screen magnification. scree n display at 100% magnifi cation. IMAGE IMAGE AREA AREA COMPLETELY COMPLETELY BLACK BLACK Cause: received no no exposure. exposure. Cause: The sensor (or film) film) received Prevention: exposure several stops stops and and shoot shootagain. again. Prevention: Increase Increase exposu re by several Check is off. off. W With electronic flash flash,, the the flash flashmay may ith electronic Check that the lens cap is not not have have fired.

LIGHT overall. If you you LIGHT STREAKS. STREAKS. Image Image area a rea flared flared or or foggy looking overall. use lightened in in aa print print or or slide, slide,with withfifilm use film, film , darkened darkened in a negative, negative , lightened lm edges unaffected. The image may also show ghosting or geometric edges unaffected. also show ghostin g or geometric spots in the shape of the lens diaphragm. spots in the shape of th e len s diaphragm. Cause: light source source was was within withinor or Cause: The sun, sun, a bright bright bulb, or other light close struck th the lens aatt aan angle.. close to to the t he image, image, or bright light struck e lens n angle Prevention: you can see aa ligh lightt so source inyour your Prevention: Expect Expect some so me flare if yo u ca n see urce in viewfinder. light, the the more more flare flare yo you will viewfi nd er. The larger larger or brighter tthe he light, u will get; produce any flflare at aall. To preprege t; distant di sta nt or dim lights li ghts may not produ ce any are at ll. To vent use the the correct correct size size lens lens shad shade ve nt stray stray light light from from striking the the lens, lens, use e for with aa lens lens shade shade,, make makesu sure for your you r lens lens focal focal length length (right). ( righ t ). Even Even with re the sun is not shining directly on your lens. t he sun is not shining directl y on le ns.

Cause: Too slow a shutter speed speed will will blur blur aa movi moving subjector orblur blurthe the ng subject picture camera motion.Too motion. Toowide widean anaperture aperturewi will make picture overall due to camera ll make the scene sharp where you the you focused focused itit but but not not inin front frontof ofor orbehind behindchat that part. An extremely dirty lens ll , part. lens can can sometimes sometimes reduce reducesharpness sharpnessovera overall, especially with lens lens flare flare.. combined with especially when combined Prevention: Use a faster shutter speed or smaller aperture, or support Prevention: speed or sma ller aperture, or support th e camera ca mera more more steadily. steadi ly. Keep Keep fingerprints the fingerprints and and dirt dirt off offthe thelens. lens.

VIGNETTING. VIGNETTING. Image Im age obscured obscured or or very dark at the the corners. co rn ers.

[

Cause: projected Cause: A A lens len s shade, filter, fi lter, or both both projected too coo far far forward forward of of the lens and a nd partially partia lly blocked the lens. lens. blocked the th e image image from reaching the Lens shade shadefor for Lens Prevention: Lens Lens shades are shaped shaped to Prevention: to match match long-focal-lengthlens lens long-focal-length different Use the the ditferent focal-length focal-length lenses (right). (right). Use correct shade shade for for your yo ur lens; too long lon g aa lens correct lens shade one that that isis too too shade can can cause cause vignetting, vignetti ng, but one shallow sha llow will wi ll not not provide provid e adequate adequate protection protection from flare. flare. Using Using more more than tha n one o ne filter filter or aa filter from filter plus vignetting, espeespeplu s aa lens lens shade shade can cause vignetting, For gth lens short-focal-length lens For short-focal-len cially cially with with aa short lens. lens.

[

TTROUBLESHOOTING ROUBLESHOOTING

215 215

SOLVING CAMERA CAMERA AND AND LENS LENS PROBLEMS, continued PROBLEMS, continued

LIGHTNESS/DARKNESS PROBLEMS LIGHTNESS/DARKNESS PROBLEMS

LINES THROUGH IMAGE.

SUBJECT VERY DARK AGAINST LIGHTER LIGHTER BACKBACKGROUND. GROUND .

Non-responding CCOs. l camera Cause: Non-responding CCDs. AA line line on onaadigita digital cameraphoto photomeans meansa a row ofCCDs of CCDs on on the the sensor sensor isis not not collecting collecting pixel pixeldata. data.AAline lineon onaascan scan from aa single is from single dead dead CCD CCD that that moves movesacross acrossthe theimage. image. Prevention: Fixing Fixing the the problem problem may may mean mean replacing replacingthe thescanner scannerororcamcamera, but such such lines lines are are easy easy to to retouch retouch ininthe theimage. image.Photoshop Photoshoplets lets you se lect aa single-pixel you select single-pixel row row or or column columnand andadjust adjustititseparately. separately.See See a lso Lines Lines Across also Across aa Print, Print, page page 219. 219.

Dark or black specks DUST SPECKS. Dark specks or or marks marks on on aa digital digital image, image, clear specks on on aa negative. negative. Cause: Dust Oust on re. Bits on the the sensor sensor or or film film during duringexposu exposure. Bitsof ofdust duston onthe the light-sensitive surface light-sensitive surface will will keep keep the the light lightfrom fromreaching reachingaasmall smallpart partof of it during the the exposure. exposure. Keep the Prevention: Keep the inside inside of of the the camera cameradust dustfree freeby bycarefully carefullyblowing blowing load fifilm, lm, or dusting camera camera surfaces surfaces when when you you change changelenses lensesor orrereload see page 29. 29. Clean Clean dust dust out out of of the the cap capthat thatcovers coversthe theback backof ofyour your lens before use. use. Specks Specks can can be be retouched retouchedduring duringimage imageediting editingtotorerechem but move them but itit isis better better not not to to get get chem. them.

216

T ROUBLESHOOTING TROUBLESHOOTING

Cause: The The meter meter averaged averaged all all the the tones tones ininits itsangle angleof ofview, view,then then computed lem isisthat computed an an exposure exposure for for aa middle-gray middle-graytone. tone.The Theprob problem that the average average of the the overall overall scene scene was was lighter lighterthan thanaamiddle middletone, tone,soso appears too too dark. dark. nst Prevention: Don't Don’t make make an an overall overall reading readingwhen whenaasubject subjectisisagai against much lighter background. a much background. Instead Instead,, move move ininclose closeto tometer meterjust justaa part of the the subject subject that that isis middle-toned, middle-toned,then thenset setyour yourshutter shutterspeed speed 72). and aperture aperture accordingly (see (see pages pages 7070–72).

SUBJECT VERY LIGHT AGAINST AGAINST DARKER DARKER BACKBACKGROUND. Cause: If the subject subject isis too too light, light, your your meter meterwas wasoverly overlyinfluenced influencedby byaa background and dark background and overexposed overexposed the the image. image. Prevention: Don't Don’t make make an an overall overall reading readingwhen whenaasubject subjectisisagainst againstaa much darker background. much background. Instead, Instead, move move ininclose closeto tometer meterjust justaapart part of the subject of subject chat that isis middle-toned, middle-toned, then thenset setyour yourshutter shutterspeed speedand and 72). aperture accordingly aperture accordingly (see (see pages pages 7070–72).

SHARPNESS PROBLEMS SHARPNESS PROBLEMS

FLASH PROBLEMS, PROBLEMS, continued continued FLASH

NOT ENOUGH (or the th e wrong part) p a rt) OF THE SCENE SCENE IS IS IN FOCUS. FOCUS .

ONLY PART OF SCENE EXPOSED. EXPOSED .

1. Not Not enough ld. Too l resu lt enough depth depth of of fie field. Toowide widean anaperture aperturewil will result Cause: 1. in shallow depth depth of of field, field, making making the the scene scenesharp sharpwhere whereyou youfocused focused the camera, but not in front of or behind that part of the scene. 2. camera, but not in front of or behind that part of the scene. 2. Shutter speed speed was was too too slow, slow, subject subject or or camera cameramoved movedduring duringexpo• exposure. 3. 3. Camera sure. Camera wasn't wasn’t focused focused on on the the main mainsubject. subject. Prevention: 1. 1. Choose Choose aa smaller smaller aperture. aperture. 2.2.Choose Chooseaafaster fastershutter shutter speed or sec , oror speed set the the camera camera on on aa tripod. tripod. 3.3. Choose Choosemanual manualfocus focus, make sure you you know know how how your your autofocus autofocuslens lensselects selectsaafocus focusdisdistance. See page tance. page 43. 43.

ALL OR PART OF SCAN OUT OF OF FOCUS. FOCUS . Cause: If the the entire entire image image isis out out of of focus, focus,the thescanner scannervibrated vibratedduring during exposure or, the exposure or, with with film film,, the the original original isis held heldtoo toofar farfrom fromthe thescanscanner's plane plane of focus. , the ner’s focus. If part part of of the the scan scan isisout outof offocus focus, thescanner scanner have been lm may may have been bumped bumped during during the thescan. scan.The Thefifilm maybe bebuckling bucklingoror moving during the the scan, scan, or or may may not not be be held heldflat flatenough. enough. the scanner sits on a solid surface and Prevention: Make Make sure sure the scanner sits on a solid surface andisisnot not vibrated vibrated by nearby nearby equipment. equipment. AAglass glass holder holderor orcovering coveringsheet sheetwill will 's rings , undesired • keep the the film film flat, flat, but but may may introduce introduce Newton Newton’s rings, undesiredrain rainbow·colored patterns. patterns. Special bow-colored Special anti-newton anti-newtonglass glassisisavailable. available.

PROBLEMS FLASH PROBLEMS PART OF SCENE EXPOSED CORRECTLY, PART PART TOO TOO LIGHT OR TOO DARK. Cause: Objects Objects in in the the scene scene were were at at different differentdistances distancesfrom fromthe theflash, flash, so were exposed exposed to to different different amounts amountsof of light. light. Prevention: Try to group important parts of the scene at about the Try to group important parts of the scene at about the same distance distance from from the the flash flash (see (see page page 148). 148).

Cause: Shooting Shooting at at too too fast fast aa shutter shutter speed speedwith withaacamera camerathat thathas has foca l plane plane shutter, a focal shutter, such such as as aa single-lens single-lens reflex reflexcamera. camera.The Theflash flash fired when lly open. fired when the the shutter shutter was was not not fu fully open. Prevention: Check Check manufacturer's manufacturer’s instructions instructionsfor forthe thecorrect correctshutter shutter speed to to synchronize synchronize with with flash, flash, and and set setthe theshutter•speed shutter-speeddial dial sec. is safe; accordingly. For most accordingly. most cameras, cameras, 11/60 ⁄60 safe; faster faster speeds speeds are are 60 sec. usable with with some some cameras. cameras. The The flash flash shutter shutterspeed speedmay mayappear appearon on 's shutter•speed your camera camera’s shutter-speed dial dial inin aa different differentcolor colorfrom fromthe theother other shutter speeds, speeds, or or itit may may be be marked marked with withan anX.X.

SUBJECT APPEARS TOO DARK LIGHT DARK OR OR TOO LIGHT. LIGHT.. Manual Manual flash Aash settings are are more more likely likely to to cause cause problems problemsthan thanautomatic automaticoperation, operation,which which the illumination illumination from reads the from the the flash flash through throughthe thelens. lens.More Moreabout aboutflash flash operation on 147. operation on pages pages 146146–147. Cause:Too the scene Cause: Too darkdark—the scene was was underexposed, underexposed,not notenough enoughlight light too much reached the reached the film film or or digital digital image image sensor. sensor.Too Toolightlight—too muchlight light reached the reached the film film or or sensor. sensor. If If you you manually manuallyset setthe theexposure exposurefor forflash, flash, an occasional frame that is too dark or light probably results from an occasional frame that is too dark or light probably results from setting the camera's camera’s lens lens aperture aperture incorrectly incorrectlyor ormaking makingan anexposure exposure before the flash flash is is fully fully charged charged.. Prevention: In manual manual operation operation,, increase increasethe theexposure exposureabout aboutaastop stop for scenes shot shot outdoors outdoors at at night night or or ininaa large largeroom roomlike likeaagymnagymnathe re latively dark sium; the relatively dark surroundings surroundingsabsorb absorblight lightthat thatwould wouldother• otherbounce back back to wise bounce to add add to to the the exposure. exposure.With Withaanon•built-in non-built-inflash, flash, ifif your pictures are are frequently frequently too too dark, dark, try trysetting settingthe theflash flashunit unittoto ha lf the ISO you half you are are using. using. , Close down down the the aperture aperture about about aa stop stopwhen whenshooting shootingininsmall small, light·colored rooms light-colored rooms to to compensate compensate for for excess excesslight lightbouncing bouncingback back from wal ls and iling. With in flash, from walls and ce ceiling. With aa non-built· non-built-in flash,ififyour yourpictures picturesare are usually overexposed overexposed and and too too light light,, try trysetting settingthe theflash flashunit unittototwice twice 150 you the ISO you are are using. using.

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SOLVING FLASH PROBLEMS, PROBLEMS, continued continued SOLVING FLASH Flash pointed straight at reflective surface

SOLVING COLOR COLOR PROBLEMS PROBLEMS

Same scene scene shot shot at an angle

GREENISH LOOK TO SCENE OVERALL. Cause: Scene shot shot in in fluorescent fluorescent light, light,which whichemits emitsdisproportionate disproportionate amounts of greenish greenish light. light. See See also also Unexpected Unexpectedcolor colorcast, cast,below. below. ite ba lance Prevention: With With film, film, try try an an FL FL filter filter on onthe the lens. lens.Set Setthe thewh white balance of a digital digital camera of camera to to fluorescent fluorescent (see (see pages pages66and and58). 58).

UNWANTED REFLECTION. REFLECTION . Cause: Light bouncing bouncing back back from from reflective reflectivesurfaces surfacessuch suchasasglass, glass,mirmirror, or shiny walls. walls. Prevention: Position Position the Prevention: the camera camera at at an an angle angleto to highly highlyreflective reflectivesurfaces surfaces aim the flash or aim flash at at the the subject subject from from off offcamera. camera.

BLUISH OR REDDISH LOOK TO SCENE OVERALL. OVERALL.

person's or anima l's eyes lor RED EYE. A person’s animal’s eyes appear appear red red or or amber amberininaaco color . picture, very light light in in aa black-and-white black-and-white picture picture(see (seepage page148) 148). Light reflecting Cause: Light reflecting from from the the blood-rich blood-rich retina retinainside insidethe theeye. eye. Move the Prevention: Move the flash flash away away from from the the lens lensor orhave havethe thesubject subjectlook look slightly to to one one side side of the the camera. camera.Turning Turningthe thesubject's subject’shead headslightly slightly can also prevent bright bright reflections reflections from from eyeglasses. eyeglasses.Some Somecameras cameras red-eye reduction have aa red-eye reduction mode: mode: the the flash flash lights lightsup upbriefly brieflybefore before main exposure the main exposure so so that that the the subject's subject’s iris iriscontracts, contracts,reducing reducingthe the le red. amount of of visib visible red.

Cause: Color film film or or aa digital digital camera's camera’swhite white balance balancesetting settingnot not matched to matched to the the type type of of lighting lighting on on the the scene. scene.Daylight Daylightfilm filmshot shotinin incandescent light light will will give give aa reddish reddish look. look. Prevention: For aa more more realistic realistic color color balance, balance,set setthe thewhite whitebalance balanceof of digital camera a digital camera to to the the type type of of lighting lighting used used(see (seepages pages66and and58). 58). Use a #BOA #80A filter filter for for aa scene scene lit lit by by incandescent incandescent(about (about3200K) 3200K)light light bulbs. Use Use daylight-balanced bulbs. daylight-balanced film film in in daylight daylightor orwith withflash. flash.

UNEXPECTED COLOR CAST. lor Cause: Light reflected reflected from from aa nearby nearbycolored coloredobject objectcan cangive giveaaco color cast to the scene. scene. The The shade shade of of aa tree treecan can add addan anunexpected unexpectedlook look he light h rough colored to skin tones tones because because tthe light was was filtered filteredtthrough coloredleaves; leaves; orange fall larly, light here, orange fall leaves. leaves. Simi Similarly, light bouncing bouncingoff offaastrongly stronglycolcolnt tthe he scene he wall. ored wall wall can can titint scene the the color color of of tthe wall.The Theeffect effectisismost most ite oor r gray. noticeable on on skin skin tones tones or or neutral neutral tones tones like likewh white gray. Prevention: Try Try to to recognize recognize and, and, ifif you you wish, wish,avoid avoidthe thesituation. situation.InIn lected areas some cases, the the color color balance balance of of se selected areascan canbe beadjusted adjusted separately during image image editing. editing.

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T ROUBLESHOOTING TROUBLESHOOTING

SOLVING OTHER DIGITAL DIGITAL PROBLEMS PROBLEMS SOLVING OTHER

DIGITAL NOISE. areas. NOISE. Colored specks in in dark areas. PIXELATION. Details are are indistinct. indistinct. PIXELATION . Edges Edges look stair-stepped. stair-stepped. Details Cause: too low low for for the the intended intended use use.. Cause: Image Image resolution resolution coo Prevention: ideall for for display display on on aa monitor, monitor,but butprinting printingfrom from Prevention: 72 dpi dpi is idea an ink-jet printer requires requires 180-360 180–360dpi. dpi.IfIfyou you ink-jet or dye-sublimation dye-sub limation printer scanned the image, rescan itit at at aa higher higher dpi dpi setting. setting. image, rescan Iflfche the image from aa ddigital camera, try try Phoroshop Photoshop igital camera, image came from Image>Image resample the image image at at aa higher higherdpi. dpi.Next Nexttime time lmage>lmage Size to resamp le the you photograph, higher resolution. resolution. photograph , use use aa higher

Cause: Often in shadow shadow areas, areas, in in photos photostaken takenat atnight, night,or orinin Often occurs in low exposure. low light with with aa long exposure. Prevention: Try shooting at at aa lower lower ISO; ISO; instead instead of of ISO ISO800 800or or1600, 1600, Prevention:Try 200. Try lter>Noise>Oespeckle. This ISO 100 or 200. try ISO Try Photoshop Photoshop FiFilter>Noise>Despeckle. This reduces although itit softens softens the the image imagesomewhat. somewhat. reduces the noise, noise , although

BANDING. areas with with no no detai detail. BANDING . Unexpected Unexpected bands in areas l. Cause: With a digital digital camera, camera, scene scene may may have have been beenshot shotat atcoo toohigh highan an ISO fine patterns, patterns, like like aa window window screen, screen,may maycreate createaa ISO setting. Some fine pattern when overlaid overlaid with with the the pixel pixelgrid. grid. moiri)) when pattern (called moiré Prevention: the scene scene with with aa lower lower ISO. ISO.You Youmight mightneed needtoto Prevention: Try shooting the use a tripod tripo d and a slower shutter ash or use shutter speed speed or or add add light lightfrom fromaaflflash or other other light source. source.

OVERSHARPENING. that may may OVERSHARPENING . Details Deta il s too too crisp crisp and contrasty that show fringes along along edges. edges. show digital digi tal noise; colored co lored fringes

SOFT sharp. SOFT IMAGE. IMAGE . Details Details in in the the image image are not sharp. Cause: camera movement movement (see (see Picture Picture not not poor focus focus or camera Cause: Possibly Possib ly poor sharp, file compression compression UPEG (JPEG,, page page881) sharp, page page 215). 215). Extreme file 1 ) isis shown in the example above. shown in the above. With level is is too too low. low. At At low·quality low-quality With aa digital digital camera, quality level settings good), the the camera camera compresses compresses the theimage image settings (also (also called basic or good), file. and uncompressed uncompressed,, details detailscan canbe be fi le. When When the the image is reopened reopened and lost. when prints prints are arevery verysma small, lost. The visible visible results may be negligible negligible when ll, but enlarged. but will wil l be be noticeable noticeab le if if they are enlarged. Prevention: finall size size and and reproduction reproduction method method Prevention: Try to anticipate the fina for on the the Web Web can can be beshot shot for your your images. images. Pictures Pictures to be used used only on at highest quality quality setting setting ifif you you might might at low low quality. quality. Use Use the camera’s camera's highest ever prints.. ever want want to to make make 8 × x 10-inch 10· inc h or larger prints All some sharpening sharpening (page (page 104). 104). All digitally digitally captured captured pictures pictu res need need some IfIfyou not be be used used co tojust just how how unsharp unsharp you are are just starting out, you you may not your will appear. appear. photographs will your unsharpened unsharpened photographs

Cause: while scann scanning or whi while workingon on Cause: Oversharpening the print print while ing or le working the program. See See page page 104. 104. the image image in in an image-editing image•ed iting program. Prevention: transparency, or or negative negativewithout withoutsharp· sharpPrevention: Rescan Rescan the print, print, transparency, ening image, return return to to the the original originaldigital digital ening it. it. With a digital digita l camera camera image, has not not been been sharpened. sharpened. When file, ififit file, it has When you you resharpen resharpen the the image, image,do do so so while while viewing at 100% magnification. magnification.

LINES LINES ACROSS ACROSS A A PRINT. PRINT. Cause: heads. Cause: Misaligned Misa ligned or clogged print heads. Prevention: Use Use the the printer’s printer's software Prevention: software utility utility to to check check for for aa problem problem.. The The will also also align heads, heads , print a test pattern, utility will utility pattern, and and run run cleaning cleaningcycles. cycles.

TTROUBLESHOOTING ROUBLESHOOTING

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Photographers'’ Web Sites Photographers Photographers’

W W

eb pages are today’s today's galleries; many many photographers photographers use use

t hem to show aa broader broader sampling samp ling of oftheir their work work than them than they theycould could or aa monographic in a gallery exhibit or monographic book. book. Compared Compared to to those those venues, venues, sire is is also available available to to be be seen seen almost almost anywhere anywhere at a Web site at any any time time and and updated to can always be updated to include include new new work. work. Use Use the the links links below belowto to find find our more about the the photographers out photographers whose whose work work appears appears in in this this book. book.

Adams, Ansel Adams, Shelby Shelby Lee Lee Avedon, Richard Richard Barney, Tina Benjamin, Martin Bloom, Steve Brooks, Drex Brown, Polly Polly Burson, Nancy Burtynsky, Edward Edward Carey, Alison Cartier-Bresson, Henri Henri Chin, Christine Crafton, Billy LL.. Billy L. Cummins, Rebecca D'Amato, Paul D’Amato, De Keyzer, Keyzer, Carl Eggleston, William Erwitt, Elliott Elliott Erwitt, Fink, Larry Fontcuberta, Joan Fontcuberta,Joan Frank, Robert Galvan, Laurisa Laurisa Gilbertson, Ashley Ashley Gilden, Bruce Gonzalez, Dionisio Dionisio González, Gossage,John Gossage, John Gould, Meggan Harker, Santiago Harvey, David Alan Hatakeyama, Naoya Hido, Hido, Todd Hocks, Teun Iooss, Walter Johnson, Keith Jones, Lou Lou Jones, Peggy Ann Karsh, Yousuf Yousuf

220

anseladatns.com anseladams.com shelby-lee-adams.blogspot.com shelby-lee-adams.blogspot.com richardavedon.com richardavedon.com janetbordeninc.com stockrockshots.com stockrockshots.com stevebloom.com srevebloom.com drexbrooks.com drexbrooks.com pollybrownphorographs.com pollybrownphotographs.com nancyburson.com nancyburson.com edwardburrynsky.com edwardburtynsky.com alisoncarey.com magnumphotos.com magnum photos.com christinechin.net chriscinechin.net craftonphoto.com craftonphoto.com rebeccacummins.com rebeccacummins.com pauldamato.com pauldamato.com carld ekeyzer.com carldekeyzer.com egglestontrust.com egglestontrusc.com elliotterwitt.com elliotterwitt.com billcharles.com billcharles.com fontcuberta.con1 fontcuberta.com pacemacgill.com pacemacgill.com laurisagalvan.com laurisagalvan.com ashleygilbertson.com ashleygi lbertson.com magnumphoros.com magnumphotos.com dionisiogonzalez.es dionisiogonzalez.es loosestrifebooks.com loosestrifebooks.com meggangould.net meggangould.net santiagoharker.com santiagoharker.com magnumphotos.com magnun1photos.com takaishiigallery.com rakaishiigallery.com toddhido.com toddhido.com teunhocks.nl teunhocks.nl walteriooss.com walteriooss.com keithjohnsonphotographs.com keithjohnsonphotographs.com forojones.com fotojones.com pinhole.us pinhole.us karsh.org karsh.org

P HOTOGRAPHERS’ W E B SSITES ITES PHOTOGRAPHERS' WEB

Killip, Chris chriskillip.com thirdview.org Klett, Mark thirdview.org bckoo.com Koo,Bohnchang Koo, Bohnchang bckoo.com jkosr.com Kost, Julieanne jkost.com Kost,Julieanne Koudelka, Josef magnumphotos.com magnum photos.com Koudelka,Josef Leibovitz, Annie contactpressimages.com contactpressimages.con1 jeromeliebling.com Liebling, Jerome jeromeliebling.com Liebling,Jerome rhecorner.net Mandel, Mike thecorner.net MANUAL MANUA L manualart.net manualart.net Manzano,Javier Manzano, Javier javiermanzano.com javiermanzano.com lawrencemcfarland.com Lawrence McFarland, Lawrence lawrencemcfarland.com susanmeiselas.com Meiselas, Susan susanmeiselas.com Miralle, Donald donaldmiralle.com Misrach, Richard fraenkelgallery.com fraenkelgallery.com moholy-nagy.org Moholy-Nagy, László moholy-nagy.org Llszl6 wpadu la.com Padula, Warren wpadula.com martinparr.com Parr, Martin martinparr.com Pinkhassov, Gueorgui magnumphotos.com magnumphoros.com PoKempner, pokempner.net pokempner.net Po Kempner, Marc eugenerichards.com Richards, Eugene eugenerichards.com Robert roberr-richfield.com Richfield, Robert robert-richfield.com Robledo, Maria judycasey.com 1nartharosler.net Rosier, Martha Rosler, martharosler.net Rowin, Stanley stanstudio.com stansrudio.com Schafer, Michael mschaefer-studio.de Schäfer, mschaefer-studio.de David Scheinbaum, David photographydealers.com photographydealers.com Scherer, Jim jimscherer.com Scherer,Jim metropicturesgallery.com Sherman, Cindy metropicturesgallery.com Cindy stephenshore.net Shore, Stephen stephenshore.net Siskind, Aaron aaronsiskind.org aaronsiskind.org Smith, W. Eugene magnumphotos.com Eugene magnumphoros.com sagesohier.con1 Sohier, Sage sagesohier.com Soth, Alec alecsoth.com a1nysceinphoto.com Stein, Amy amysteinphoto.com Stein,Amy joelsternfeld.com Sternfeld, Joel joelsternfeld.com Sternfeld,Joel Stone, Jim jimstone.com jimstone.com Stone,Jim Strembicki, Stan strembicki.com srrembicki.con1 ttarnowski.net Tarnowski, Tom ttarnowski.net

Brian Ulrich. Untitled (Thrift 0509), 0509), 2005. Obsolescence comes quickly in the the digital digital from world, as you you can see in this photograph from Ulrich’s series on thrift stores. We know Ulrich's We know through through

Taylor, David Tunbjork, Tunbjörk, Lars Turner, Pete Ulrich, Brian Umbrico, Penelope Vanderwarker, Vand erwarker, Peter Webb, Alex Webb,Alex

dcaylorphoto.co m dtaylorphoto.com jkand.com peteturner.com peretu rner.com n otifbutwh en .com notifbutwhen.com penelo peumbri co. nec penelopeumbrico.net vanderwarker.com vanderwarker.com magnumphotos.com m agnum photos.com

M ae Weems, Carrie Mae Weifenbach, Terri Whaley, Jo Willis, Deborah Wolfe, Byron xRez Studio Stu dio Yanagi, Yan agi, Miwa

advertising that the equipment and software for making photographs are constantly evolving, but but so are the pictures we can view online. Use Use the the list list on these two pages to check in on your your favorites.

carrien1aewee n1s. net carriemaeweems.net scephendaicergallery.com stephendaitergallery.com jowhaley.com debwillisphoto.com debwill isphoto.com byronwolfe.co m byronwolfe.com xrez.com yanagimiwa.net yan agimiwa.net

P H O T O G R A P H E R S ’' W E B SSITES ITES PHOTOGRAPHERS WEB

221 22 1

Glossary Aberration Optical defect in a lens (sometimes of unavoidable) causing distortion or loss of fina l image. sharpness in the final Adapter ring A ring used to attach one camera item to co another; for example, to attach a lens to a camera in reverse position in order to increase image sharpness when focusing very close to the subject. Additive color The The three three primary primary colors colors (red, (red, green, and blue) that can be mixed as light to match any other color. See Subtractive color. Ambient light See Available light. of view The amount of of a scene that can be Angle of recorded by a particular particu lar lens from from a given posifocal length of of the lens. tion; determined by the focal Aperture The lens opening formed by the iris diaphragm inside the lens. The size is variable and adjusted by the aperture control. Aperture control The ring on the camera lens (a push button on some models) that, when of the opening in the turned, adjusts the size of of light iris diaphragm and changes the amount of that reaches the film. film. Aperture-priority mode An automatic exposure system in which the photographer sets the aperture (f-stop) and the camera selects a shutter norma l exposure. speed for normal Application See Software. Archiving Copying and storing digital files in a way that protects against loss. ASA A film speed rating similar to an ISO rating. of width to height, height , a meaAspect ratio The ratio of sure of of the shape of of a rectangle. A A camera that 1 /2 times the pixels measured uses a sensor with 1 1/2 horizontally as vertically has a 3:2 aspect ratio. Automatic exposure A mode of of camera operation in which the camera automatically adjusts either the aperture, the shutter speed, or both for normal exposure. fl ash An electronic flash unit that uses Automatic flash camera 's to deterits light-sensitive cell or the camera’s mine the duration of of the flash for normal exposure by measuring the light reflected back from the subject. Available light lig ht The light that already exists (as t0 being added by the photographer) opposed to made. where a photograph is to be made. Averaging meter An exposure meter with a wide of view. The indicated ind icated exposure is based angle of of all a ll the light values in the scene. on an average of B See Bulb. Backup An exact duplicate of of a digital file or set of of files, fi les, made as protection against loss. Bellows An accordion-like section inserted between the lens and the camera body. In close-up photography the bellows allows closer-than-norfocusing , resulting in a larger image. mal focusing, of one Binary number A number consisting only of or more 1s 1s and 0s. Os. Bit The smallest unit of of information usable by a computer, indicated by a 1 or a 0, 0 , describing of two conditions: on or off. one of Bit depth The number of of bits used to represent each pixel in an image, determining the number

222

G LOSSARY GLOSSARY

of possible divisions or steps of of color and tone of between black and white. Bleed mount To mount a print so there is no of the print and the border between the edges of edges of of the mounting surface. Body The light-tight box that contains the camera film from mechanisms and protects the sensor or film light until you are ready to make an exposure. Bounce light Indirect Ind irect light produced by pointing the light source at a ceiling or other surface to SoITer reflect the light back toward the subject. Softer and less harsh than direct light. Bracketing Taking several photographs of of the same scene at different exposure settings, some greater than and some less than the setting indicated by the meter, to ensure at least one wellexposed frame. frame. Built-in meter An exposure meter in the camera that takes a light reading (usually through the in formation to camera lens) and relays exposure information the electronic controls in an automatic camera t he camera is being or to the photographer ifif the operated manually. Bulb A shutter-speed setting (marked B) B) at which the shutter stays open as long as the shutter release is held down. Burn in To darken a specific spec ific area of of an image in a darkroom, by giving it additional printing exposure . Hence Hence the name of of Photoshop’s Photoshop's Burn posure. tool. tool. of digital data. A number represented Byte A unit of of by 8 bits. Used to measure size or capacity of a computer file or device. See also Kilobyte, Kilobyte, Megabyte, Gigabyte.

Cable release An encased wire that attaches at one end to the shutter release on the camera and has a plunger on the other end that the photographer depresses to activate the shutter. Used to avoid camera movement or to activate the shutter from a distance. Calibrate To adjust a device, for example a computer monitor, to match a predefined standard. Camera Raw One of of several proprietary file formats that preserves all a ll the t he data from from a digital after-capt ure interpretain terpretacamera picture with no after-capture tion. CCD Charge-coupled device. One of of two types o f light-sensing devices (the other is CMOS) of placed in a grid to make the sensor in a digital camera. Also used in scanners. CC filter (for color conversion or color correction ). A transparent filter placed in front of of the tion). camera's lens to alter the color of of the light, usucamera’s ally to adjust white balance. Center-weig hted meter A through-the-lens expoCenter-weighted from the sure meter that measures light values from entire scene but gives greater emphasis to those in of the image area. the center of Close-up A larger-than-normal image obtained by using a lens closer than normal to the subject. Close-up of an Close-u p lens A lens attached to the front of ordinary ord inary lens to allow focusing at a shorter distance in order to increase image size.

CMOS Complementary metal oxide semiconductor. One of of two types of of light-sensing devices tor. (the other ocher is CCD) placed in a grid to make the sensor in a digital digi tal camera. CMYK The basic set of of four colors co lors used in most printing presses and desktop printers: cyan, maco lor mode genta, yellow, and black. Also the color usually used in the professional graphic arts and printing industry. The other common color Fi les can be mode is RGB (red, green, blue). Files scored and edited in either mode and converted stored between them. See Subtractive color. Color balance 1. The proportion of of different colfilm 's response ors in a white light source. 2. A film’s to the colors in a scene. Color films are balanced for use with specific light sources. 3. The rep roduction of of colors in a photograph. See reproduction White balance. Color management A means of of coordinating coordinati ng the of various devices so the colors color output of examp le, will be the you see on a monitor, for example, ones that will appear when you print the image. Color space 1. A system for defining specific colors, for example RGB RGB or CMYK. 2. A A predefined gamut, for example sRGB, Adobe RGB (1998), or ProPhoto. Color temperature Description of of the color of of a Ke lvin (K). light source. Measured in degrees Kelvin Composite An image made from parts of of two or more other images. of several severa l elements. Compound lens A lens made of of reducing the size of of Compression A means of a digital d igita l image file in order to reduce storage requirements requ irements or transmission time across " Lossy" techniques permanently a network. “Lossy” eliminate some information to obtain highly files. Lossless techniques compressed, very small files. im ages without losing any informacompress images tion in the file. See JPEG. Contrast The difference between the light and of a scene or photograph. dark parts of Contrasty Having greater-than-normal differences between light and dark areas. The oppoof flat. flat. site of Crop To trim the edges of of an image, often to improve the composition. Cropping can be done prove by moving the camera position while viewing a scene, during image editing, or by trimming the finished print. Da rkroom A room where analog (film-based) Darkroom photographs are developed and printed. photographs Depth of of field The distance between the nearest and farthest points that appear in acceptably of field varsharp focus in a photograph. Depth of ies with lens aperture, focal length, and camerato-subjecc distance. to-subject Diaphragm (iris diaphragm) Thee mechanism diaphrag m) Th t he size of of the lens opening, therecontrolling the fore the amount of of light that reaches the sensor. It consists of of overlapping metal leaves inside the lens that form a circular opening of of variable sizes. (You can see it as you look into the front of the lens.) The size of of the opening is referred of to as the f-stop or aperture.

Diffused Diffu sed light lig ht Light that has been scattered by th rough a translucent reflection or by passing through material. An even, often shadowless, light. Digital camera A camera that records an image of on convendirectly in digital form, instead of si lver film. fi lm. tional silver Digital Dig ital imaging imag ing A means by which a photograph is recorded as a digital image that can be read and manipulated by a computer and, subsequently, reformed as a visible image. Diopter Unit of of measurement that indicates in d icates the magnifying power of of a close-up lens. Direct light lig ht Light shining sh ining directly on the subsu b ject and producing strong highlights and deep shadows. Directional/diffused Directional/ diffused light lig ht Light that is partly direct and partly scattered. Softer and less harsh ligh t . than direct light. Dodge To lighten an area of of a darkroom-made of the printprint by shading it during part of of Photoshop’s Photoshop 's ing exposure. exposure. Hence the name of Dodge tool. Dpi Dots per inch; a measure of of the resolution of of a photomechanical halftone or the resolution capacity of of a digital printer. printer. Frequently (but fi nal resolution of of an inaccurately) used for the final image, image , actually ppi. See Ppi. Dry mount To attach a print to another surface, of usually a heavier mat board, by placing a sheet of adhesive dry-mount tissue between the print and the mounting surface. Generally, this sandwich is placed in a heated mounting press to melt the adhesive in the tissue. Some tissues are pressure heated. sensitive and do not need to be heated. reflex. See DSLR or D-SLR Digital single-lens reflex. Single-lens reflex. Electronic flash (strobe) A camera accessory that brief but powerful flash flash of of light. A batprovides a brief tery-powered unit requires occasional recharging flashbulb , or battery replacement but, unlike a flashbulb, repeated ly. can be used repeatedly. Environmental portrait A photograph in which subject's surroundings are important to the t he the subject’s portrait. format. Information Exif Exchangeable image file format. about the camera, lens, and exposure that is automatically stored with each file by the camera. See Metadata. Exposure Expos ure 1. The act of of allowing light to strike st rike a of light light-sensitive surface. 2. The amount of reaching that surface, controlled by the combiof aperture and shutter speed. nation of Exposure meter (light meter) An instrument that oflight measures the amount of light and provides aperture and shutter-speed combinations for correct exposure. Exposure meters may be built into the camera or they may be separate instruments. Exposure of camera operation Expos ure mode The type of (such as manual, manua l, shutter-priority, aperturet hat determines which controls you priority) that set and which which ones the camera sets automatically. Some cameras operate in only one mode. of modes. Others may be used in a variety of Extension tubes Metal rings attached between the camera lens and the body to allow closer~han-n~rmal focusing in order to increase the than-normal image size. Fast 1. Describes a sensor when it is set to a high ISO. 2. Describes a lens that opens to a very wide aperture. 3. Describes a short shutter of slow. speed. The opposite of

File A quantity q uantity of of data storage on a computer. fi le. Each photograph is saved as a single file. File format One of of several standard ways a photograph can be encoded digitally. See JPEG, JPEG, T IFF, and Camera Raw. TIFF, ligh t A light source or reflector used to Fill light a reas so that contrast is delighten shadow areas creased. Film A roll of a flexible flexib le material coated rol l or sheet of on one side with wi t h a light-sensitive material and used in the camera to record an image. Filter 1. An editing command that performs a specific adjustment to a file, file , like sharpening. 2. In an image database, a search tool for finding of images, for fo r exama specific image or group of find all pictures pictu res taken at f/16. f/16. ple to find Fisheye lens An extreme wide-angle lens coverof view. Straight lines appear ing a 180° angle of of the photograph, and the t he curved at the edge of itself may be circular. circular. image itself Flare Non-image-forming light that reaches the image sensor, resulting in a loss of of contrast. Caused by stray light reflecting between the surof the lens or inside the camera. faces of Flash 1. A short burst of of light emitted by an elecflas h unit or o r strobe to illuminate the tronic flash scene being photographed. 2. The equipment used to produce this light. Flat Having less-than-normal differences between of contrasty. light and dark areas. The opposite of Foca l length The distance from from an internal part of of Focal a lens (the rear nodal plane) to the image plane focused on infinity. infinity. The focal focal when the lens is focused mi llimeters (mm) length is usually expressed in millimeters of view (how much of of and determines the angle of the scene can be included in the picture) and the of objects in the image. A 100mm 1 00mm lens, for size of of view and magexample, has a narrower angle of o bjects more than a lens of of shorter focal focal nifies objects length. Focal Foca l plane The surface inside the camera on which the lens forms a sharp image. Focal-plane shutter A camera mechanism that adm its light to expose an image by opening a admits slit just in front of of the focal focal plane. Focus Focu s 1. The point at which whic h the rays of of light form coming through the lens converge to form " in focus” focus " or a sharp image. The picture is “in ides with the sharpest when this point coinc coincides focal plane. 2. To change the lens-to-sensor focal lens- t o-film) distance (or the t he camera-to(or lens-to-film) subject distance) until the image is sharp. Focusing th e camera lens that, Focus ing ring The band on the t he lens in relation re lation to the when turned, moves the focal focal plane, plane , focusing the camera for specific distances. distances. Focus ing screen See Viewing screen. Focusing Frame 1. A single exposure or image. 2. The edges of of an image. F-stop F-sto p (f-number) A numerical designation (f/2, of the aperture f/2.8, etc.) indicating the size of (lens opening). Gamma The rate of of brightness change, a measure of visual contrast. The line li ne in a graphic display of of the tones of of of an image (like ( like Photoshop’s Photos hop's Curves dialog box) has a higher gamma when it slope. has a steeper slope. Gamut The range of of colors that can be seen or that a particular device can capture or reproduce . For example, the range of of colors co lors that a duce. digital camera can record.

Ghosting 1. A kind of flare caused by reflections between lens le ns surfaces. It appears as bright spots the same shape as the aperture (lens opening). t hat 2. A combined blurred and sharp image that occu rs when flash flash is used with bright existing occurs flash creates a sharp image; the existlight. The flash ing light adds a blurred image ifif the subject is moving. moving. Gig abyte Approximately one billion bytes or one Gigabyte 1,073 ,74 1,824). thousand megabytes (actually 1,073,741,824). A measure of of computer file size or device storage capacity. Abbreviated G or GB. Glossy Describes a printing paper with a great deal of surface sheen. The opposite of of matte. of Gray card A card that reflects a known percentof light falling fall ing on it. Often has a gray side age of reflecting 18 percent and a white side reflectof the t he light. Used to take acing 90 percent of read ings (meters base curate exposure meter readings of 18 percent their exposures on a gray tone of a lso colorreflectance). Some gray cards are also neutral, to be used for setting color balance. Guide number A A number rating ra t ing for a flash unit used to calculate the correct apthat can be used erture for fo r a particular particu lar ISO speed and flash-tosubject distance. Hand-held meter An exposure meter that is separate from the camera. Hand hold To support the camera with your t han with a tripod or other o t her fixed fixed hands rather than support. Hardware The processor, monitor, printer, and other physical devices that make up a computer system. See Software. HDR HOR High Dynamic Range; an image with a span of brightness values greater than the range that t hat of can be captured in a single exposure. Several bracketed exposures can be merged into one HDRimage. HDR image. Highlight A very light area in a scene or image. Also called a high value. of Histogram A graph that shows the distribution of d igital image. tones or colors in a digital of the camera that Hot shoe A clip on the top of flash unit and provides an electrical attaches a flash synch ronize the flash fl ash wi t h the camera link to synchronize with el iminating the need for fo r a sync cord. shutter, eliminating Hyperfocal distance The distance to the nearest focused on inobject in focus when the lens is focused finity. Setting the lens to focus on this distance finity. of on infinity will wi ll keep the farthest obinstead of jects in focus as well as extend the depth of of field field to include objects closer to the camera. Incident-light meter A hand-held exposure meter that measures the t he amount amoun t of of light falling fall ing on the Reflected- light meter. subject. See also Reflected-light Infinity Designated ∞ oo.. The farthest fart hest distance of the t he lens, genermarked on the focusing ring of abou t 50 feet. When the camera is focused focused a lly about ally on infinity, all objects at that distance or farther away will be sharp. of electromagnetic radiaInfrared Wavelengths of tion, like light but slightly longer than those in the visible spectrum. Photographs can be made from from reflected infrared radiation rad iation with special fi lm. equipment or film. Inkjet A digital printer that t hat sprays microscopic droplets d roplets of of ink onto a receptive surface (see Media) to create the appearance of of a continucontin uous-tone photograph.

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Interchangeable lens A lens that can be removed ca mera and replaced by another a nother lens. from the camera Interpolation Estimating Estimating the t he data between betwee n two kn own points. Used Used to create a finer grid of of pixpixknown els than what was captured In ternational Press Telecommun ications IPTC International Telecommunications A form of of metadata that can be added Council. A im age file after capture. to an image diaphrag m See Diaphragm. Iris diaphragm A numerical rating rat ing that indicates the sensitivISO A (speed ) of a sensor or film. film. The rating douity (speed) b les each time the sensitivity sensi t ivity doubles. bles JPEG " lossy" format for saving digital digita l phoJPEG A “lossy” tographs (see File) that compresses data to p reserve space in the computer’s computer's memory. See preserve Compressio n. Compression.

Key Key light See Main light. Kilobyte t housand bytes bytes (acKilobyte Approximately one thousand of computer file size tually 1,024). A measure of or device storage capacity. Abbreviated KKor or KB. Latitude The amount of of over- or underexposure p ossible without a significant change in the possible quality of the image. Li quid Crystal Display. The kind of of thin, thin , flat fla t LCD Liquid fo r on-camera visual display screen often used for displays , as well as commonitors and data displays, p uter monitors and televisions. puter A camera mechanism that admits Leaf shutter A Leaf openi ng and shutting a light to expose film by opening of overlapping metal leaves. circle of diode . LED See Light-emitting diode. pieces of of optical glass used to Lens One or more pieces gather and focus light rays to form an image. Lens cleaning fluid A liquid made for cleaning lenses. Lens coating A thin, transparent coating on the of the lens that reduces light reflections. surface of Lens element A single piece of of optical glass that chat aces as a lens or as part of a lens. acts Lens hood (lens shade) A shield that fits around A t he lens to prevent unwanted light ligh t from from entering the a nd causing flare. the lens and A soft, lint-free tissue made mad e specifispec ifiLens tissue A cally for cleaning camera lenses. Not the same ti ssue. as eyeglass cleaning tissue. Light-emitting diode (LED) A display in the of some cameras that gives you inforviewfinder of mation about aperture apertu re and a nd shutter-speed settings or other exposure data. Light meter See Exposure meter. Long-focal-length lens len s A A lens that provides a of view of of a scene, including in cluding less narrow angle of of a scene sce ne than a lens le ns of of normal focal foca l length of and therefore magnifying objects in the image. Often called telephoto lens. Luminance A relative measure of of brightness, reof color (hue) ( hue ) flectance, or value, independent of satu ration. and saturation. fo r closeMacro lens A lens specifically designed for capab le of of good optical up photography and capable co a subject. performance when used very close to Production of of images on the Macro-photography Production se nsor or film that chat are life size or larger. sensor A lens that t hat has close-focusing Macro-zoom lens A capabi lity plus variable focal length. capability Magnification Th Thee size of of an object as it appears of an image taken ta ken in an image. Magnification of ca mera is determined by the lens focal by a camera length. A long-focal-length lens makes an object appear larger (provides greater magnification) lens . than a short-focal-length lens.

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of illumination, illumination , Main light The primary source of cast in g the dominant shadows. Sometimes Someti mes casting called key light. of camManual exposure A nonautomatic mode of operatio n in which wh ich the photographer photograp her sets era operation both the aperture and the shutter speed. of flash flash opA nonautomatic mode of Manual flash A t he photographer controls the eration in which the exposu re by adjusting the size of of the camera’s camera 's exposure lens aperture. aperture . Mat A cardboard rectangle with an a n opening cut cu t pri nt to frame it. Also in it that is placed over a print overmac. called an overmat. Mat cutter A short knife blade (usually replaceable) set in a large, easy-to-hold easy-co-hold handle. Used Used for cutting cardboard mounts for prints. Matte Describes a printing paper with a relatively relative ly dul l, nonreflective non reflective surface. su rface. The opposite of of dull, glossy. A loose term for the various papers, papers, inks, inks , Media A and other materials used in a digital printer, or va ri ous cards, tapes, capes, disks, and other ocher for the various items used for storing digital data. million bytes (acMegabyte Approximately one million 1,048,576 ). A measure of of computer file tually 1,048,576). Mor size. Abbreviated M or MB. Memory card An in-camera, removable, and reusrecord s and saves imable storage device that records ages captured by the camera until you transfer co a computer or other storage device the files to and erase (reformat) it. Menu A list of of choices, like commands or adjustdisp layed by an application or ments, that is displayed operati ng system on a computer screen. operating Metadata Information about information. In In digital photography, the camera, exposure, and file. subject data stored in the image file. Exposure meter. 2. 2 . To take a light light Meter 1. See Exposure reading with an exposure meter. Middle gray A standard, stan dard, average gray tone of of 18 18 percent reflectance. See Gray card. Midtone An area of medium medi u m brightness, neither a very dark shadow nor a very bright highlight. highl ight . Mirror A polished, pol ished, metallic reflector set inside an co the lens to co SLR camera body at a 45° angle to reflect the image up onto the focusing screen. When a picture is taken, the mirror moves out of the way so that light can reach the sensor. of wi th colors or dark and light Negative 11.. An image with chat are the opposite of of those in the origitones that nal scene. 2. Film that was exposed in the camera and processed to form a negative image. Neutral-den s ity filter A piece p iece of of dark glass or Neutral-density pl astic placed in front of of the camera lens to deplastic crease the intensity of of light entering the lens. It affects exposure but not not color. Noise Pixels Pixels of of random colors and brightnesses, brightnesses , a ppearing in the dark areas of of a digimost often appearing tal image. Normal-focal-length lens (standard lens) A lens of a that provides about the same angle of view of scene as the human eye.

Open up To increase the size of of the lens aperture. The opposite of of stop down. Operating system syste m or Disk Disk Operating System (DOS). Management software, usually supplied whe n you boot with the computer, that starts when to ) the t he computer and up (turn on the power to) operatio ns as reading from and a nd performs such operations writing to hard drives, and opening and managapp lication software. Common operating ing application Mac OS X, Windows 8, and Unix. systems are Mac

Optical storage A data storage medium, medium , such as BO , that chat uses light (usually ( usually a laa CD, DVD, or BD, in fo rm ation. ser) to read and write information. Overexpose To make an exposure with too much coo light. light, making a picture that is too Mat . Overmat See Mat. computer's Palette A data box that appears on a computer’s mo n itor. Palettes Palettes displayed by image-editing monitor. software softwa re offer tool options, o ptions, provide informat ion, and so on. tion, Pan To move the camera during the exposure in t he same direction as a moving subject. su bject. The efthe th at the subject stays relatively sharp and fect is that the background becomes blurred. bl urred. of view that ocParallax The difference in point of device ) through thro ugh curs when the lens (or other device) from the which the eye views a scene is separate from film. lens that exposes the film. five-sided optical optica l device used in Pentaprism A five-sided of a single-lens-reflex sin gle- lens- reflex the eye-level viewfinder of camera to correct the image from the focusing screen so that it appears right side up and correct left to right. Perspective The optical illusion illusio n in a two-dimentwo-dim enof a three-dimensional three-dimensio nal space sugsional image of prim aril y by converging lines and the gested primarily of objects farther from the th e camdecrease in size of era. Photoflood A tungsten lamp designed especially for use in photographic studios. It emits light at K color temperature. 3400 K Photo-micrography Photographing Pho tographing through a microscope . microscope. im age made by asPhotomontage A composite image of two or more photographs. sembling parts of Pinhole A small clear spot on a negative usually caused by dust on the film during exposure or development. Pixel Short for pi cture ement. The smallest pictu re el element. sma ll est unit, usually square, of of a digital image that can be cha nged. displayed or changed. of critical focus The part of of a scene that is Plane of focused. most sharply focused. Plug-in An add-on software module for an application that extends its capabilities. Some appliPhotoshop ) are made so that cations (such as Photoshop) ca n produce and market third-party developers can plug-ins. Polarizing screen (polarizing filter) A filter fi lter placed of the camera lens to reduce reflections in front of from nonmetallic surfaces like glass or water, or to darken the sky. o r light and dark Positive An image with colors or tones that tha t are similar to those t hose in the original origi nal scene. See Negative. of the t he resolution of of Ppi Pixels per per inch, inc h, a measure measu re of ch at an image that has a physical size, like one that monitor. has been printed or is displayed on a monitor. Primary colors A A set of of basic colors that th at can be mixed to match any other color. Print 1. A two-dimensional image, usually on an opaque surface like paper, made from a capfi le. 2. To proprotured, scanned, or drawn image file. duce such an image. d ata for a digital device, such suc h as a Profile The data ch at describes its gamut, gam ut, or printer or monitor, that of colors. Used to match the gamut from range of management, one device to another. See Color management, Gamut. of automatic Programmed automatic A mode of exposure exposu re in which wh ich the camera sets both b oth the t he shutter speed and the aperture for a normal exposure.

p urpose of of evaluProof A test print made for the purpose ating density, contrast, color balance, subject composi t ion, and the like. composition,

Quartz lamp An incandescent lamp that has high intens ity, small size, long life, and constant intensity, color temperature. Raw file A digital camera file or scan that coninforma t ion exactly exac t ly as it is actains picture information quired. Most raw file fi le formats used used in cameras quired. are proprietary, or specific to the camera manufacture r, and a nd must be interpreted before editfacturer, ing. See Camera Raw. Raw. ing. ( hand Reflected-light meter An exposure meter (hand t hat reads the held or built into the camera) that a mount of light reflected from from the subject. See amount meter. also Incident-light meter. Reflector Any surface—a surface- a ceiling, a card, an umo nto examp le- used to bounce light onto brella, for example—used a subject. Reflex camera A camera with a built-in mirror mirro r that reflects the scene being photographed onto a ground-glass viewing screen. See Single-lens reflex. Resampling Changing a file to create the same di fimage with more or fewer pixels to achieve a different resolution. Called upsampling for more fewer. pixels, downsampling for fewer. Resin-coated paper Printing paper with a watercoati ng that absorbs less moisture resistant coating base paper. Abbreviated RC paper. than a fiberfiber-base of pixels in a Resolution 1. The total number of came ra sensor, for example exa m ple a 2000 x 3000 camera of 6 megapixels. pixel grid has a resolution of 2. The number of pixels per unit length, gener2. of maximum image quality. See ally a measure of Ppi. Ppi. Retouch To remove small imperfections in an image caused by dust specks or flaws in the process. Also, to remove perceived imperfections or cess. flaws in the subject. subject. RGB A co color lor mode that uses the additive primary colors (red, green, and blue) to match any other color. See CMYK. CMYK. color. Scanner A device that optically optica lly reads a conventional negative, slide, or print, converting it to form for fo r use in digital imaging. digital form Sharp Describes an a n image or part of of an image that shows crisp, precise texture textu re and and detail. The of blurred or soft. soft. opposite of Sharpening A software manipulation of of an image that increases contrast in areas of of tone transiof a more tion and creates the visual sensation of focused image. sharply focused Shoe A clip on a camera for attaching a flash flash unit. See also Hot shoe. Short-focal-length lens (wide-angle lens) A lens le ns that provides a wide angle-of-view of of a scene, of including more of of the subject area than a lens of normal focal focal length. normal Shutter A device in the camera that opens ope ns and film to light for a closes to expose the sensor or film of time. time. measured length of Shutter-priority mode An automatic exposure system in which the photographer sets the shutter speed and the camera selects the aperture (fnormal exposure. exposu re. stop) for normal Shutterr release The mechanism, usually a butShutte of the camera, that activates the ton on the top of film. shutter to expose the sensor or film. controll that Shutter-speed control The camera contro th e length of fi lm is selects the of time the sensor or film light. exposed to light.

Sidecar file A file with the t he same name as a extens ion Camera Raw file (but having the extension .xmp) that contains added metadata. Created information by programs that cannot write new information to a proprietary raw file Silhouette A dark shape with little or no detail apbackground. pearing against a light background. Single-lens reflex (SLR) A type of of camera with one used both for viewing and and for taking lens that is used picture. A mirror inside the camera reflects the the picture. viewfi nder. When the picture is image up into the viewfinder. taken , this mirror moves out of taken, of the way, allowing enteri ng the lens to travel directly to the the light entering film. sensor or film. Slide A transparency t ransparency made in the size of of 35mm film. See Transparency. film. Slow See Fast. SLR See Single-lens reflex. Soft 1. Describes an image that is blurred blu rred or out of focus. focus. T he opposite of of sharp. 2. Describes a of The of low contrast. con trast. The opposite of of scene or print of high contrast. hard or high Software A computer program designed to perform a specific purpose or task, for example form image editing or word processing (application software) or an operating system. Spectrum The range of of radiant energy from from extremely short wavelengths to extremely long ones. The visible spectrum includes only the ones. wavelengths to which the human eye is sensitive. he relative ability of of a lens to transmit Speed 1. T The light. Measured by the largest aperture at which light. the lens can be used. used. A fast lens has a larger maximum aperture and can transmit more light one. 2. 2. The relative re lative sensitivity to than a slow one. ligh t of of a sensor or film. fi lm. See ISO. light Spot meter An exposure meter with a narrow angle of used to measure measu re the t he amount of of of view, used from a small portion of of the scene being light from photographed. Stop 1. An aperture apertu re setting that indicates the of the lens opening. 2. A change in in exposize of 2. Changing the aperture su re by a factor of sure of 2. from one setting to the next doubles or halves from th e amount of of light reaching the sensor senso r or or the sh utte r speed from one film. Changing the shutter film. setting to the next does the same thing. Either changes the exposure one stop. of the lens aperStop down To decrease the size of ture. The opposite of of open up. Strobe See Electronic flash. flash. Substitution reading An exposure meter reading from something other than the subject, taken from photographer's hand. such as a gray card or the photographer’s of primary colors co lors (cyan, Subtractive color A set of magenta, and yellow) that can be mixed as pigments to match matc h any other color. co lor. The CMYK fo r color mode adds black (K) to compensate for imperfections in manufacturing the other three colors. See Additive color. Sync (or synchronization) cord A wire that flash unit to a camera’s camera 's shutter-release shutter-re lease links a flash mechanism . mechanism. Synchronize To cause a flash flash unit un it to fire while the camera shutter is open.

Telephoto lens See Long-focal-length lens. Terabyte Approximately one trillion bytes byres (actually 1,099,511,627,776). Approximately one of computer thousand Gigabytes. A measure of file size or device storage capacity. Abbreviated T or orTB. TB. Through-the-lens meter (TTL meter) An exposure meter built into the camera that takes light readings through the lens. TIFF A open-sauce (not ( not proprietary) format for An n open-souce d igital photographs (see File format) saving digital that is readable by most graphic software running on most computers. Transparency (slide) (s lide) A positive image on clear cl ear film viewed by passing light through from befilm hind with a projector or light box. Tripod A three-legged support for the camera. TTL Abbreviation for through the lens, lens , as in through-the-lens viewing or metering.

Tacking iron A small, electrically heated tool cool used t issue , atto melt the adhesive in dry-mount tissue, t he back of of the print and taching it partially to the to the mounting surface. This keeps the print in place during the mounting procedure. Telephoto effect A change in perspective caused by using a long-focal-length lens very far from from all parts of of a scene. scene . Objects appear closer tocogether than they really are. are.

Zone focusing Presetting the focus to photograph action act ion so that the entire area in which the will be sharp. sharp . action may take place will Zoom lens A lens with several moving elements that t hat can be used to produce a continuous range of focal focal lengths. lengths. of

reflecto r An apparatus constructed like Umbrella reflector paraso l with a reflective surface on the inside. a parasol Used to bounce diffused light onto a subject. Underexpose To make an exposure with too little light, making a picture that is too dark. View camera A camera in which the taking ta king lens forms an image directly on a ground-glass viewscreen. A film fi lm holder or digital digita l adapter is ing screen. of the viewing screen before inserted in front of he front and back of of the camera can exposure. T The of be set at various angles to change the plane of focus and and the perspective. perspective. Viewfinder eyepiece An opening in the t he camera through th ro ugh which the photographer can see the photographed . scene to be photographed. Viewing screen The surface on whic whichh the image in the camera appears for viewing. This image appears upside down and reversed left to right unless the camera contains a pentaprism to correct it. Vignette To shade the edges of of an image so they are underexposed. A lens hood that is too long of view and for the lens will cut into the angle of cause vignetting. vignetting. Visible sspectrum pectrum See Spectrum. White balance 1. Th of a white Thee color balance of light source. 2. A setting or adjustment on a camera or in an image editor that adjusts the overall image colors for the light source in which it was captured. Wide-angle distortion An unusual perspective (short -focalcaused by using a wide-angle (short-focallength) lens very close to a subject. Objects appear stretched out or farther apart than they rea lly are. really Wide-angle lens See Short-focal-length lens. Workflow A repeatable series of of steps leading to a desired desired result or product. A digital photography workflow includes, at minimum, the steps and output. between image capture and

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Bibliography A vast vase number of of books on photography are available, whether your interest is in its technique or its history, its use for art or for commerce. Look for on line, or o r in your local library, bookstore, or them online, came ra store. sto re. camera If you want a broader selection of of books than you If Photo-Eye, 376 Garcia Street, can find locally, try Photo-Eye, Santa Fe, NM 87501 (505-988-5152). This photoof new only bookstore has an immense selection of and used photo books sold by mail and through Ocher online on line its online bookstore, photoeye.com. photoeye.com. Other speciali sts are vincentborrelli.com and photobook specialists dashwoodbooks.com. dashwoodbooks.com. Impress ions, 2340 Brighton Brighton Henrietta Town Light Impressions, Line Road, Rochester, NY 14623 (800-975-6429) is excellenr source of of photographic storage, presan excellent ervation, and display materials. Catalogs are free. on lin e or request a printed catalog at You can buy online lightimpressionsdirect.com.. lightimpressionsdirect.com Technical References

Adobe Creative Team. Adobe Photoshop CC Classroom in a Book. Berkeley, CA: Adobe Press, 2013. Links to a Web site containing tutorial images. A good way to learn the basics of of the most popular imageediting software. Ang, Tom. Digital Photographer’s th ed. Photographer's Handbook. Handbook. 55th New York: DK Publishing, 2012. Martin . The Adobe Photoshop Lightroom 5 Even ing, Martin. Evening, Berkeley, CA: Peachpit Press, 2012. A Book 2013. Berkeley, complete guide to the t he Adobe workflow application. ———. . Adobe Photoshop CC for Photographers: A professional image editor’s editor's guide to the creative use of ofPhotoshop for the Macintosh and PC. PC. Boston, MA: Focal Focal Press, Press, 2013.

Fraser, Bruce, Chris Murphy, and Fred Bunting. \Vorld Color Management. Management. 2nd ed. Berkeley: Berkeley: Real World Peachp it Press, 2004. Peachpit Hirsch, Robert. Light and Lens: Photography in the 20 12. Digital Age 2nd ed. Boston, MA: Focal Press, 2012. of propro· detai led compendium of Profusely illustrated, detailed cesses and techniques. Horenstein, Henry. Beyond Basic Photography: A Technical Manual, Manual, rev. ed. ed . Boston: Little, Brown, 1977. 1977. A next step, only for analog black and white, after t he basics. afte r learning the Professionals' Kobre, Kenneth. Photojournalism: The Professionals’ Kobré, Approach.. 6th ed. Boston, MA: Focal Press, 2008. Approach of equipment, equip men t, techniques, techn iques, and Complete coverage of approaches used by photojournalists.

Krogh, Peter. The DAM Book: Digital Asset Management for Photographers. 2nd ed. Cambridge: O’Reilly O 'Reilly Media, 2009. How to organize, keep, arch ive, and find digital photographs. chive, London, Barbara, John Upton, Jim Stone. 11 ch ed. Upper Saddle River, NJ: Photography. 11th Pearson Education, 2014. 20 14. Complete Comp lete information about both film-based and digital photography, widely used as a text. Very comprehensive. comp rehensive.

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B IBLIOGRAPHY BIBLIOGRAPHY

London, Barbara, John Upton, Jim Stone. Upton,Jim \Vay. Upper Saddle River, Photography: The Essential Way. Compreh en sive text NJ: Pearson Education, 2009. Comprehensive oriented toward digital photography. Long, Ben. Complete Digital Photography. 7th ed. Independence, KY: Course Cou rse Technology, 2012. information , clearly written. Extens ive information, Extensive . Getting Started with 1Vith Camera Raw: RalV: How Ho1V to Make ———. Elements. Better Pictures Using Photoshop and Photoshop Elements. 2nd ed. Berkeley: Peachpit Press, 2009. Dan iel Overturf. Artificial McKenzie, Joy, Joy, and Daniel Lighting for Photography. Clifton Park, NY: Delmar Lighting/or of lightCengage Learning, 2009. Clear explanation of examples . ing techniques with visual examples.

McMahon, Ken, and Nik Rawlinson. Apple Aperture \Vorkjlow Guide for 3: A Workflow for Digital Photographers. Boston, co mplete guide to the MA: Focal Press, 2010. A complete Apple workflow application. Rodney, Andrew. Color Management for Photographers: Hands on Techniques for Photoshop Users. Users. Boston, MA: Focal Press, 2005. Digi.tal Russotti, Patricia, and Richard Anderson. Digital \VorkjlolV Handbook. Photography Best Practices and Workflow Boston, MA: Focal Press, 2009. Pennanence and Care of ofColor Wilhelm, Henry. The Permanence Photographs: Traditional and Digital Color Prints, Color Negatives, Slides, Slides, and Motion Pictures. A comprehensive Negatives, conservation conservatio n guide. gu ide. The entire book may be downloaded free at wilhelm-research.com/book_toc.html wilhelm-research .com/book_toc.html

Business Practices of Media Photographers. ASMP Am erican Society of American BttSiness Practices in Photography. 7th ed. ed . Professional Business New York: Allworth Press, 2008.

Bostic, Mary Burzlaff. 2013 Photographer’s Photographer's Market: Tmsted Guide to Selling Your Photography. The Most Trusted New York: North Light Books, 2012. Fonnsfor Crawford, Tad. Business and Legal Forms for Photographers. 4th ed. New York: Allworth Press, 2009. D. The Law (in Plain English) English)for DuBoff, Leonard D. for Photographers. 3rd ed. New York: Allworth Press, 2010.

Essays, Collections, and Histories Adams, Robert. Beauty in Photography: Essays in ofTraditional Values. New York: Aperture, Defense of Traditional Values. of 1981 198 1 edition. 2005. New edition of Barrett, Terry. Criticizing Photographs: An Introduction Images. 5th ed. New York: McGrawto Understanding Images. Hill, 2011. Widely-used as a text to help develop techniques for discussing photographs. Camera. Lucida. New York: Hill and Barthes, Roland. Camera Repri nt edition, 2010. Wang, Reprint

Benson, Richard. Ri chard. The Printed Picture. New York: Museum of of Modern Art, 2008. Eloquent Eloq uent descripof the way meaning is affected by printing tions of technologies. Berger, John. Ways of Seeing. New York: Penguin \VaysofSeeing. Penguin Modern Classics, Reprint, Reprint, 2009. Burgin, Victor. Thinking Photography. London: Macmillan, 1982 1982 and 1990. 1990. Coleman, A. D. The Digital Evolution: Photography in 1998. the Electronic Age. Age. Portland, OR: Nazraeli, 1998. Cotton, Charlotte. The Photograph as Contemporary Hudson , 2009. Art. New York: Thames & Hudson, Frizot, Michael, Michael , ed. A New NelV History of of Photography. K0ln , Germany: Könemann, K0nemann , 1999. 1999. Massive, Köln, beautifully ?eautiful_ly produced, thorough, and relatively 1nexpens1ve. inexpensive. ofthe Real: Writings on G rundberg, Andy. Crisis of Grundberg, ed . New York: Aperture, Apertu re, Photography Since 1974. 2nd ed. Reissue 2010. Readable, Readab le, stimulating sti mul ating essays on contemporary issues in photography. ofPhotography Gustavson, Todd. Camera: A History of from from Daguerreotype to Digital. New York: Sterling Signature, 2012. From the Curator of Technology ofTechno logy at the George Eastman House. Photography Changes Heiferman, Marvin, ed. Photography Everything. New York: Aperture, 2012. Roberr J. Seizing the Light: A Social History Hirsch, Robert ofPhotography. 2nd ed. New York: McGraw-Hill, of co ntemporaty survey of of the 2008. Thorough and contemporary medium's history. medium’s

Papageorge, Tod. Core Curriculum: Writings on Photography. New York: Aperture, 2011.

Himes, Darius D., and Mary Virginia Vi rginia Swanson. Publish Your Photography Book. New York: Princeton Architectural Press, 2011. 201 1.

ofPhotography. Rosenblu m, Naomi. A World History of Rosenblum, lle, 2008. Comprehensive Comprehen sive 4th ed. New York: Abbevi Abbeville, and profusely illustrated.

Photographer's Assistant: Learn the Kieffer, John. The Photographer’s Inside lnside Secrets of ofProfessional Photography and Get Paid for It. It. New York: Allworth All worth Press, 2001.

ofPhotographs: A Primer. Primer. Shore, Stephen. The Nature of 2nd ed. London: Phaidon Press, 2010.

Obcrrecht, Kenn. How HolV to Start a Home-Based Oberrecht, Photography Business. 6th ed. ed . Old Saybrook, CT: Globe Pequot Press, 2010. Virgin ia. Finding Your Audience: An Swanson, Mary Virginia. Introduction to Marketing Your Photographs. mvswanHow to market son.com: Self-published, 2013. How yourself as a photographer in the t he Internet Internet age. yourself

Sontag, Susan. On Photography. New York: Farrar, 1977. Straus and Giroux, 1977. Szarkows ki, John. Photographer's Eye. New York: Szarkowski, John. The Photographer’s Museum of of Modern Art, 2008. Landmark exhibition catalog with essays from the medium’s medium's most influential curator. \Veils, Liz. Liz. Photography: A Critical Introduction. 4th ed. Wells, New York: Routledge, 2009.

Periodicals

Photographic Phot ographic Organizations

American Photo, 2 Park Ave., New York, NY 10016. 10016. Photography in all its forms, forms , including the fashionfashio n• able and the famous. ((americanphotomag.com) americanphotomag.com)

of these nonprofit membership organizaMost of tions publish magazines and newsletters and have If you yo u live near one, you yo u may informative Web sites. If also wish to join for their t heir sponsored workshops, lectures, or exhibitions. ex h ibit ion s.

Aperture, 20 East 23rd Street, New York, NY 10011. 1001 1. A superbly printed magazine dealing d ealing with photography as an art form. Published Publ ished at irregular interinter· vals. ((aperture.org) aperture.org) Black & & White, PO Box 1529, 1529, Ross, CA 94957. ((bandwmag.com) bandwmag.com) Spot, 210 Eleventh Ave., New York, NY 10001. 1000 1. Blind Spot, sem i-an nual art jou rnal that publishes unseen A semi-annual journal work by living photographers. (blindspot.com)

Digital Photo, Photo, Werner Publishing Corporation, 12121 12 12 1 Wilshire Wi lshire Boulevard, 12th 12th Floor, Los Angeles, CA 90025. (dpmag.com) (dpmag.com) LensWork, 909 3rd Street, Srreet, Anacortes, Anaco rtes, WA 98221. 9822 1. A bimonthly publication about photographs, not cameras. High-quality High -quality black-and-white reproductions, articles, and interviews. (lenswork.com) Photo District News, Ne,vs, 770 Broadway, New York, NY 10003. Directed toward professionals pro fessiona ls in photogra10003. phy. pdnonline.com) p hy. ((pdnonline.com) fo r stuStu· . pdn.edu, an online and print periodical for ———. dent photographers, the printed magazine is distributed directly to schools. (digitalmag.pdnedu.com) Photographer’s Photographer's Forum, 511 51 1 Olive Street, Santa Barbara, CA 93101. Geared toward students and others seeking seekin g photographic ph otographic careers; includes (serbin.com/ Photo_Forum) school profiles. (serbin.com/Photo_Forum) The Photo Review, 140 140 East Richardson Richard son Avenue, Suite 301, Langhorne, PA 19047. Fine-art photography exhibition and book reviews with portfolios. ((photoreview.org) photoreview.org) Photoshop User, User, Kelby Media, 333 Douglas Road East, Oldsmar, Florida 34677. The official publipubl ication of of the National Association of of Photoshop Professionals (NAPP). (photoshopuser.com) (NA PP). Photo Techniques, Preston Publications, 6600 W. Touhy Technical Tou hy Ave., Niles, IL 60714. Tech n ical information on photographic photogra phi c materials, equipment, equipme nt, and processes. (phototechmag.com) Popular Photography, 2 Park Ave., New York, NY 10016. A magazine magazin e for hobbyists that mixes information about equipment with portfolios and howto articles. ((popphoto.com) popphoto.com) N E, Suite Professional Photographer, 229 Peachtree St NE, 2200, International Tower, Atlanta, GA 30303. For indu strial photographers with wi th emcommerci al and industrial commercial electro nic imaging. (ppmag.com) p hasis on electronic phasis

The Rangefinder, /Vmgefinder, 1312 13 12 Lincoln Boulevard, Santa Monica, Mon ica, CA 90406. Oriented toward professionals in the th e fields of of wedding and portrait photography. ((rangefindermag.com) rangefindermag.com) Shutterbug, 1419 Su ite #1, # 1, Titusville, 1419 Chaffee Drive, Suite FL 32780. A classified ad magazine for new, used, and vintage camera shutterbug.net) cam era equipment. equi pment. ((shutterbug.net)

Ame rican Society of of Media Photographers, 150 150 American North Second Street, Philadelphia, Phil adelphi a, PA 19106. 19106. Publishes ASMP Bulletin, a guide for the working professional (distributed only to ASMP members. ((asmp.org) asmp.org)

Center for Photography at Woodstock, 59 Tinker Street, Woodstock, NY 12498. 12498. Publishes Photography Quarterly.. (cpw.org) (cp1v.org) Quarterly Fe, NM NM 87504. CENTER, P.O. Box 2483, Santa Fe, Organizes portfolio-review events (Review (Review Santa Fe)) and sponsors juried awards for photographers. Fe (visitcenter.org)

CEPA Gallery, 617 Main Street, Buffalo, NY 14202. 14202. Exhibitions, lectures, and an artist project program. (cepagallery.com) George Geo rge Eastman House, 900 East Eas t Avenue, Rochester, Rochester, NY 14607. A museum of of photography and cameras, as well as the restored mansion and gard ens of of Kodak’s Kodak's founder. fo under. Publishes Image. gardens (eastmanhouse.org) (eastmanhouse.org) Houston fo r Photography, 1441 1441 West Wesr Housto n Center for Alabama, Houston, TX 77006. Publishes Spot. (hcponline.org)

Space constrains this list li st of of organizations organizatio ns and periodicals to those in the United States. Many oth er countries cou ntri es have organizations o rganizations and publicaother ph otography, which can be found tions devoted to photography, online, o nlin e, through t h rough a public library, libraty, or o r by contacting co n tacting the th e nonprofits listed here. here . Vid eo Tuto rials and More Online Video Tutorials

tv.adobe.com Adobe Web site with free tutorials for of their applications. appli cations. each of apple.com/aperture/tutorials apple.com/ aperture/tutorials Apple App le Web site with free training videos for Aperture. dpreview.com Tests and reviews of of digital cameras, prin ters, and software, plus forums, photo lenses, printers, sharing, and contests. conrests. jkost.com Adobe Photoshop Ph otos hop “Evangelist” "Evangelist" Juli eann e Julieanne Photosho p Kost provides free hints and tutorials on Photoshop and Lightroom. Lightroom . si re, some som e content is lynda.com Software training site, free, some so me by subscription.

photo.net Online peer-to-peer peer•to•peer forums, photo sharshar• ing, and critiques. cri tiques.

strobist.com All about location locatio n lighting li ghting with wit h portaporta• ble equipment, with wi th tips ti ps for inexpensive solutions. Sec entry under Photographic visitcenter.org See Organizations, left; their Web site has a Resources ot her useful usefu l sites. page with links to other

Lighr Factory, 1817 18 17 Central Avenue,Suite Aven ue,Suite The Light C200, Charlotte, Charl otte, NC 28205. A museum of of photogphotog· raphy and film, film , offers o ffers classes. (lightfactory.org) (fightfactory.org)

Light Light Work, 316 Waverly Avenue, Syracuse, NY NY 13244. 13244. A community-access com m un ity-access lab, several galleries, and an artist’s artist's residency program, publishes Contact Sheet and exhibition catalogs. (lightwork.org) (/ightwork.org) National Press Photographers Association, 3200 Su ite 306, Durham, NC 27705. Croasdaile Drive, Suite An organization of of working and student stude nt photojourphotojour· nalists; publishes the th e monthly News Photographer. (nppa.org) Photographic Resource Center, 832 Co mmonwealth Avenue, Aven ue, Boston, MA 02215. A galCommonwealth lery, library, li brary, lecture lectu re series, se ries, and portfolio reviews. Publis hes Loupe. (bu.edu/prc) (btt.edu/ prc) Publishes Cam era work, 1011 IO 11 Market Street, Francisco Camerawork, San Francisco San Francisco, CA 94103. Publishes Camerawork: A Journal of ofPhotographic Arts. (sfcamerawork.org) (sfcamera1vo rk.org) journal

Society for Photographic 253 0 Superior Ph otographic Education, 2530 Avenu e, #403, Cleveland, OH 44114. 44 114. An organizao rganiza• Avenue, tion centered around the teaching and practice of photography as a fine fin e art. Publishes Pub lishes Exposure. of (spenational.org) Visual Studies Workshop, 31 3 1 Prince Prin ce Street, Rochester, 14607. Incorporates Inco rporates a degree-grantdegree-grant• Roch este r, NY 14607. ing school with workshops, gallery, and artist’s artist's book boo k studio. stud io. Publishes Pub lishes Afterimage. Afterimage. (vsw.org)

B IBLIOGRAPHY BIBLIOGRAPHY

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Photo Credits p. i (frontispiece) Teun Hocks, Courtesy of o f the artist and P•P•O•W P·P·O·W Gallery, Gall ery, New York; p. 2 Leibovitz/ ConcactPress Images; pp. p p. 9 (bottom right), 73, 159 (bottom) Courtesy Annie Leibovitz/ContactPress Lau rence Miller Gallery; p. 10 (top) Panasonic Panaso nic Corporation of of North America; Ameri ca; p. 10 (bottom Laurence 11 (right), (righ t ), 12 (bottom right), 59 (top right), 62 left) Pentax Imaging Company; pp. 10 (right), 11 (top right), 84 (bottom) Courtesy of of MAC Group; p. 12 12 (top) Courtesy of of Samsung Electronics America; p. 12 (center) Courtesy of of Panasonic Panason ic North America; p. 13 (top) (top)© Electronics © Sony of Nikon Inc., Melville, Melvill e, Electronics, Inc.; pp. 14 (bottom), 85 (bottom left), 146 Courtesy of Electronics, of Canon USA; p. 20 © Steve Bloom/stevebloom. Bloom/ stevebloom. New York; pp. 14 (top), 112 (top) Courtesy of 2 1 (top) (top)JosefKoudelka, Ph otos; p. 21 21 (bottom) Courtesy CourtesyofNaoya com; p. 21 Josef Koudelka, Magnum Photos; of Naoya Hatakeyama and Taka Ishii Ishii Gallery, Tokyo; p. p . 24 Joel of the artist and Hatakeyama Joel Sternfeld, Courtesy of Luhring Augustine, New York; pp. 33, 118 Courtesy Co urtesy xRez Studios, Inc.; p. p. 35 Henri Henri CartierLuhring Bresson, Magnum Photos; Photos; p. 36 Ed Jones/ Getty Images; p. 37 Andreas Feininger/Getty Feininger/ Getty Bresson, Jones/Getty Images; p. 38 Javier Manzano/AFP/Getty Ma nzano/ AFP/ Getty Images; p. 41 41 (bottom) Donald Donald Miralle/Getty Miralle/ Getty Images; p. 47 (top) National Archives and Records Records Administration, Administration , Records of of the National Park Park Service; p. 53 Reproduced with permission of of the Minor White Archive, Princeton Princeton rustees of of Princeton University; p. 59 Gueorgui Pinkhassov, Pinkh assov, University Art Museum. © T Trustees Magnum Photos; p. 65 Library Library of of Congress LC-DIG-fsa-8d24901; LC-D IG-fsa-8d24901; p. 71 7 1 Courtesy of of the Liebling Family Trust; pp. 86, 89 (top), 116 Courtesy Cou rtesy of of Epson America, Inc.; Inc .; p. 89 (bottom Liebling right) Hasselblad Bron, Bron, Inc.; p. 112 (bottom) Library of of Congress LC-DIG-cwpbh-03225; p. p. o f the t he artist and P•P•O•W P·P·O·W Gallery, New York; p. 115 (left) © The 114 Teun Hocks, Courtesy of Museum of Webb, of Modern Art/Licensed Art/ Licensed by SCALA/Art SCALA/ Art Resource, Resource, NY; p. p. 131 131 Alex Web b , Magnum Magnum ofGarryWinogrand, Photos; p. 134 © The Estate of Photos; Garry Winogrand, Courtesy Fraenkel Gallery, San Francisco; of Congress LC-DIG-fsa-8b32434; LC-OIG-fsa-8b32434; p. 137 (left) Courtesy Janet p. 136 Library of Janet Borden, Inc.; of Congress; p. 139 139 (bottom) p. 137 (right) Courtesy Foley Gallery, New York; p. 138 Library of David Alan Harvey, Haivey, Magnum Photos; Photos; p. 145 (top) {top) www.martinbenjamin.com; p. p . 150 Bruce David Magnum Photos; p. 155 Library Library of of Congress, p. 151 151 Carl De Keyzer, Magnum Gilden, Magnum Photos; p. American Folklife Center; p. 157 © Lee Friedlander, Courtesy Fraenkel Gallery, San Francisco; p. 158 © 1990 Amon Carter Museum of of American Art, Fort Worth, Worth , Texas, Bequest Bequest of of the artp.158 159 (bottom) Courtesy ist, P1990.51.5094; p. 159 (top) Elliott Erwitt, Magnum Photos; p. 159 Lau rence Miller Gallery; p. 161 16 1 (top) (to p ) Library of of Congress LC-DIG-fsa-8b37302; p. p. 162 (botLaurence tom ) Courtesy of of Minneapolis Institute Insti t ute of of Arts, Gift of the William R. Hibbs Hibbs Family; p. p. 164 tom) Col lection Center for Creative Photography © 1981 1981 Arizona Board of of Regents; pp. (top) Collection 164- 5 (bottom) Hallmark Photographic Collection, Co ll ection, Hallmark Cards, Inc., Kansas Kansas City, Ci ty, MO © 164–5 2013 Katherine Anne Sinsabaugh and Elisabeth Sinsabaugh de la Cova; p. 166 Alec Soth, Soth , Magnum Photos; p. 168 © Yousuf Yousuf Karsh, Karsh , Courtesy Julie Grahame; p. 169 Arnold Newman/ Newma n/ Getty Images; p. 170 © Richard Misrach, Courtesy Fraenkel Gallery, San Francisco; pp. 173 Library of Congress LC-USF342-001167-A; LC-USF342-001167-A; p. 175 Image © Edward Burtynsky, Courtesy Library of Kraeutler, New York/ Nicholas Metivier, Toronto; p. 171 171 Jeff Wall , Transparency Hasted Hunt Kraeutler, Hasted York/Nicholas Jeff Wall, in lightbox 174.0 x 250.5 cm, Courtesy of of the artist; p. 180 Library of of Congress LCLCpp. 181, 185, 188, 200 (bottom) (bottom ) Harry Ransom Ra nsom Humanities Research Center, USW36-950; pp.181, Texas at Austin; p. 182 Bayerisches Nationalmuseum The University of ofTexas National museum München; MUnchen ; p. 183 183 Archive/ Courtesy Amherst College Archives and Special Collections; p. 184 Universal History Archive/ UIG/The of George Eastman House, House , International UIG(The Bridgeman Art Library; p. 186 Courtesy of of Photography and Film; p. 187 Library of of Congress LC-USW36-950; p. 190 Library Li brary Museum of of Congress LC-DIG-ppmsca-10017; LC-D IG-ppmsca-10017; p. p . 191 19 1 Library of of Congress LC-DIG-ppmsca-12557; of of Congress LC-USZC4-477; p. 192 (bottom) Library Library of of Congress Co ngress LCLC(top ) Library of p. 192 (top) USZ62-103037 ; p. 193 (top) Abbott-Levy Collection. Co ll ection. Partial Partial gift of of Shirley Shi rl ey C. Burden Burden USZ62-103037; of Modern Art/Licensed Art/ Licensed by SCALA/Art SCALA/ Art (1.1969.4589) Digital Image © The Museum of Stift ing Kultur—August Kultur~ August Resource, NY; p. 193 (bottom) Die Photographische Sammlung/SK Stifting Resource, Cologne/ ARS, NY; p. 194 (top) Museum of of the City of of New New York; p. p. 194 (botSander Archiv, Cologne/ARS, tom ) Library Library of of Congress Co ngress LC-DIG-nclc-01455; LC-DIG-nclc-01455; p. p . 195 (top) Library of of Congress LC-DIGLC-D IGtom) fsa-8b29516 ; p. 195 (bottom) ( bottom) Library Library of of Congress LC-USZ62-11491; LC-USZ62-1149 1; p. 196 196 (top) Bildarchiv Bildarchiv fsa-8b29516; Kul tu rbesitz/ Art Resource, NY; p. 197 W. Eugene Eugene Smith/Getty Smith/ Getty Images; p. 198 Preussischer Kulturbesitz/Art Preussischer Ashley Gilbertson/VII Gilbertson/ VII Photo Agency; p. 199 (top) Alfred Eisenstaedt/Getty Eisenstaedt/ Getty Images; p. 199 (bottom) (bottom ) Susan Meiselas, Magnum Magnu m Photos; Photos; p. 201 201 (top) © The Metropolitan Museum Museum of of Art. Image source: Art Resource, NY; p. 201 201 (bottom), (bottom ), 202 (top) Courtesy Andrew Smith Gallery, Ga llery, Santa Fe, NM; p.203 (top) © 2010 Man Trust/Artists (top )© Man Ray Trust/ Artists Rights Society (ARS), (ARS ), NY/ADAGP, NY/ ADAGP, Paris; of Hattula Moholy-Nagy; Moho ly-Nagy; p. 204 (top) © The Estate of of Harry Harry Paris; p. p . 203 (bottom) Courtesy of Callahan, Courtesy of of Pace/MacGill Pace/ MacG ill Gallery; p. 204 (bottom) Courtesy the Aaron Siskind Frank , from The Americans, Pace/ MacG il l Gallery, New Foundation; p. 205 © Robert Frank, Americans, courtesy Pace/MacGill York; p. 206 (top) Courtesy of of Cindy Sherman and Metro Metro Pictures Gallery, New York; p. 207 Richard Avedon Foundation; p. 208 (right) © Artforum, January 1979 [cover]; [ cover]; © 1980 The Richard p. 208 (bottom) © Eggleston Artistic Trust. Courtesy Cheim & Read, Read , New York; p. 210 & Society Picture Pictu re Library; Li brary; p. 214 (bottom left) Innova In nova Art Ltd.; Ltd.; p. 214 (bottom ( bottom center) cen ter) Science & Smithsonian American Art Museum; p. 214 (bottom right) Light Work, Syracuse, Syracuse , New York.

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James 1-7, 2004. James Henkel. Volume 1-7,

229 229

Index Abbott, Berenice, 162 Berenice, 162 aberrations, 31 31 133 paper, 133 inkjet paper, acid-free inkjet Adams, Ansel, 47, 202, 204, 206, 208 47,202,204,206,208 Adams, Shelby Lee, 174 Shelby Lee, 174 additive primaries, 83 56, 83 primaries, 56, Adobe 85 Raw, 85 Camera Raw, DNG 88 converter, 88 ONG converter, RGB (1998), 82, 118 82, 118 Lightroom software; Lightroom see also Bridge Bridge software; software; Photoshop software Photoshop software 162,170 156-57, 162, 32- 33, 156–57, of view, 32–33, angle of 170 aperture, 4, 6, 77 4, 6, bracketing 74 and, 74 bracketing and, 15 control, 15 24-25 of, 24–25 use of, creative use depth-of-field and, 44- 45 23, 44–45 and, 23, exposure and, 64 62, 64 54, 62, and, 54, f-stops, 23 23 high contrast 73 and, 73 contrast and, light, 22 22 maximum, 31 31 priority mode, 16 7, 16 mode, 7, 26-27 and, 26–27 speed and, shutter speed aperture 46 31, 46 22, 31, 17, 22, ring, 17, apertu re ring, 132 Aperture software, 118, 132 87,118, 78, 87, software, 78, color and, 83, 85 83, 85 editing and, 108 and, 108 software Aperture software Apple. See Aperture appropriation of matecopyrighted mateofcopyrighted rial, 113 rial , 113 Arbus, Diane, 206 Diane, 206 120,121 materials, 120, mounting materials, archival mounting 121 133 86, 133 archiving, 86, art, photography 200- 207 as, 200–207 photography as, 146- 47 lighting, 146–47 artificial lighting, Associated Press 198 (AP), 198 Press (AP), Atget, Eugène, 193 Eugene, 193 187 process, 187 Autochrome process, autofocus (AF), 43 10, 43 6, 10, (AF), 6, 207 206, 207 Richard, 206, Avedon, Richard, averaging 63 meter, 63 averaging meter, Avery, Joseph, 192 192 Avery,Joseph, Babbage, 210 Charles, 210 Babbage, Charles, Babbitt, 192 D., 192 Platt D., Babbitt, Platt background, 156–57 156-57 backlight button, 66 button, 66 141,142 72, 141, backlighting, 72, 142 backup, 86, 130, 1 33 130, 133 balance, 179 179 banner 119 mode, 119 banner mode, 137 Barney, Tina, 137 Barrett, Elizabeth, 188 Elizabeth, 188 batteries, 28 5, 28 batteries, 5, Bauhaus, 203 203 Bayer 85 Bayer array, 85 85 mosaic, 85 Bayer Bayer filter mosaic, bellows, 50 50 Benjamin, 145 Martin, 145 Benjamin, Martin, 212 Paul, 212 Berger, Paul, Berger, 89 81, 89 80, 81, bits/bit depth, 80, 108 images, 108 white images, black and white black points, 97 94, 97 points, 94, bleed mounting, 126- 27 mounting, 126–27 20 Steve, 20 Bloom, Steve, Bloom, 212 Suzanne, 212 Bloom, Suzanne, Blu-ray (BD) disks, 133 130, 133 78, 130, disks, 78,

230

IINDEX NDEX

blurring 28 camera motion and, 28 motion and, for emphasis, 160–61 160-61 19 15, 19 and, 15, speed and, shutter speed 26- 27 field, 26–27 offield, vs. depth of bottom lighting, 141 lighting, 141 149 147, 149 bounce flash, flash, 147, bracketing, 64–65 64- 65 112,191 Matthew, 112, Brady, Matthew, 191 Brezhnev, Leonid, 213 Leonid, 213 Briand, Aristide, 196 196 Bridge software, 132 88, 132 85, 88, software, 85, brightness of 117 papers, 117 of papers, 180 Esther, 180 Bubley, Esther, 69 63, 69 built-in 62, 63, 7, 62, meters, 7, built-in meters, 98 burning, burning, 98 Burson, 213 Nancy, 213 Burson, Nancy, Burtynsky, 175 Edward, 175 Burtynsky, Edward, bytes, 80 cable connections, 88 17, 88 connections, 17, cable release, 28 release, 28 Callahan, Harry, 208 204, 208 Harry, 204, calotypes, 184 184 camera obscura, 181 obscura, 181 Camera Raw 130 86, 130 81, 86, 70, 81, 58, 70, files, 58, Raw files, 108 black-and-white and, 108 images and, black-and-white images sharpening and, 104 and, 104 133 85, 133 with, 85, working with, camera(s), 2- 29 camera{s), 2–29 aperture of, 22- 25 16, 22–25 15, 16, 7, 15, 6, 7, 4, 6, of, 4, ((see see also aperture) aperture) 66- 67 automatic, 14, 14, 66–67 28- 29 care for, 28–29 controls, 14–17 14- 1 7 exposure and, see also exposure) also exposure) 6- 8 ((see and, 6–8 focusing of, see also focusing) also focusing) of, 66 ((see functions, 44 getting started 4-9 with, 4–9 started with, lens of, 4, 28–29 see also lens(es)) also lens(es)) 28- 29 ((see sensors of, ((see see 29 (see 22, 29 18, 22, 17, 18, 13, 17, 4, 13, of, 4, also sensors) shutter of, see also shutter also shutter 17 ((see 16, 17 7, 16, of, 7, speed) types of, 10–13 10- 13 cameras see also digital cameras Camera Work 202 201, 202 (magazine), 201, Work (magazine), Cameron, Julia Margaret, 188 Margaret, 188 Caponigro, Paul, 202 Paul, 202 capturing an 86 83,86 82, 83, 80, 82, 78, 80, image, 78, an image, 34 Carey, Alison, 34 cartes-de-visite, 189 188, 189 cartes-de-visite, 188, Cartier-Bresson, Henri, 35 Henri, 35 11 7 cartridges, ink, ink, 117 cataloging 132 applications, 132 cataloging applications, 54 CCD, 54 CDs, 133 133 cell 13 cameras, 13 cell phone cameras, 206 Photography, 206 Creative Photography, for Creative Center Center for 63 meter, 63 center-weighted meter, 88 4, 88 Flash), 4, (Com pact Flash), CF (Compact channels, 83, 108 97, 108 94, 97, 83, 94, 163 photography, 163 in photography, chaos and order order in Chicago style, 204 style, 204 60 Chin, Christine, 60 109 filter, 109 chrome filter, 186 Church, Fredrick, Fredrick, 186 cityscape photography, 172-73 photography, 172–73 clipping, 61, 73 61, 73

close-ups, 50 50 Cloud storage, 78 storage, 78 CMOS, 54 54 87 83, 87 82, 83, 56, 82, mode, 56, CMYK mode, cold-mount 122 tissues, 122 cold -mount tissues, Collier, John, 138 138 Collier,John, 185 collodion wet-plate process, 185 wet-plate process, color processes subtractive processes and subtractive additive and and, 56 56 balance, 57–59 57- 59 57 characteristics, characteristics, 57 82 - 84 digital, 82–84 modes, 56, 82 56, 82 photography, 187, 208-209 187, 208–209 wheel, 56 ColorChecker 85 59, 85 Passport, 59, ColorChecker Passport, 84 colorimeter, 84 command dial, 17 dial, 17 compact cameras, 12 5, 12 cameras, 5, 1 06- 1 07 compositing, 106–107 compressed perspective, 48 perspective, 48 computers, 8, 78 8, 78 conservation board, 121 board, 1 2 1 continuous-tone 54 photograph, 54 continuous-tone photograph, 179 136- 37,179 74- 75, 136–37, 73, 74–75, 72, 73, contrast, 72, copyright laws, 112- 13 laws, 112–13 130 corrupted storage devices, 130 storage devices, cover sheet, 122 122 75 L., 75 Billy L., Crafton, Billy 109 filter, 109 craquelure filter, cropping, 92, 154 110, 154 92, 110, Cros, Charles, 187 Charles, 187 Cumming, Robert, 206 Robert, 206 30 Rebecca, 30 Cummins, Rebecca, 202 Imogen, 202 Cunningham, Imogen, 110 Curves, 96–97, 100, 110 96- 97, 100, Daguerre, 182 Mande,182 Jacques Mandé, Louis Jacques Daguerre, Louis 182- 83 daguerreotypes, 182–83 52 Paul, 52 D'Amato, Paul, D’Amato, data panel, 22 17, 22 16, 17, 14, 16, 7, 14, panel, 7, De Keyzer, 151 Carl, 151 Keyzer, Carl, Delano, Jack, 65 65 Demachy, Robert, 201 Robert, 201 162- 63 48- 49, 162–63 depth in photographs, 48–49, in photographs, depth-of-field aperture and, 23 23 blurring vs., 26–27 26-27 close-ups and, 50 and, 50 focusing and, 15847, 158– 44-45, 47, 42, 44–45, and, 42, 59, 179 179 previewing, 46–47 46-47 scale, 31, 46 31, 46 tables, 47 derivative files, 130 86, 130 fi les, 86, design, elements 1 78- 79 of, 178–79 elements of, 116 printers, 116 desktop printers, dialog boxes, 78 boxes, 78 31 22, 31 17, 22, diaphragm, 17, diffused light, 166 137, 166 68, 137, light, 68, 78 digital cameras, 29, 78 17, 29, 12- 13, 17, cameras, 12–13, 58 and, 58 temperature and, color temperature 210-13 of, 210–13 sa le of, and sale development development and 61 and, 61 histograms and, internal data block 131 o f, 131 block of, ISO and, 66 66 53 of, 53 light-sensitivity light-sensitivity of, 75 noise and, 75

119 in, 119 mode in, panoramic mode Digital Photography 212 exhibition, 212 Photography exhibition, 198, digital photography hi story, 198, photography history, 210–13 210-13 cam(DSLRs) camreflex (DSLRs) single-lens reflex digital single-lens eras, 10, 29 17, 29 10, 17, digital zoom, 40 40 202 art, 202 in art, direct image image in directional/diffused light, 137 light, 137 140 136, 140 light, 136, direct light, Disdéri, 189 Adolphe, 189 Andre Adolphe, Disderi, André 114- 27 display, printing and, 114–27 printing and, 46 31, 46 scale, 31, distance scale, 39 distortion, 39 .dng 88 85,88 81, 85, files, 81, Negative) files, (Digital Negative) dng (Digital documents, photographs 204 193,204 as, 193, photographs as, dodging, 98 98 dots per 11 6 ( dpi), 116 inch (dpi), per inch downloading 88 86, 88 8, 86, images, 8, downloading images, downsampling, 55 55 drivers, printers 116 and, 116 printers and, drives/disks, 8, 130 78, 130 8, 78, dry mounting, 12 4- 25 12 2, 124–25 12 1 , 122, mounting, 121, dust, 29, 102 89, 102 29, 89, DVDs, 78, 1 33 130, 133 78, 130, dye-based inks, 11 7 inks, 117 dye-sublimation printers, 116 printers, 116 89 73, 89 range, 73, dynamic range, high 74-75 (HOR), 74–75 h;gh (HDR),

Eastman, 186 George, 186 Eastman, George, Eastman 186 Company, 186 Kodak Company, Eastman Kodak edges, 154–55 1 54- 55 editing, 86, 90- 113 86, 90–113 an d , images and, wh ite images black and white 108 compositing 106- 107 in, 106–107 compositing in, Curves in, 96- 97 in, 96–97 78 equipment, 78 112-13 ethics and, 112–13 filters, 109 109 getting started, 92–93 92-93 100- 101 in, 100–101 Layers in, 94-95 in, 94–95 levels in, Levels non-destructive, 87 non-destructive, 87 55 resolution and, and, 55 102-103 in, 102–103 retouching retouching in, saving, 92 92 selections 98-99 in, 98–99 selections in, sharpening 104-1 05 in, 104–105 sharpening in, workflow, 110–111 110-111 208,209 William, 208, Eggleston, 209 Eggleston, William, Eiler, 155 E., 155 Terry E., Eiler, Terry Eisenstaedt, 199 Alfred, 199 Eisenstaedt, Alfred, Ektachrome, 187 Ektachrome, 187 146 flash, 146 electronic flash, 13 viewfinder ((EVF), electronic viewfinder EVF), 13 Elements (Photoshop), 78 (Photoshop ), 78 Ellison, Ralph, 177 Ralph, 177 200 Henry, 200 Peter Henry, Emerson, Em erson, Peter equipment 78 d igital, 78 digital, for mounting, 122 mounting, 122 159 Erwitt, Elliott, Ell iott, 159 ethics, 112- 13 eth ics, 112–13 178 Roe, 178 Ethridge, Roe, 173,195 Evans, Walker, 173, 195 212 209, 212 206, 209, exhibitions, 115, 115, 206, see also galleries, photographs photographsinin

Exif (Exchangeable image format), file format), image file Exif(Exchangeable 131 131 expanded perspective, 48 perspective , 48 52- 75 6- 8, 52–75 exposure, 6–8, automatic, 6, 16 7, 16 6, 7, overriding, 66–67 66-67 of 68- 69 scenes, 68–69 of average scenes, backlighting 72 and, 72 backlighting and, close-ups and, 50 and, 50 56- 57 color photography and, 56–57 photography and, 51 filters and, 51 of 73, 72, 73, scenes, 72, contrast scenes, high contrast of high 74–75 74-75 and, high dynamic range (HOR) and, range (HDR) 74–75 74-75 60- 61 and, 60–61 histograms and, images, 88 scenes, darker scenes, or darker lighter or of lighter of 70–71 70-71 64- 67 16, 64–67 7, 16, manual, 7, 62- 65 61, 62–65 and, 61, meters and, pixels and resolution 55 and, 55 resolution and, readout, 77 of, 88 recording of, sensors and 54 and, 54 pixels and, and pixels white balance 57- 59 and, 57–59 balance and, exposure lock dial, compensation dial, and compensation lock and 66 external hard 78, drives/ disks, 78, hard drives/disks, 130 eyedroppers, 94, 97 94, 97 113 fair use, 113 Farm Security photograAdmin istration photograSecurity Administration phers, 195 195 fault-tolerant systems, 133 systems, 133 37 Andreas, 37 Feininger, Andreas, 191 Roger, 191 Fenton , Roger, Fenton, fiber based papers, 124 11 7, 124 papers, 117, 156 figure/ground relationship, 156 figure/ ground relationship, files 92 application, 92 data versus application, 130 86, 130 derivative, 86, flattening, 100 100 81 formats of, of, 81 files ) Raw files) Camera Raw raw ((see see Camera 88 renaming, 88 130 saving, 130 sizes of, 80 151 142-43, 151 fill light, light, 142–43, 4,133,186,187 film, 4, 133, 186, 187 10-11 film cameras, 10–11 film scanners, 89 89 filters, 51, 100, 104, 109 109 85,100,104, 51, 85, Fink, Larry, 163 Larry, 163 fisheye 40-41 lenses, 40–41 fish eye lenses, flash flas h 146- 47 light, 146–47 as artificial light, automatic, 146 146 149 147, 149 bounce, 147, direct, 140, 149 147, 149 140, 147, electronic, 146 146 fill light and, 151 142-43, 151 and, 142–43, motion and, 161 and, 161 148 144, 148 and, 144, lighting and, portrait lighting positioning, 148–49 148-49 89 flatbed scanners, 89 focal length, 31 - 39 18, 31–39 15, 18, length, 15, depth and, 162 48-49, 162 and , 48–49, 44-45 42, 44–45 and, 42, depth-of-field and, long, 36–37 36- 37 34- 35 normal, 34–35 short, 38–39 38 - 39 18 shutter, 18 focal-plane shutter, focus peaking, 13 13 15 focusing, 15 automatic, 43 6, 43 automatic, 6, depth-of-field and, 47, 44-45, 47, 42, 44–45, and, 42, 158–59, 179 158-59, 179 manual, 66

scanners and, 89 and, 89 zone, 46 31 1 7, 31 14, 17, focusing ring, ring, 14, Fontcuberta, Joan, 113 11 3 forced perspective, 177 perspective, 177 framing, 120, 179 154- 55, 179 120, 154–55, Frank, Robert, 204-206 Robert, 204–206 206 157, 206 Lee, 157, Friedlander, Lee, Frith, 106 Francis, 106 Frith , Francis, frontlighting, 140, 166 142, 166 140, 142, f-stops, 23, 64 26, 64 23, 26, 13 full frame, 13 204, 201, 204, in, 201, photographs in, galleries, photographs 206, 208 208 Galvan, Laurisa, 50 Laurisa, 50 84 calibrating, 84 gamma, calibrating, 82 gamuts, 82 Gardner, Alexander, 190 Alexander, 190 1 92 186, 192 gelatin-emulsion, 186, gigabytes, 80 80 198 Gilbertson, Ashley, 198 1 SO Bruce, 150 Gilden, Bruce, glass filter, 109 109 glazing, 120 120 Godowsky, Leopold, 187 Leopold, 187 González, 90 Dionisio, 90 Gonzalez, Dionisio, Gossage, John, 121 121 Gossage,John, gray card, 58, 73 58, 73 108 83, 108 82, 83, 56, 82, grayscale, 56, Grayscale Mix, 108 Mix, 108 screen, 66 ground glass screen, Grundberg, Andy, 208 208 147 number, 147 guide number,

halftone 1 96 process, 196 hal~one process, 72 69, 72 64, 69, 62, 64, hand-held meters, meters, 62, hard drives/disks, 133 1 30, 133 78, 130, 8, 78, drives/ disks, 8, Harker, 1 53 Harker, Santiago, 153 139 Alan, 139 David Alan, Harvey, David Harvey, 21 Hatakeyama, Naoya, Naoya, 21 187 du, 187 Ducos du, Louis Ducos Hauron, Ha uron, Louis Heartfield, John, 210 210 heliography, 181 181 210 Sir John, 210 Herschel, Sir 67 Hido, Todd, 67 200 High Art, 200 142 high dynamic range 74-75, 142 (HOR), 74–75, range (HDR), 140 high lighting, 140 104 High-Pass filters, filters, 104 high speed sync, 146 sync, 146 Hill, 212 Ed, 212 Hill , Ed, Hine, 194 193,194 Lewis W., 193, Hine , Lewis hinges, 127 hi nges, 127 histograms, 95 68, 95 60-61, 68, 7, 60–61, histograms, 7, history of 180-213 photography, 180–213 of photography, calotypes and, 184 184 collodion wet-plate 185 and, 185 wet-plate and, 187, and, 187, photography and, color photography 208–209 208~209 daguerreotypes 182- 83 and, 182–83 daguerreotypes and, 210- 13 and, 210–13 digital photography photography and, 188- 89 and, 188–89 early portraits portraits and, 190 and, 190 photos and, travel photos early travel early war images 191 and, 191 images and, and, base and, gelatin-emulsion/roll-film gelatin-emulsion/ roll -film base 186 193 in, 193 document in, as document photograph as photography 200-207 in , 200–207 art in, as art photography as photojournalism and, 196- 99 and, 196–99 1 94-95 and, 194–95 social change change and, 192 in, 192 motion in, time and motion 210 Hannah, 210 Hoch , Hannah, Höch, 114 Hocks , Teun, 114 Hocks, 191 Holmes, Oliver Wendell, 191 Oliver Wendell, horizontal photographs, photographs, 88 146 hot lights, 146 hot shoe, 17 17 icons, 92 92

illumination compositing 106 and, 106 compositing and, see also lighting also lighting see illustrated newspapers, 196 newspapers, 196 image database, 132 132 image quality, 66 88 86, 88 importing images, 86, ofimages, importing of incandescent 146 lamps, 146 incandescent lamps, incident-light 69 63, 69 meter, 63, incident-light meter, 145 144, 145 light, 144, indirect light, 108 infrared black white, 108 and white, black and 108 filters, 108 infrared blocking blocking filters, ingesting of 86 images, 86 of images, inkjet printers, 117, 119 17, 119 116,1 printers, 116, 117 printing, 117 for printing, inks, for input values, 96 96 Photography, for Photography, Center for International In ternational Center 206 Internet, 78 78 89 resolution, 89 interpolated resolution, 147 law, 147 inverse square law, 98 inverting, 98 Iooss, 48 looss, Walter, 48 Press (International Press IPTC (International fields, Council) fields, Telecommunications Council) Telecommunications 131 131 ISO (International Organization for Organization for Standardization), 4, 66, 64, 66, 6, 64, 4, 6, Standardization), 158 75, 138–39, 138- 39, 158 Jackson, William Henry, 190 Henry, 190 36 Ed, 36 Jones, Ed, Jones,, Lou, 161 72, 161 46 , 72, Lou, 46, Jones 116 Ann, 116 Peggy Ann, Jones, Peggy Jones, 135 Kenneth , 135 Josephson, Kenneth, 88,104 .jpeg (JPEG) 104 85, 88, 81, 85, 61, 81, files , 61, UPEG) files, Jude,, Ron, 115 Ron, 115 Jude 1 68 Yousuf, 168 Karsh, Yousuf, Kerouac, Jack, 205 205 key light, 144 144 167 Killip, Chris, 167 80 kilobytes, 80 1 01 Mark, 101 Klett, Mark, Kodachrome, 1 87 Kodachrome, 187 1 87 Kodacolor, 187 Kodak box 1 86 camera, 186 box camera, 61 Bohnchang, 61 Koo, Bohnchang, Kost, Julieanne Julieanne,, 107 107 Koudelka, Josef, 21 21 Koudelka , Josef, Kruger, 206 Barbara, 206 Kruger, Barbara,

landscape photography, 170-71 51, 170–71 photography, 51, 1 95 Lange, Dorothea, 1 36, 195 Dorothea, 136, Lasso 98-99 Lasso Tool, 98–99 latitude, 54 54 Layers, 100–101 100-101 LCD monitor, 154 13, 154 8, 13, monitor, 8, 19 leaf leaf shutter, 19 Lee, 195 161 ,195 Russell , 161, Lee , Russell, Annie, 22 Leibovitz, Annie, lens(es), 4, 30- 51 17, 30–51 12, 17, 4, 12, 50- 51 attachments for, for, 50–51 31 barrel, 31 basic differences 32- 33 between, 32–33 differences between, 29 cleaning, 29 compound, 31 31 32 14, 32 interchangeable, interchangeable, 14, 23 of, 23 off-stops range of f-stops of, speed, 31 types of, 36–41 36- 4 1 length; focal length; see depth-of-field; focal also depth-of-field; see also focusing lens-to-subject 49 48, 49 44, 48, distance, 44, lens-to-subject distance, Levels, 110 100, 110 94- 95, 100, Levels, 94–95, Liebling, Jerome, 71 71 Liebling, Jerome, 179 52 - 75, 179 light, 52–75, aperture and, 22 and, 22 and exposure (see ((see see exposure) exposure) shutter speed 18 and, 18 speed and,

sources, 57 57 lighting, 134–51 134- 51 close-ups 50 and, 50 close-u ps and, 138-39 existing, 138–39 fill light, 142–43 142-43 flash ((see see flash) flash ) indoor, 142, 174- 75 144, 174–75 142, 144, 140-41 of, 140–41 main source of, 144 142, 144 outdoor, 142, portrait, 144–45 144-45 qualities of, 136- 37 of, 136–37 Lightroom software, 118, 88, 118, 87, 88, 78, 87, software, 78, 132 85 color and, 85 editing and, 108 108 178- 79 line, element, 178–79 line , as visual element, loading, 98 98 171 Barbara , 171 London, Barbara, 75 Reduction, 75 Noise Reduction, Exposure Noise Long Exposure Lorant, Stefan, 196 196 187 Antoine, 187 Lumière, Lumiere, Antoine, Lumière, 187 Lou is, 187 Lumiere, Louis, 85 83, 85 82, 83, luminance, 82, 50 40-41, 50 macro lenses, lenses, 40–41, macro-photography, 50 macro-photography, 50 magazines, picture, 196-97 picture, 196–97 Magic Wand, 99 99 main lighting, 140–41 140-41 Mandel, Mike, 160 Mike, 160 Mannes, Leopold, 187 Leopold, 187 MANUAL, 212 212 Manzano, Javier, 38 38 206 Robert, 206 Mapplethorpe, Robert, Marquee Tool, 99 99 masks, 83 mat cutter and 122 board, 122 and board, 121 matting a print, print, 121 Maxwell, James James Clerk, 187 Clerk, 187 McCoy, Dan, 162 Dan, 162 97 Lawrence, 97 McFarland , Lawrence, McFarland, meaning and photography, and photography, 164- 65 164–65 medium-format cameras, SLR cameras, Digital SLR medium-format Digital 10 megabytes, 80 megabytes , 80 199 Meiselas, Susan, 199 memory card reader, 88 78, 88 8, 78, reader, 8, memory cards, 4, 130 88,130 29, 88, 17, 29, 5, 17, 4 , 5, memory stick, 4, 88 4, 88 92-93 menus, 5, 78, 92–93 5, 78, 131 metadata , 131 metadata, metal ruler, 122 122 metamerism, 117 metamerism , 117 metering cell, 17 cell, 17 62-65 61, 62–65 7, 61, meters, 7, manual exposures 64- 65 and, 64–65 exposures and, weighing 63 of, 63 weigh ing of, Metzker, Ray 159 73, 159 K., 73, Ray K., microprism, 66 96- 97 73, 96–97 70, 73, 62 , 70, middle gray, 62, Miralle, Donald, 41 Donald, 41 mirror (camera), 17 (camera), 17 mirroring, 133 133 12- 13 mirrorless cameras, 12–13 170 Richard, 170 Misrach, Richard, mode dial, 17 17 168 model release, release , 168 78 modem, 78 56 modes, color, 56 Moholy-Nagy, László, 210 203,210 L3.szl6, 203, 118 92, 118 87, 92, monitors, 84, 87, 78, 84, monitors , 78, 108 Mixer, 108 Monochrome Mixer, 179,192 160- 61, 179, 18- 19, 160–61, motion, 18–19, 192 124- 27 122, 124–27 board, 122, mount board, mounting aa print, 122-27 print, 122–27 mounting press, 122 press, 122 multiscanning, 89 89 multi-segment 63 meter, 63 multi-segment meter, museum board, 121 board, 121

IINDEX NDEX

231 23 1

museums, photography 208, 206,208, and, 206, photography and, 209 192 Muybridge, Eadweard, Eadweard, 192 National Daguerrian 188 Gallery, 188 Daguerrian Gallery, naturalism, 200 naturalism , 200 200 naturalistic photography, 200 naturalistic photography, 51 filters, 51 (ND) filters, neutral-density neutral-density (ND) and, documentation and, social documentation New York, social New 204 Newman, Arnold, 169 Arnold, 169 199 196,199 in, 196, newspapers, photography photography in, Niépce, Joseph Nicéphore, 181 Nicephore, 181 Niepce,Joseph 176 Lori, 176 Nix, Lori, noise, 54, 75 54, 75 42 object distance, 42 OEM papers 117 inks, 117 and inks, papers and On Photography 206 (Sontag), 206 Photography (Sontag), open shade, 144- 45 and, 144–45 lighting and, shade, lighting 133 130, 133 optical disk storage, 130, disk storage, 89 resolution, 89 optical resolution, optical storage 78 medium, 78 storage medium, options menu, 5, 66 menu, 5, organizing 128- 33 86, 128–33 storing, 86, and storing, organizing and 190,191 H. , 190, O’Sullivan, 191 Timothy H., O'Su llivan, Timothy 104 86, 104 82, 86, 78, 82, output, 78, output values, 96 values, 96 73 overexposed pictures, 61, 73 6, 61, pictures, 6, overmatting, 121, 126-27 121 , 126–27 165 Warren, 165 Padu la, Warren, Padula, palettes, 92–93 92-93 Palmer, 187 T., 187 Palmer, Alfred T., panning, 19 19 11 cameras, 11 panoramic panoramic cameras, panoramic photographs, 164- 65 119,164–65 photographs, 119, papers for printing, 133 117, 133 printing, 117, 212 Parada, Esther, 212 Parada, Esther, 10 parallax error, error, 10 195 Gordon, 195 Parks, Gordon, patch tool, 102 tool, 102 Penn, Irving, 206 Irving, 206 17 pentaprism, 17 99 Pen Tool, Tool , 99 179 48-49, 179 perspective, 48–49, Peterson, Rolf, 11 S Rolf, 115 photo corners, 127 127 85 photodiodes, 54, 85 photodiodes, 54, photo 197 196, 197 photo essays, 196, photoflood light, 144-45 142-43, 144–45 light, 142–43, 206 “photographic conceptualism," 206 "photographic conceptualism,” photographic laser 116 printers, 116 laser printers, 152-79 photography, 152–79 176-77 to, 176–77 assembled to, background in, 156- 57 in, 156–57 cityscapes in, 172-73 in, 172–73 depth in, 162-63 in, 162–63 158- 59 in, 158–59 depth-of-field in, edges or 154- 55 in, 154–55 frame in, or frame focus in, 158-59 in, 158–59 history of, 181–213 181 - 213 170-71 in , 170–71 landscapes in, 164- 65 and, 164–65 mean ing and, meaning portraits and, 166- 69 and, 166–69 responding 178-79 to, 178–79 respond ing to, time and motion 160- 61 in , 160–61 motion in, 196- 99 photojournalism, photojournalism, 196–99 Photo League, 204 League, 204 photo-micrography, SO photo-micrography, 50 photomontage, 203 203 201 photo-secession, photo-secession, 201 89, 87, 89, 86, 87, 78, 86, software, 78, Photoshop Photoshop software, 100, 132 119, 132 118, 119, 100, 118, 85 Adobe Camera and, 85 Raw and, Camera Raw 85 color and, 83, 85 and, 83, 108, 102,108, 100, 102, 98, 100, 92, 98, editing and, 92, 110- 111 110–111 Elements, 78 Elements, 78 filters menu, 109 menu, 109

232 23 2

IINDEX NDEX

212 of, 212 introduction of, Merge 74 of, 74 feature of, HOR feature Merge to HDR see also Bridge Lightroom software; Lightroom Bridge software; software 85 75, 85 54, 75, photosites, 54, photosites, pictorial 201 photography, 201 pictorial photography, pigmented inks, 117 inks, 117 59 Pinkhassov, Gueorgui, 59 Pinkhassov, Gueorgui, pixels, 54, 55, 116 85, 116 83, 85, 80, 83, 55, 80, pixels ofpixels see also value of pixels per 116 (ppi), 116 inch (ppi), per inch 42 plane of focus, 42 critical focus, of critical plug-ins, 93 93 Plumb’s Gallery, Daguerrian Gallery, National Daguerrian Plumb's National 188 188 pocket drives/disks, 130 drives/ disks, 130 point, as 178 design, 178 ofdesign, element of as element point-and-shoot 10 cameras, 10 point-and-shoot cameras, 153 1 52, 153 44, 152, Marc, 44, PoKempner, Marc, polarizing 51 filters, 51 polarizing filters, Polaroid camera, 211 210,211 camera, 210, portable hard 130 8, 130 drives/disks, 8, hard drives/disks, Porter, Eliot, 158 Eliot, 158 213 portraits, 213 early, 188–89 188-89 formal, 168–69 168- 69 informal, 166–67 166-67 lighting for, 166 144- 45, 166 for, 144–45, 86 post-processing, 86 power brick, 130 brick, 130 34 32, 34 prime lens, lens, 32, printers, 56, 116, 119 78,116,119 56, 78, printing and 114- 27 display, 114–27 and display, 120 in , 120 framing in, matting in, 121 in , 121 122- 27 and, 122–27 mounting mounting and, panoramic photographs and, photographs and, 119 119 117 in, 117 inks in, and inks papers and 116 in, 116 drivers in, printers printers and drivers 118 in, 118 proofing in, soft proofing prints, storing, 133 storing, 133 118 84, 118 82, 84, profiles, 82, expoprogrammed (fully expo automatic) expo(fu lly automatic) 16 7, 16 sure, 7, 81 .psd files, 81 public domain, 113 domain , 113 colorimorcolorim(spectrophotometeror "puck" (spectrophotometer “puck” colorim eter), 84

quartz lamps, 146 lamps, 146 99 Mask, 99 Quick Mask, RAID (redundant inexpensive ofinexpensive array of (redundant array disks), 133 133 RAM (memory), 78 78 rangefinder 10-11 cameras, 10–11 rangefinder cameras, Ray, Man, 210 203,210 Man, 203, reflected-light 62-63, meter, 62–63, reflected-light meter, 68–69, 72 68-69, 72 reflection-control 120 glass, 120 reflection-control glass, 51 reflections, polarization and, 51 polarization and, reflectors, 142–43 142- 43 Rejlander, Oscar 210 G., 210 Oscar G., release paper, 122 paper, 122 repairing damaged 102 photographs, 102 damaged photographs, resampling, 55 55 124 117, 124 papers, 117, resin-coated papers, resizing, 110 110 resolution, 6, 116 89, 116 55, 89, 13, 55, 6, 13, retouching, 102–103, 11 0 102-103, 110 83 82, 83 RGB 56, 82, mode, 56, RGB mode, 194 Riis, Jacob,, 194 Riis,Jacob RIPs 116 processors), 116 image processors), (raster image RIPs (raster 200,210 Peach , 200, Henry Peach, Robinson , Henry Robinson, 210 Robledo, 57 Maria, 57 Robledo , Maria, 186 roll-film base, base, 186 171 Rome, Stuart, 171 Rosler, 212 76,212 Martha, 76, Rosier, Martha, 195 Rothstein, Arthur, 195

41 Stanley, 41 Rowin , Stanley, Rowin, royalties, 113 113 203 Sabattier effect, 203 Sabattier effect, 196 Erich, 196 Salomon, Erich, Sander, August, 193 August, 193 saturation, 57 57 89 86, 89 scanners/scanning, 78, 86, scanners/ scanning, 78, 103 Michael, 103 Schäfer, Schafer, Michael, David, 33 Scheinbaum, David, Scherer, Jim, 105 105 Scherer,Jim, SD (Secure Digital), 88 4, 88 Digital), 4, 98-99 editing, 98–99 selections, in digital editing, in digital sensors, 4, 13, 45 32,45 29, 32, 22, 29, 18, 22, 17, 18, 13, 17, cleaning, 29 29 color and, 85 85 exposure and, 61 54, 61 53, 54, and, 53, 32 full-frame, 32 infrared blocking 108 of, 108 filter of, blocking filter limits of, 74 of, 74 shadows HDR 74 HOR and, 74 151 142- 43, 151 140, 142–43, and, 140, lighting and, Shahn, Ben, 195 Ben, 195 shape, as element 178 design, 178 ofdesign, element of 110 sharpening, 89, 104- 105, 110 89, 104–105, 206 Sherman, Cindy, Cindy, 206 209 Stephen, 209 Shore, Stephen, shutter shutter priority mode, 17 16, 17 7, 16, mode, 7, release, 17 17 6, 77 4, 6, shutter speed, 4, shutter speed, 26- 27 aperture and, 26–27 bracketing and, 64- 65 and, 64–65 control, 15 15 20- 21 creative use of, 20–21 use of, 64 62, 64 54, 62, 53, 54, and, 53, exposure and, 146- 47 flash and, 146–47 light, 18 18 motion, 18–19 18- 19 166 portraits and, and, 166 141 ,166 lightin g, 141, side lighting, 166 72 si lhouettes, 72 silhouettes, SilverFast, 89 89 10, cameras,10, (SLRs) cameras, reflex (SLRs) single-lens single-lens reflex 17,29,75 17, 29, 75 165 Art, 165 Sinsabaugh, Art, 204 Aaron, 204 Siskind, Aaron, sliders, 94 94 1 32 displays, 132 show" displays, "slide show” “slide 100 filters, 100 smart filters, Smith, W. Eugene, 206 197,206 Eugene, 197, and, social change, photographyand, change, photography 194–95, 204 194- 95, 204 118 110, 118 soft proofing, proofing, 110, software image-editing, 78, 86, 82- 84, 86, 78, 82–84, 92–113 (see also software by software also by 92 - 113 (see names)) names 132 storing, 132 and storing, organizing and scanning, 89 89 Sohier, Sage, 137 137 solarization, 203 203 Sontag, Susan, 206 206 166 Soth, Alec, 166 space 156 positive and negative, 156 and negative, working, 82 82 84 spectrophotometer, spectrophotometer, 84 10 split image, 10 spot meter, 63 meter, 63 stamp filter, 109 filter, 109 Stein, Amy, 144 144 11 cameras, 11 (3-0) cameras, stereo (3-D) 192 photographs, 192 stereographic photographs, stereographic Sternfeld, Joel, Joel, 24 24 202 172,201, 201, 202 Alfred, 172, Stieglitz, Alfred, stitching, 119 119 211 Stone, Jim, 211 storage. See storing and storing organizing and See organizing

straight photography, 202 201,202 photography, 201, 202 Paul, 202 Strand, Paul, 129 128, 129 Stan, 128, Strembicki, Stan, strobe flash, 146 flash, 146 Stryker, Roy, 195 Roy, 195 style(s), 163, 205 204, 205 163, 204, subcompact 12 cameras, 12 digital cameras, subcompact digital subjects, photographic su bjects, photographic exposing 73 main, 73 exposing main, of 166 portraits, 166 of portraits, substitution reading, 73 72, 73 reading, 72, subtractive primaries, 83 56, 83 primaries, 56, 144 140, 144 sun, lighting 136, 140, and, 136, lighting and, “Sun Drawn Miniatures,” 181, 182 "Su n Drawn Miniatures," 181,182 sync speed, 146 146 tacking iron, 122 iron, 122 tagging, 131, 133 131, 133 210 184,210 Fox, 184, Henry Fox, Talbot, William Henry tape, 122 122 Tarnowski,, Tom, 95 95 Tarnowski 80 David, 80 Taylor, David, 36- 37 lenses, 36–37 telephoto lenses, temperature 58- 59 color, 58–59 mounting press 124- 25 and, 124–25 press and, terabytes, 80 terabyces, 80 texture, 178, 179 178, 179 through-the-lens (TTL) 62 meter, 62 (TTL) meter, 92 thumbnails, 92 .tif (TIFF) files, 104 89,104 85, 89, 81, 85, files, 81, .tif(TIFF) 192 160- 61, 192 time and motion, motion, 160–61, time of 172 and, 172 light and, of day, light tone, 70, 81 70, 81 96 and, 96 Curves and, 73 dynamic and, 73 range and, dynam ic range 60 and, 60 histograms and, Levels and, 94 and, 94 warm, 164 164 92-93 bar, 92–93 options bar, tool options and tool toolbox and top lighting, 141 lighting, 141 78 equipment, 78 transmission equipment, transparencies, 89 scanning, 89 transparencies, scanning, travel photography, 190 photography, 190 160-61 28, 160–61 8, 28, tripods, 8, 195 G., 195 Rexford G., Tugwell, Rexford 139 Lars, 139 Tunbj6rk, Tunbjörk, Lars, 163 Pete, 163 Turner, Pete, 11 cameras, 11 (TLRs) cameras, reflex (TLRs) twin-lens reflex Umbrico, iii Penelope, iii Umbrico, Penelope, underexposed pictures, 73 70, 73 61, 70, 6, 61, pictures, 6, 11 cameras, 11 underNater cameras, underwater 104 unsharp masking (USM), 104 masking (USM), upsampling, 55 55 value of 85 82, 85 60, 82, 54, 60, pixels, 54, of pixels, values, input 96 output, 96 and output, input and 100 Vanderwarker, Peter, 100 VanderNarker, Peter, vertical photographs, photographs, 88 view cameras, 11 11 viewfinder, 4, 154 22,154 17, 22, 16, 17, 15, 16, 7, 15, 4, 7, viewing 17 screen, 17 viewing screen, 179 viewpoint, 179 visual elements, 179 179 visual VueScan, 89 89 Wall, Jeff, 177 177 Wall,Jeff, 191 war photographs, photographs, 191 watercolor 109 filter, 109 watercolor filter, Watkins, Carleton 190 Eugene ,190 Carleton Eugene, 131 Webb, Alex, 131 Web site, 78, 113, 210 78,113,210 82 for, 82 printing for, sRGB printing Weifenbach, Terri, 25 25 Weiss, John, 145 14S West Coast 204 style, 204 Coast style, 164,202,206,208 Weston, Edward, 202, 206, 208 Edward, 164, Whaley, Jo, 123 123 White, Minor, 204 202, 204 53, 202, Minor, 53,