book

Light and Lens, 2nd Edition

by Robert Hirsch

September 2012

Intermediate to advanced

456 pages

17h 39m

English

Focal Press

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Not Just Pictures But PhotographsThe Grammar of PhotographyThe Evolution of Photographic ImagingFull Circle: Some Things Remain the SameDetermining MeaningBPS: Before PhotoshopCombination PrintingThe Advent of Straight PhotographyThe PictorialistsThe Photo-SecessionistsThe Arrival of Straight PhotographyModernistic ApproachesDocumentaryStraight Photography and PrevisualizationGroup f/64 and the Zone SystemPostvisualizationSocial Landscape and the Snapshot AestheticThe Alternative SceneThe Rise of Color PhotographyPostmodernismElectronic Imaging: New Ways of ThinkingThe Digital Imaging RevolutionNew MediaQuestions about Photo-Based Imagemaking1. How does one become a photographer?2. What traits do good photographers often possess?3. Why is photography important?4. Why is it important to find an audience for your work?5. What can images do that language cannot do?6. What makes a photograph interesting?7. How is the meaning of a photograph determined?8. How can photographers know and define beauty and truth in the twenty-first century?9. What are the advantages of digital imaging over silver-based imagemaking?10. What are the disadvantages of digital imaging?11. How can I find something intriguing to photograph?12. Hasn’t it been done before?13. What if I’m not in the mood to make photographs?14. What happens when I have difficulty photographing a subject?15. Why is it important to understand and be proficient in your medium?16. Why is it important to make your own photographs?17. How much visual information do I need to provide a viewer to sustain meaning?18. How much of my output is likely to be “good”?19. How do photographers explore subjects like time and space?20. Why study the history of photography?21. What are the limitations in studying the images of others?22. Can too much knowledge interfere with making photographs?23. Is it necessary to explain my photographs?24. What is the role of critics and critique?25. What is the role of theory in relation to contemporary photography?26. What do good teachers teach?27. How do photographers earn a living?28. Which equipment is the best?29. Can creative efforts in other fields inspire your work?30. Now it is your turn. Add a question and answer to this list.References
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 PrinciplesUnity and VarietyEmphasisScale and ProportionThe Golden Mean: The Rule of ThirdsBalanceVisual ElementsLineShapeSpaceTexturePatternSymbolismGeneral Symbol CategoriesShapes and Their General Symbolic AssociationsColor SymbolismCommon Symbols and Some Potential AssociationsReferences

The Role of a CameraWhat Is a Camera?How a Camera Imaging System WorksDigital CamerasDigital ObservationsImage Sensors: CCD and CMOSColor Filter Array: Bayer Filter MosaicPixelsImage ResolutionPPI: Pixels per Square Inch and Digital Camera ResolutionDPI: Dots per Square Inch and Printer ResolutionThe Differences between PPI and DPIVisual Acuity and 300 DPITypes of CamerasCompact Digital CamerasDigital Single-Lens Reflex CamerasSingle-Lens Translucent CamerasOther Camera TypesChoosing a CameraCamera File FormatsImage Compression Algorithms: Lossless and LossyMajor Image File FormatsJPEGTIFFRAW and Post-ProcessingDNGOpening FilesThe Lens System and ExposureApertureAperture/F-Stop Control/Shutter Control/Exposure ModesDepth of FieldLens Focal LengthWhat Focal Length EstablishesThe Focal Length Rule35mm Film Camera EquivalenciesAngle of ViewCalculating Lens Equivalency for Digital SensorsFocusing the ImageAutofocus ModesTypes of LensesZoom LensesNormal LensWide-Angle LensTelephoto LensSpecial-Use LensesShutterShutter Speed ControlShutter LagCamera MovementShutter ModesDetermining ExposureDigital Camera FeaturesResolutionMonitorMonitor Playback Mode and HistogramMetadata/EXIFOptical and Digital ZoomDigital ISO/SensitivityDigital Aberrations: Noise, Banding, Blooming, and SpotsWhite BalanceMetering ModesAspect ModesColor ModesImage Enhancement or Scene ModesSpecial Effect ModesMotion Picture ModeSharpening ModeGuide or Help ModeNoise ReductionImage StabilizationFlashMemory BufferRemovable Camera Memory StorageFirmwareSoftware: You Press the Button and the Camera Does the RestBatteryBattery ChoicesBattery Care in Cold ConditionsCamera, Lens, Monitor, and Sensor CareProtection against the ElementsScannersFlatbed and Film ScannersDrum ScannersScanning GuidelinesScanning StepsFrame GrabberEffects on Photojournalists and Event PhotographersStoring Digital ImagesStorage Media for Final Image FilesCompact Disc (CD) and Digital Versatile Disc (DVD)Mechanical StorageInternal Hard Disk DrivesExternal Hard Disk DrivesSolid-State Storage: Hard Drives, USB Drives, Jump Drives, and Flash Memory MediaImage TransferLiving Photography: Authorship, Access, and the World’s Largest Picture Book
Exposure BasicsCamera Light Meters Are 18 Percent Gray ContrastReflective and Incident LightHow a Light Meter WorksHow a Histogram WorksUsing a Gray CardCamera Metering ProgramsMatrix Metering/In-Camera Metering MethodsUsing a Camera MonitorElectronic Viewfinder (EVF)How a Meter Gets DeceivedExposure BracketingExposure CompensationManual OverrideHandheld MetersBrightness RangeExposing to the RightHigh Dynamic Range (HDR) ImagingBasic Light Reading MethodsAverage DaylightBrilliant SunlightDiffused LightDim LightContrast Control/Tone CompensationLight Metering TechniquesMetering for the SubjectExposing for Tonal VariationsElectronic Flash and Basic Fill FlashRed EyeUnusual Lighting ConditionsSubject in ShadowSubject in Bright LightZoom ExposureAveraging Incident and Reflect ExposuresScene Mode ExposuresLong Exposures and Digital NoiseReciprocity LawFiltering the LightOur Sun: A Continuous White Light SpectrumColor Temperature and the Kelvin ScaleThe Color of LightWhite BalanceCamera Color ModesColor Saturation ControlHue Adjustment/RGB Color MixingWhy a Color May Not Reproduce CorrectlyLens FiltersHow Filters WorkFilter FactorNeutral Density FiltersDealing with Reflections: Polarized and Unpolarized LightWhat a Polarizing Filter Can DoUsing a PolarizerLinear and Circular PolarizersUltraviolet, Skylight, and Haze FiltersSpecial Effects FiltersHomemade Colored and Diffusion FiltersDigital Filters and PluginsFluorescent and Other Gas-Filled LightsHigh-Intensity Discharge Lamps/Mercury and Sodium Vapor Sources
Natural LightThe Thingness of LightGood LightLight and the CameraThe Time of Day/Types of LightThe Cycle of Light and Its Basic CharacteristicsBefore SunriseMorning/The Golden HourMiddayAfternoonTwilight/EveningNightThe SeasonsThe Weather and Atmospheric ConditionsFog and MistRainSnowSnow EffectsDustHeat and FireBeach and DesertArtificial LightAdd a LightThe Size of the Main or Key LightThe Placement of the LightContrast/Brightness RangeBasic Lighting MethodsFront LightSide LightHigh Side LightLow Side LightTop LightBack LightUnder LightLighting AccessoriesBarn DoorsDiffuserGelsReflector CardSeamless Paper BackdropsSnootStudio StrobesReferences
How We SeeLiteracyLearning to LookThe Difference between Artistic and Scientific MethodsVisual Literacy and Decision MakingWhy We Make and Respond to Specific ImagesVictor Lowenfeld’s ResearchVisual-Realists as ImagemakersVisual-Realist Photographic Working MethodsHaptic-Expressionist ImagemakersHaptic-Expressionist Photographic Working MethodsThe Effects of Digital ImagingPhotography’s Effect on the ArtsPushing Your BoundariesAesthetic Keys for Color and CompositionThe Color KeyThe Composition KeyRecognizing the KeysFigure-Ground RelationshipsThe Importance of Figure-Ground Relationships
In Search of TimeThe Perception of TimeControlling Camera TimeExploring Shutter SpeedsExtending the ActionStopping the ActionStopping Action with Electronic FlashBlur and Out-of-Focus ImagesMotion Blur FiltersLensbabyThe Pan ShotEquipment MovementFree-Form Camera MovementFlash and Slow Shutter SpeedExtended Time ExposuresDrawing with LightProjectionMultiple ImagesSandwiching/Overlapping TransparenciesRephotographyPost-Camera VisualizationSequencesUsing a GridMany Make OneContact Sheet SequenceJoinersSlices of TimeCompound Pictures/PhotomontagePhotographic CollageThree-Dimensional Images: Physical and VirtualImage-Based InstallationsPublic ArtSocial MediaImaging Software SolutionsRecomposing RealityAnimation (Timeline)Getting Started: Making Your Animation (Timeline)Preparing the Still Image FilesSteps for Importing Still Images, Sound, and Working with the TimelineReferences
The Megapixel MythDisplaying the Image File: Transferring Image Files for Display, Web, or PrintThe DisplayImage Output: Display and PrintThe Web: Pixels per Inch (PPI)Print Resolution: Pixels per Inch and Dots per Inch (Embedded Resolution)Properly Adjusting Image Size and Unchecking Resample ImageThe Importance of Keeping Equivalent Pixel DimensionsSizing a Digital FileResampling or InterpolationWorking with a Digital Negative: The Original CaptureWorking with RAW File FormatsResampling/Interpolation and the Digital NegativeTrue Resolution and the Real WorldDefault Image Preview ConfusionDigital Post-Production and CatalogingThe Image WindowThe Bottom Line: The Best Setting to Get the Desired ResultsMaking Photographic-Quality PrintsInkjet Printers: Converting PPI to DPI to DotsDroplet Size: PicolitersPaper: Uncoated and CoatedInks: Dye and Pigment BasedPrint PermanencePrinting Systems and Output ConcernsThermal/Dye-Sublimation PrintingDesktop Inkjet PrintersIris PrintGiclée PrintingLightJetMural-Size PrintsUnusual Printing Materials: Mixing MediaPreparing a Digital Print for Mixed MediaService BureausImages and the Computer WorkstationThe Color MonitorHow Monitors Display ColorBit ColorComparing 8-bit and 16-bit ModesColor Management (ICC Profiles)Controlling Color Space: Profiles and LightsWYSIWYG: What You See Is What You GetLighting in the Work SpaceDigital Colors: CMYK and RGBDigital MemoryRAMROMHard DiskSoftware and Imaging ApplicationsRaster/Bitmapped SoftwareVector Graphics SoftwareBasic Digital Imaging Categories and ToolsTop Main Menu OptionsCut/Copy and Paste FunctionsScale and Distort FunctionsDigital Filter FunctionToolbar Icons for Additional Photo EditingCommon Toolbar Icons from PhotoshopFinding ToolsBlack ArrowSelect and Move ToolsMarquee ToolsMove ToolLasso ToolsMagic Wand ToolsQuick Selection ToolCrop ToolDrawing ToolsBrush and Pencil ToolsThe Retouching ToolsHealing Brush and Patch ToolsClone Stamp ToolHistory Brush ToolEraser ToolsFill ToolsDodge and Burn ToolsType ToolsEyedropper (Color Picker) Tools3D ToolsZoom ToolAdditional Photoshop ToolsMasksLayersChanging Mouse PointerOption/Shift/Command KeysThe Computer as a Multimedia Stage: Moving ImagesThe Internet and the World Wide WebInformation Sharing: Search Engines and WeblogsDigital GalleriesThe Digital FutureReferences
Digital Retouching and RepairArchival PresentationPresentation MaterialsMat Board SelectionWindow MatDry and Wet MountingThe Dry-Mounting ProcessCold MountingFloating a PrintFramesUnusual Frames and PresentationsPortfoliosBooks: Print on DemandImages on a Screen: Web SharingWebsite Design/HTMLFactors Affecting Print PreservationMaterials to AvoidFactors Affecting Print StabilityColor Print Life SpanPrint Display EnvironmentStorage EnvironmentDigital ArchivesTransferring Film-Based Images to a Digital FormatLong-Term Storage and Migrating Digital ArchivesPost-Production SoftwareCataloging Your Image FilesReferences for Digital ArchivesDigital Print StabilityDye-Based InksPigmented InksPrinting MediaProtecting Pigment PrintsCamera Copy WorkLens Selection: Macro Lens/ModeCopy LightingExposurePresenting Work on a DiskEnsuring a Good WelcomeShippingCopyright of Your Own WorkWhere to Send WorkReferences
The Framing Effect: ViewpointSeeing DynamicallyWorking MethodsEffectively Using Angles of ViewSelective FocusContrastComplementary ColorsWarm and Cool ColorsCreating Color ContrastDominant ColorBe StraightforwardSustain Compelling CompositionHarmonic ColorEffective HarmonyIsolated ColorChance Favors the Prepared MindMonochrome ImagesThe Personal Nature of MonochromeColor ContaminationAerial PerspectivePerspectiveBasic Methods of Perspective ControlConverging LinesSubdued ColorOperational ProceduresHighlights and ShadowsAttraction and RepulsionSurmounting PreconceptionsCounterpoints and Opposites
Thinking Structure: A Process for Discovery and Problem SolvingA Thinking ModelStage 1: Thinking TimeGetting IdeasChallenging FearSource Notebook and Journal KeepingThe Success GameStage 2: Search for FormThe Possibility ScaleStage 3: Definition and ApproachStage 4: Bringing It TogetherStage 5: Operations ReviewStage 6: EvaluationThe Photograph as a MatrixSize MattersCommunicating Cultural KnowledgeThe Image Experience: Photographic Meaning Is UnstableWriting about ImagesWriting an Artist’s StatementEssentials of Image DiscussionJohn Cage’s RulesReferences
Making Portraits: Who Am I and Who Are You?Self-Portrait ResearchSelf-PortraitsPortrait of Another PersonEnvironmental PortraitFauxtography: Photography’s Subjective NatureTruthiness and WikialityPicturing Social IdentityDepicting Social CustomsWho Can Represent Us?Interior Experience: The Significance of Daily LifePhilosophical Belief: Optimism, Pessimism, and ExistentialismPsychological DramaSocial IssuesFabrication for the Camera: Directorial ModeThe Social LandscapeStill LifeStill-Life DeliberationsThe Human FormThe Display: Another Picture RealityAlternative ApproachesText and ImagesArtists’ Books and AlbumsArtists’ and Photographic Books: ReferencesSelf-Assignment: Creation and EvaluationEvaluation Guide—Before Making ImagesGuide to Evaluation—After Photographing
Ergonomic WorkstationsMonitor Emissions: ELF/VLFEyestrainProper Posture/Lower Back ProblemsCarpal Tunnel SyndromeTaking BreaksNeutral Body PositioningChange Your Working Position
The Working PhotographerGetting StartedReferences