book

Light and Lens

by Robert Hirsch

September 2007

Intermediate to advanced

416 pages

14h 36m

English

Focal Press

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The Grammar of PhotographyThe Evolution of Photographic ImagingDetermining MeaningBPS: Before PhotoshopThe Digital Imaging RevolutionNew MediaQuestions about Photo-Based ImagemakingAdditional Information
Learning to See: Communicating with DesignBeginner’s MindThe Design ProcessThe Nature of Photography: Subtractive CompositionDeparture PointAttention Span and Staying PowerPhotography’s PrivilegeThe Language of VisionPhotography’s Native CharacteristicsDesign PrinciplesVisual ElementsReferences

The Role of a CameraWhat Is a Camera?How a Camera Imaging System WorksDigital CamerasTypes of CamerasChoosing a CameraCamera File FormatsOpening FilesThe Lens System and ExposureDigital Camera FeaturesCamera, Lens, Monitor, and Sensor CareScannersFrame GrabberStoring Digital ImagesLiving Photography: Authorship, Access, and the World’s Largest Picture Book
Exposure BasicsFiltering the Light
Natural LightThe Time of Day/Types of LightArtificial LightBasic Lighting MethodsLighting Accessories
How We SeeWhy We Make and Respond to Specific ImagesThe Effects of Digital ImagingAesthetic Keys for Color and CompositionFigure-Ground Relationships
In Search of TimeThe Perception of TimeControlling Camera TimeImaging Software SolutionsReferences
Displaying the Image File: Transferring Image Files for Display, Web, or PrintWorking with a Digital Negative: The Original CaptureTrue Resolution and the Real WorldMaking Photographic-Quality PrintsImages and the Computer WorkstationSoftware and Imaging ApplicationsBasic Digital Imaging Categories and ToolsCommon Toolbar Icons from PhotoshopThe Computer as a Multimedia Stage: Moving ImagesThe Internet and the World Wide WebThe Digital FutureTechnical ReferencesManufacturers’ Websites
Digital Retouching and RepairArchival PresentationDigital ArchivesReferences for Digital ArchivesDigital Print StabilityCamera Copy WorkPresenting Work on a DiskReferences
The Framing Effect: ViewpointSelective FocusContrastDominant ColorHarmonic ColorIsolated ColorMonochrome ImagesPerspectiveQuiet or Subdued ColorHighlights and ShadowsAttraction and RepulsionCounterpoints and Opposites
Thinking Structure: A Process for Discovery and Problem SolvingA Thinking ModelThe Photograph as a MatrixSize MattersCommunicating Cultural KnowledgeThe Image Experience: Photographic Meaning Is UnstableWriting about ImagesEssentials of Image DiscussionJohn Cage’s RulesReferences
Making Portraits: Who Am I and Who Are You?Fauxtography: Photography’s Subjective NaturePicturing Social IdentityInterior Experience: The Significance of Daily LifeFabrication for the Camera: Directorial ModeTime-Honored ThemesThe Display: Another Picture RealityText and ImagesArtists’ Books and AlbumsArtists’ and Photographic Books: ReferencesSelf Assignment: Creation and Evaluation
Ergonomic WorkstationsMonitor Emissions: ELF/VLFEyestrainProper Posture/Lower Back ProblemsCarpal Tunnel SyndromeTaking BreaksNeutral Body PositioningChange Your Working Position
The Working PhotographerGetting Started

Overview

Fills a missing gap by taking the traditional educational approach to teaching photography in an art department, with the emphasis on the new angles introduced by digital technology