Third Edition

A
A Short Course in

Digital
AN INTRODUCTION TO PHOTOGRAPHIC TECHNIQUE

Teun Hocks

Barbara London ＠
■ Jim Stone

IP#ilii•Hi
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
Sao Paulo Sydney
Sydney Hong Kong Seoul Singapore Taipei Tokyo
Hong Kong Seoul Singapore Taipei Tokyo
Editor-in-Chief: Sarah Touborg Operations Specialist: Diane
Diane Peirano
Peirano
Senior Publisher: Roth
Roch Wilkofsky Cover Designer: Kathryn
Kath ryn Foot
Foor
Editorial Assistant:
Assistan t: Christopher Fegan
Fegan Cover Art: © Steve Bloom/stevebloom.com
Bloom/stevebloom.com
Marketing Manager: Wendy\Vendy Albert Senior Digital Media
Med ia Director:
Director: David
David Alick
Assistant
Assistan t Marketing Manager: Paige
Paige Patunas
Pacunas Media Project Manager: Amanda Smith
Senior Managing Editor:
Ediror: Melissa Feimer
Feimer Digital Publishing Specialist: Corin Skidds
Production
Produc tion Project Manager:
Manage r: Joe Scordato
Scordato Full-Service Project
Project Management:
Managem en t: SPi-Global
SPi-Global
Program Manager: Barbara
Barbara Cappuccio Printer/Binder:
Printer/ Bind er: The Courier Companies
Senior Operations Supervisor: MaryMary Fischer
Fischer Cover Printer: The
T he Courier Companies
Co m panies

Credits and acknowledgments borrowed

borrowed from
from other
ocher sources
sou rces and
and reproduced,
reproduced ,with
with permission,
permission,
in this
rhis textbook appear on appropriate page
page within
withi n text
text or
or on
on page
page 228.
228.

Frontispiece: Teun
Teu n Hocks, Untitled
Untitled 2000
2000
Courtesy
Co urtesy of
of the artist and P•P•O•W
P.P·O·W Gallery,
Gallery, New
New York
York

Copyright
Copyright© © 2015, 2012, 2010
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
publication is protected byby 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,
reproductio
reproduction,n,
storage in a retrieval system, or transmission
transmission in in any
any form
form or
or by
by any
any means,
means, electronic,
electronic, mechanical,
mechanical,photocopying,
photocopying,recording,
record ing,ororlike-
like-
wise. To obtain
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
Permi ssions
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 toto 201-236-3290.
201-236-3290.

Many ofof 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
Wherethosethosedesigna-
desi gna-
designa-
tions appear in this
chis book,
book, and the
the publisher
publisher was
was aware
aware ofofaa 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
photography:: digital
digital an introduction
introduc ti on to
to photographic
photographic technique
techn ique// Barbara
BarbaraLondon, Jim Stone.—Third
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 201520 15
771’.4--dc23
77 l '.4--dc23
2014007787
20 14007787

10 9 8 7 6 5 4 3 2 1

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

Instructor’s
Instructor's Review Copy:

IP¥i4i·Hi ISBN 10:

10: 0-205-99829-1
ISBN 13:
0-205-99829- 1
13: 978-0-205-99829-6
Penelope Umbrico. Sunset Portraits
Portraits from
from Umbrico had 4 × x 6-inch machine prints made As you
you make your
your own photographs, it isis worth
worth
8,462,359 Flickr Sunsets on 12/21/10,
12/ 21/ 10, 2010. from an “appropriated”
"appropriated" selection (this 2010 piece piece asking yourself questions. What
askingyourself What are the the ways
ways you
Photography can be your your subject, as well
well as includes only those sunsets with
with silhouetted
silhouetted figures),
figures), can improve the photographs you are now now making?
making?
your medium. Umbrico began searching
searching the
the Web
Web in
in and exhibits them in grid form,
form, about 88 feet
feet tall.
tall. For
For IfIf others have already photographed your your subject,
2006 for the most-often-photographed
most-o~en-photographed subject, find-find- a 2011 gallery show,
shaw, she showed
showed 1,058 x 6-inch
1,058 44 × how will your
your pictures be different?
different? IfIfyou magnify
magnify
ing it to be sunsets (541,795 pictures posted
posted on
on the
the sunset portraits; by then the
the total
total number
number ofofsunsets
sunsets the meaning your images have for you, will
meaningyour will you also
popular photo-sharing
photo-sharing site Flickr
Flickr at that time).
time). on Flickr had grown toto 9,623,557. increase the impact they have on others?
others? Read
Read on.
on.

iii
Ill
Contents
Contents
Preface vii

1I Camera
Camera-22
Getting Started Getting your
yo ur camera ready 44 ■＠ Focusing and setting the
camera ready the exposure
exposu re
6 ＠■ Exposure readout 7 ■
Expos ure readout ＠ Exposing images 8 ＠■ What will you photograph? 99
yo u photograph?
＠ 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
reflex camera 17 light and motion 18
a nd motion 18 ■＠ Use it creatively
creatively
20 ■＠ Aperture Affects light
light and
and depth
depth of field 22
offield 22 ＠■ Use it creatively 24 ■＠
Shutter Speed and Aperture Blur Blur vs.
vs. depth
depth of 26 ＠■ Getting the Most from
field 26
offield
Your Camera and LensLens 28
28

2 Lens 30
Lens Focal Length The basic
basic difference
difference between 32 ■＠ Normal Focal
lenses 32
between lenses
Length The most
most like
like human vision 34
huma n vision 34 ■＠ Long Focal Length Telephoto
lenses 36 ■＠ Short Focal
Focal Length Wide-angle lenses 38
Wide-angle lenses 38 ■＠ Zoom, Macro, and
Fisheye Lenses 40 ■＠ Focus and Depth Depth ofof Field
Field 42 42 ＠■ Automatic Focus 43
＠ Depth of
■ of Field Controlling sharpness
sharp ness in photograph 44
in aa photograph 44 ■＠ More about
Depth of
of Field How
How to 46 ■＠ Perspective How
preview itit 46
to preview How a photograph
photograph shows
shows
depth 48 ■＠ Lens Attachments Close-ups
Close-ups and filters 50
a nd filters 50

3 Light and Exposure 52

Sensors and Pixels 54 54 ■＠ Pixels and Resolution 55 55 ■＠ Color in Photography
Co lor Systems 56 ■＠ Color Characteristics
Color 57 ■＠ White Balance 58
Characte ri stics 57 58 ■＠ Using
Histograms 60 ■＠ Exposure Meters What W hat different
different types 62 ＠■ How to cal-
do 62
types do
culate
cul ate and
a nd adjust
adju st an manually 64
an exposure manually 64 ■＠ Overriding an Automatic Expo-
Expo-
sure Camera 66 ■＠ Making an ExposureExposure of of an Average 68 ＠■ Exposing
Scene 68
Average Scene
Scenes that are Lighter
Lighter or
or Darker
Darker than
than Average
Average 7070 ＠■ Backlighting 72 ■＠
Exposing Scenes with High High Contrast
Contrast 73 73 ■＠ HDR range 74
HOR High dynamic range 74

4 Digital Workplace Basics 76

Equipment and Materials You’ll
You'll Need
Need 7878 ■＠ Pictures Are Files 80 ■＠ Digital
Color Modes,
Modes, gamuts,
gamu ts, spaces,
spaces, and 82 ■＠ Channels
profi les 82
a nd profiles Chan nels 83 ■＠ Calibrating for
accuracy 84 ■＠ Working with Camera Raw Raw 85 85 ■＠ Stay organized Setting up
up aa
Workfl ow 86 ■＠ Photographer’s
Workflow 87 ■＠ Importing an
Programs: 87
Photographer's Workflow Programs:
Image 88 ■＠ Scanning
Scan ning 89

5 Image Editing IIJ 90

Getting Started Editing
Editing an Image
Image 9292 ■＠ Adjusting an Image Leve ls 94 ■＠
Image Levels
Curves 96 ■＠ Adjusting Part of of an Image 98 ＠■ More Techniques
Selections 98
Image Selections
Layers 100 ■＠ Retouching 102 ＠■ Sharpeni
Sharpeningng 104 ■＠ Compositing 106 ＠■
Color
Co lor into black
black and 108 ■＠ Filters
whi te 108
a nd white Fil ters 109 ■＠ An Editing Workflow 110
110
＠ Ethics and Digital Imaging
■ Imaging 112
112

iv
IV C ONTENTS
CONTENTS
6 Printing and Display 114
Printers and Drivers 116 ■＠ Papers and Inks 117
Drivers 116 11 7 ■＠ Soft Proofing 118 ■＠
Panoramic Photographs
Photographs 119119 ■＠ Presenting Your Work Framing
Framing 120 120 ■＠ Matting
121 ■＠ Mounting a Print Equipment
a print 121 Equipment and
and materials
materials you’ll need 122
you 'll need 122
＠ Dry Mounting a Print
■ Print Step
Step by
by Step 124 ■＠ Bleed Mounting/Overmatting
Step 124 Mounting/Overmatting 126 126

7 Organizing and Storing 128

Image Storage 130 ■＠ Using Metadata 131 ＠■ Software for Organizing 132
132
＠ Archiving Images and Prints
■ Prints 133
133

8 Using
Using Light 134
Qualities ofof Light
Light From
From direct
direct to diffused 136
to diffused 136 ■＠ Existing Light
Light Use
Use what’s
what's
avail able 138 ■＠ The Main Light
available Light The strongest
stro ngest source
source of light 140
oflight 140
＠ Fill Light To lighten
■ shadows 142
lighten shadows 142 ■＠ Simple Portrait Lighting 144 ■＠
Lighting 144
Using Artificial Light
Light Photolamp
Photolamp or 146 ■＠ More about Flash How
fi ash 146
or flash How to
to
position itit 148 ■＠ Using Flash 150

9 Seeing Like a Camera 152

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

Focus Which
W hic h parts
parts are 158 ■＠ Time and Motion in
sharp 158
are sharp in a Photograph 160 ■＠
Photograph 160
Depth in a Picture Three dimensions
dim ensio ns become 162 ■＠ Chaos into order 163
two 162
become two
＠ Photographing for Meaning
■ Meaning 164164 ■＠ Portraits Informal:
Info rm a l: Finding 166 ■＠
them 166
Finding them
Formal: Setting them 168 ■＠ Photographing the Landscape
up 168
the m up Landscape 170 170 ■＠
Photographing the Cityscape 172172 ■＠ Photographing InsideInside 174174 ■＠ Assembled
to be Photographed 176 ■＠ Responding to Photographs
Photographs 178 178

10 History of
10 of Photography 180
Daguerreotype “Designs
" Designs on
o n silver bright" 182
silver bright” 182 ＠
Calotype Pictures
■ Pictures on
on paper
paper
184 ■＠ Collodion Wet-Plate Sharp and 185 ■＠ Gelatin Emulsion/
reproducible 185
a nd reproducible Emulsion/
Roll-Film Base
Base Photography
Photography for 186 ■＠ Color Photography 187
everyo ne 186
for everyone 187 ■＠
Early Portraits 188 ■＠ Early Travel Photography
Photography 190190 ■＠ Early Images of of War
War
191 ■＠ Time and Motion in
191 in Early
Early Photographs
Photographs 192 192 ■＠ The Photograph as
Document 193 ■＠ Photography and Social Change 194 ■＠ Photojournalism
Change 194
196 ■＠ Photography as Art in 19 th Century 200 ■＠ Pictorial Photography
in the 19
and the Photo-Secession 201 201 ■＠ The Direct ImageImage in
in Art 202 ■＠ The Quest
Art 202
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 andand 1980s 206 ■＠ Color Photography
1980s 206
Arrives-Again 208 ■＠ Digital Photography Predecessors
Arrives—Again 210 ■＠ Becomes
Predecessors 210 Becomes
mainstream 212

How to Learn 214 ■＠ Troubleshooting 215 ■＠ Photographers’

Learn More 214 Photographers' Web Sites
220 ■＠ Glossary 222 ■＠ Bibliography 226 ■＠ Photo Credits 228 ■＠ Index 230

C ONTENTS
CONTENTS v
V
MyArtsLab
PEARSON • ·" • '"" ·,

MyArtslab~ ft MYLA8 • MASTIRING HOME

Here’s
Here's how we
we provide
provide aa better
provide better teaching
teaching and
and learning
learningexperience
experiencefor
forteachers
for teachersand
andstudents:
students:
The new MyArtsLab
MyAr tsLab delivers
MyArtslab deliv ers prov
delivers pro ven results
proven results and measure learning
learning for
for each
each student.
student. And,
And,
in helping
helpin g individual
individual students
students succeed.
succeed. Its
Its it comes from Pearson,
Pearson, aa trusted
trusted partner
partner with
with
automatically
automatica lly graded assessments,
assessments, personal-
personal- educational
educationa l expertise and
and aa deep
deep commitment
commitment
ized study plan,
plan, and
and interactive
interactive eText
eText provide
provide to helping students, instructors,
instructors, andand depart-
depart-
engaging experiences thatthat personalize,
personalize, stimulate,
stimu late, ments achieve their goals.
goa ls .

＠ A Pearson
■ Pearson eText
eText lets access their
lees students access their text-
text- ＠ Assessment tied
■ tied to
to videos,
videos, applications,
applications, and
and
book anytime, anywhere, and
anytime, anywhere, and any way
way they
they want,
want, chapters enab
enables
les both
both instructors and students
instructors and students to
to
including downloading thethe text to
to an
an iPad.
iPad. track progress and
and get immediate feedback.
immediate feedback.

allows students to
＠ Chapter Audio allows
■ to listen
listen to
to spo-
spo- ＠ Videos include tutorials
■ tutorials from
from The Five Minute
The Five
ken text so
so they can
can concentrate
concentrate on
on images
images and
and Photogr
Pho apher,, a series by Shelton
tographer
tographer
Photographer, Shelton Mu Muller. These short
ll er. These short
diagrams.
diagrams. videos include lessons on on how to to understand
understand arti-
arti-
ficial
ficial lighting and
and electronic flash,
flash, manage
manage digital
digital
＠ A personalized study plan
■ plan for
for each
each student
student pro-
pro- files,
files , and
and understand depth of field.
understand depth field.
motes critical-ch
critical-thinking skills.
in king ski Ils.
＠ Closer Looks give students
■ students in
insight into the
sight into the com-
com-
＠ Simulations help
■ help students understand the func-
understand the func- positional
positional choices aa photographer made
made in in creat-
creat-
tions of
of a camera.
camera. ing a great picture.
picture.

＠
■ MediaShare. ThisThis program—integrated into
program - integrated into ＠
■ demonstrations and
Animated demonstrations and FA
FAQs give stu-
FAQs
MyArtsLab—provides free, course-specific
MyArtslab- provides a free, course-specific drop-
drop- dents insight into camera
camera techniques
techniques and
and common
common
box for students to to upload photographs,
upload their photographs, problems.
problems.
facilitating
faci litating peer critique and
and allowing instructors
instructors
to grade student work withwith customizab
customizable grade-
le grade- ■ ... and more. Check MyArtsLab
＠ …and regularly for
MyArtsLab regularly for
books. added
added content.
content.
For instructor access, visit www.MyArtsLab.com
www.MyAr
www.MyAr
.MyArtsLab
tsLab.com
tsLab.com or speak to
to your local
local Pear
Pearson
ear son representative
Pearson representative..
representative.

vi
VI M YARTSLAB
MYARTSLAB
 Preface
Preface

IIf you don’t

would
don't know anything
wou ld like to
anything about
about photography
to learn, or if
the ones you are making
making now,
Digital will help you. This book
film-and-darkroom edition of
photographyand
ifyou want
want to
now, A
book is
of A
and
to make
make better
A Short

A Short
betterpictures
Short Course
is modeled
Course in
modeled after
Short Course
Course in
picturesthan
than
in Photography:
after the
Photography:
the widely
widelyused
in Photography,
Photography
used
Photography,, but
bur
＠
■
elements that can make
make the
the difference

in selecting and adjusting the

photograph subjects such as
difference between
snapshot and an exciting photograph
Chapter 9, Seeing Like
photograph
Like aa Camera,
the image
image and
as people
people and
between an

Can1era, explores
explores your
an ordinary

and presents
ordinary

your choices
choices
presents ways
and landscapes.
ways to
landscapes.
to

presents the medium in in its

its current,
current, electronic
electronic form.
forn1. ＠
■ Chapter 10,
10, History of
ofPhotography,
Photography,shows shows photographs
photographsbyby
some of
ofthe greatest artists ever
ever to
to use
use aacamera.
camera.
We present here, in
in depth,
depth, the
the basic
basic techniques
techniques of
ofphotography:
photography:
New in this third edition are:
are:
＠■ How to get a good exposure
＠■ How to adjust thethe focus,
focus, shutter
shutter speed,
speed, and
and aperture
aperture (the
(the ＠
■ The latest camera
can1era technology
technology andand software,
software, integration
integration ofof
size of
of the lens opening) toto produce
produce thethe results
results you
you want
want workflow applications with
with Photoshop
Photoshop at at every
everystep,
step,and
and ex-
ex-
＠■ How to transfer your pictures
pictures to
to aa computer
con1puter and
andmake
make sure
sure panded coverage ofofa Camera
Camera RawRaw workflow.
workflow.
they are organized and safe
safe from
from loss
loss ＠ New photographs by great
■ great contemporary
contemporary artists,
artists,includ-
includ-
＠■ How to use computer software
software to to make
make your
your photographs
photographs ing Nancy Burson,
Burson, Deborah
Deborah Willis,
Willis, Roe
Roe Ethridge,
Ethridge,Laurisa
Laurisa
look their best Galvan, Martha Rosler, Stephen
Stephen Shore,
Shore, Rebecca
Rebecca Cummins,
Curnmins,
Javier Manzano, David
Javier David Taylor,
Taylor, Penelope
Penelope Umbrico,
Umbrico,CarrieCarrie
Almost all of
Aln1ost of today’s
today's cameras
cameras incorporate
incorporate automatic
automatic features,
features,
Mae Weems, William Eggleston,
Eggleston, andand Gueorgui
Gueorgui Pinkhassov.
Pinkhassov.
but that doesn’t
doesn' t mean
mean that
that they
they automatically
automatically produce
produce the
the re-
re-
■＠ The 1970s explosion of ofcolor
color photography
photography isis explained
explainedin inthe
the
sults you want. This edition
edition of
of AA Short
Short Course
Course in Photography de-
in Photography de-
History of
ofPhotography,
Photography, Chapter
Chapter 10.10.
votes special attention to:
co:
■ ＠ Current product andand technical
technical information
information throughout,
throughout,
＠■ Automatic focus and automatic exposure—what
exposure- what theythey do
do with updated demonstration and and example
example photographs.
photographs.
and, particularly, how
how to
to override
override them
them when
when itit is
is better
better to
to
This book is designed to
to make
make learning
learning photography
photography as
as easy
easy as
as
adjust the camera manually
manually
possible:
Some of
of the book’s
book's highlights
highlights include:
include:
＠
■ Every two facing pages
pages completes
completes aa single
single topic
topic
＠■ Getting Started.
Started. If
Ifyou are
are brand
brand new
new toto photography,
photography,this this ＠
■ Detailed step-by-step instructions
instructions clarify
clarify each
each stage
stage ofof
section will walk you through
through the the first
first steps
steps of
ofselecting
selectingandand extended procedures
installing a memory card, setting
setting the
the camera’s
camera's menu
menu options,
options, ＠
■ Boldfaced headings make
make subtopics
subtopics easy
easy to
to spot
spot
focusing sharply,
sharply, adjusting thethe exposure,
exposure, andand making
makingyour your ＠
■ Numerous photographs and and drawings
drawings illustrate
illustrate each
each topic
topic
first pictures. See pages
pages 4–9.
4-9.
＠■ Projects. These projects
projects are
are designed
designed to to help
help develop
develop youryour Acknowledgments
technical and expressive skills.
skills. See
See page
page 136
136 or
or 155.
155.
Many people gave generously
generously of oftheir
their time
time and
and effort
effort inin the
the pro-
pro-
＠■ Making Better Prints. This includes
includes information
information aboutabouthow how
duction of
of this book. Feedback
Feedback from
from instructors
instructors helped
helped confirm
confirm
to adjust your photographs with with image-editing
image-editingsoftware
software
the direction of
of the
the book and determine
determine the the new
new elements
elen1ents in in this
this
(pages 92–111),
92- 111), select ink
ink and
and paper
paper for them (page
forchem (page 117),
117),
edition. Luis
Luis Peon-Casanova,
Peon-Casanova, University
Universiry of of Nebraska–Lincoln;
Nebraska- Lincoln;
print them (page 118),118), and then
then display
display them
them inin aa mat
matandand
Michael Grillo, University
University ofof Maine;
Maine; Deidre
Deidre Engel,
Engel, Mt. Mt. SanSan
frame (pages 120–127).
120- 127).
Antonio College; Michael Ensdorf,
Ensdorf, Roosevelt
Roosevelt University;
University;and and ArtArt
＠■ Types of lenses (pages
oflenses (pages 31–41),
3 1- 41), cameras
cameras (pages
(pages 10–13),
10- 13),
Hanson, Lansing
Lansing Community
Commun ity College,
College, reviewed
reviewed the
the second
second edi- edi-
lighting (pages 134–151),
134- 151), andand software
software for for organizing
organizing and and
tion and made valuable suggestions.
suggestions. Amber,
Amber, Jade,
Jade,and
andSkye
SkyeStone
Stone
archiving (pages 131–133).
131- 133).
gave their dad time to
to finish
finish the
the book.
book. At
At Pearson
Pearson Eduction,
Eduction,Roth Roth
＠■ History ofofPhotography. The medium medium has has been
been used
usedforfor
Wilkofsky provided editorial
editorial support;
support; JoeJoe Scordato
Scordato supervised
supervised
documentation, persuasion,
persuasion, andand personal
personal expression
expressio n since
since
th-century invention. See
the production of of the
the book from
fron1 manuscript
manuscript to to printer.
printer. Steve
Steve
its 19
19'h-century See pages
pages 180–213.
180- 213.
Martel caught our (extremely
(extremely few,
few, of
ofcourse)
course) errors.
errors. IfIfyou
you have
have
suggestions, please
please send them
them toto Photography
Photography Editor,
Editor, Pearson
Pearson
Photography is aa subjective
subjective undertaking.
undertaking. AA Short
ShortCourse
Courseinin Education, 11 Lake Street, Upper
Upper Saddle
Saddle River,
River,NJ
NJ 07458.
07458. They
Theywillwill
Photography emphasizes your
your choices
choices in
in picture
picture making:
making: be sincerely welcomed.
Jim Stone
Jim
＠■ How to look at a scene in
in the
the way
way aa camera
camera can
can record
record itit
Barbara London
＠■ How to select the shutter speed,
speed, point
point of
ofview,
view, and
and other
other

P REFACE
PREFACE vii
VII
Editor-in-Chief:
Editor-in-C hi ef: Sarah Touborg Operations Specialist: Diane
Diane Peirano
Pei rano
Senior
Sen ior Publisher:
Pub lisher: Roth
Ro th Wilkofsky
Wilkofsky Cover Designer: Kathryn
Kath ryn Foot
Foor
Editorial Assistant:
Assistant: Christopher
Chri stop her Fegan
Fegan Cover Art: © Steve Bloom/stevebloom.com
Bloom/ stevebloo m.com
Marketing
Marketin g Manager:
Manager: Wendy
\Vend y Albert Senior Digital Media
Med ia Director:
Director: David
David Alick
Assistant Marketing
Marketin g Manager: Paige
Paige Patunas
Patun as Media Project Manager: Amanda Smith
Senior
Seni or Managing
Man aging Editor:
Ediror: Melissa Feimer
Feimer Digital Publishing
Pu blishing Specialist: Corin
Co rin Skidds
Production
Produ cti on Project Manager:
Manage r: Joe Scordato
Scordato Full-Service Project
Project Management:
Managem en t: SPi-Global
SPi-G lobal
Program Manager:
Manage r: Barbara
Barbara Cappuccio
Capp uccio Printer/Binder:
Printer/ Binder: The Courier Companies
Senior
Seni or Operations Supervisor:
Su perviso r: Mary
Mary Fischer
Fischer 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
Cou rtesy of
of the artist and P•P•O•W
P.P·O·W Gallery,
Gallery, New
New York
Yo rk

Copyright © 2015,
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.
This
T hi s publication
publicati on is
is protected
protec ted by
by Copyright,
Copyright, and
and permission
permi ssion should
sho ul d bebe obtained
obtained from
from the
the publisher
publisherprior
priorto
co any
an yprohibited
prohi bited
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,photocopy-
photocopy-
ing,
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, OneO ne Lake
Lake Street,
Street, Upper
Upper Saddle
Saddle River,
River,New
New Jersey
Jersey07458,
07458,or oryou
you may
mayfaxfaxyour
yourrequest
req uest
to 201-236-3290.
201 -236-3290.

This work is protected by by United

United States
States copyright
copyrightlaws
lawsand andisisprovided
providedsolely
so lelyfor
forthe
theuse
useofof
instructors in teaching
t eaching their
their courses
courses and
and assessing
assessingstudent
studentlearning.
learning.Dissemination
Disse minationor orsale
saleofof
any part of this
this work
work (including
(including on on the
theWorld
WorldWide
WideWeb) Web)will
willdestroy
des troythe
th eintegrity
integrityofofthe
thework
work
and is not
n ot permitted.
permitted . The
The work
work andand materials
m ateri alsfrom
fro m ititshould
sh ou ldnever
n everbe
bemade
m adeavailable
availabletotostudents
students
except by instructors
instru ctors using
u sing the
the accompanying
accompanyingtext textin
intheir
theirclasses.
classes .All
Allrecipients
recipientsofofthis
thiswork
workare are
expected
expect ed to
to abide byby these
these restrictions
restrictions and
a nd to
to honor
honorthe theintended
intendedpedagogical
pedagogicalpurposes
purposesandandthethe
needs
n eeds of other instructors
instructors who
who rely
relyon
on these
these materials.
ma terials.

Many ofof the

t he designations
designati ons byby manufacturers
manu fac turers and
and sellers
sellers toto 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 inin initial
ini tial caps
caps or
or all
all caps.
caps.

10
10 9 8 7 6 5 4 3 2 1

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

Instructor’s
Instructor's Review Copy:

IP¥iii·HI ISBN 10:

I 0: 0-205-99829-1
ISBN 13:
0-205-99829-1
13: 978-0-205-99829-6
 A N N I E LLEIBOVITZ
ANNIE EIBOVITZ Getting Started . .................
. . . . . . . . . . . . . . . 44 Shutter Speed ..................
. . . . . . . . . . . . . . . . 18
Yo Yo Ma,
Ma, 1998.
1998. Framing is a basic control you you have in Getting your camera ready .. .........
Gettingyour . . . . . . . 44 Affects light and motion ...........
. . . . . . . . . 18
18
making a photograph.
photograph. The two photographs on this page and
opposite are about music.
music. Would you you center your
your subject or
Focusing and setting exposure.. ....
setting the exposure . . 66 Use it creatively . ................
. . . . . . . . . . . . . . 20
20
use a corner? Do you
you want action or repose? Black and white Exposure readout .................
. . . . . . . . . . . . . . . 77
or color? Horizontal,
Horizontal, vertical, or square? Candid or posed? Exposing images ..................
. . . . . . . . . . . . . . . . 88 Aperture.. ......................
Aperture . . . . . . . . . . . . . . . . . . . . 22
22
Showing the subject's
subject’s front or back? More about photograph? .... .. .... .. ....
What will you photograph? . . 99 Affects light and depth of offield .. ......
. . . . 22
22
framing on pages 154–155.
154- 155.
Types of
of Cameras.
Cameras ...............
. . . . . . . . . . . . . 10 10 Use it creatively .................
. . . . . . . . . . . . . . . 24
24
Film cameras ...................
. . . . . . . . . . . . . . . . . 10 10
Digital cameras ....
. . ........
. . . . . . .. .... .. .... 12
12 Shutter Speed
and Aperture .. . . . .... .. .... .. .... .. .... .. .. 26
26
Basic Camera Controls .. .........
. . . . . . . 14 offield .............
Blur vs. depth of . . . . . . . . . . . 26 26
More about Camera
Camera Controls .... . . 16
16
Inside a digital single-lens
single-lens Getting the Most from Your
reflex camera ..................
. . . . . . . . . . . . . . . . 17
17 Camera and Lens .... .... .. .. .... .. .... .. .. 28
28
 Camera 1
In this chapter
ln cha pter you’ll
you 'll learn…
• the basic controls of
•
• the categories of
•
learn .. .
of your camera and what they
of cameras, and their
so you can choose the right
they do.
do .
their characteristics,
right one for your purposes.
purposes.
A
A llII cameras have four things
things in
light-sensitive surface (film
in common:
(film or
common: an

forms an image; a light-tight container

an image-forming
or aa digital
image-forminglens;
digital sensor)
sensor) to
container (the
lens;aa
to record
record the
(rhe camera’s
camera's body)
the light
light that
body) to
that
to keep
keep
other light out; and two
two important
important controls
controls to to adjust
adjust the
the amount
amount of ofpicture-
picture-
• the first steps of
• of getting a camera ready,
ready, focusing
focusing
an image, and adjusting the camera’s
camera's settings.
settings.
making light (the exposure) that that reaches
reaches thethe light-sensitive
light-sensitive surface.
surface.
This chapter describes those
those light
light controls
controls and
and how
howyou you can
cantake
takecharge
charge
of
of them, instead of of letting
letting them
them control
control you.
you. Almost
Almost all all current
current cameras
cameras
Project: are equipped with automatic exposure
automatic
auro1naric flash. If
If you are
exposure and
are interested
interested in
and automatic
in making
automatic focus,
making better
focus, and
better pictures,
and most
most have
pictures, however,
however,you
have
you
EXPOSE SOME
SOME PICTURES
PICTURES should know howhow your camera
camera makes
n1akes itsits decisions,
decisions,even
even ififthe
the automatic
automaticfea- fea·
YOU WILL NEED tures can’t
can't be turned off. Iflf they
they can,
can, you
you will
will want
want to
to override
override your
your camera’s
camera's
Camera. We suggest a single-lens
single- lens reflex.
reflex. automatic
auton1atic decisions from
from time
time toto time
time andand make
make your
you r own
own choices.
choices.
Output. To evaluate your
your work,
work, it’s
it's good to
to
see exactly what you did. Your digital digital pictures
pictures ＠
■ You may want to to blur
blur the
the motion
motion of ofaa moving
moving subject
subject or
or freeze
freeze its
its
can be viewed on the camera’s camera's small smal l monitor
monitor motion sharply. Pages
Pages 18–19
18- 19 show
sh ow how.
how.
but they are easier to evaluate
evaluate on on aa computer
computer
＠
■ You may want a scene sharp from from foreground
foreground to to background
background or orthe
the
screen. Pages
Pages 8 and 88 tell you how
tell you how to to download
download
photographs from your camera came ra to to aa computer.
computer. foreground sharp but the the background
background out out of
offocus.
focus. See
See pages
pages 44–45.
44- 45.
Once they are on a computer, your your unedited
unedited ＠
■ You may want to to override
override your camera’s
can1era's automatic
autotnatic focus
focus mechanism
n1echanism so so
photographs can also be be displayed
displayed largelarge with
with aa that only a certain part
part ofof aa scene
scene is
is sharp.
sharp. Page
Page 4343 tells
tells when
when and
and howhow
digital projector or on a wide-screen
wide•screen television
television so so
to do so.
you can easily
easi ly see small details
details and imagine
imagine what what
they might look like like printed
printed atat aa large
large size.
size. IfIf you
you ＠
■ You may decide to to silhouette aa subject
subject against
against aa bright
bright background,
background,or or
shoot 35mm film you can take take itit to
to the
the photo
photo lab lab perhaps you want to to make
make suresure that
that you
you don’t
don't end
end up
up with
with aa
in a drug store or supermarket chain chain for for overnight
overnight silhouette.
si lhouette. See page 72.
72.
processing and printing.
printing.
Most professional photographers
photographers use
use cameras
cameraswith
withautomatic
automaticfeatures,
features,
Pencil and notepad to keep tracktrack of
of what
what but they know how their
their cameras
cameras operate
operate manually
manuallyas aswell
well as
asautomatically
automaticallyso so
but highly
you do. Optional, but highly recommended
recommended for
for
all
al l the projects.
they can choose which is is best
best for
for aa particular
particular situation.
situation. You
You will
will want
want to
to do
do
the same because the the more
n1ore you
you know
know about
about how
how your
your camera
camera operates,
operates, the
the
PROCEDURE See pages pages 4–94 - 9 ifif you areare just
just better you
yo u will be able to
to get
get the
the results
results you
you want.
want.
beginning to photograph.
photograph. Those pages pages walk
walk youyou
through the first steps of
of setting up up your
your camera,
camera,
focusing
focus ing an image
image sharply, adjusting
adjusting the the camera
camera
settings so your photographs
photographs won’t
won't be be too
too light
light or
or
too dark, and making
making your
your first
first pictures.
pictures. See
See pages
pages
10- 13 for more
10–13 kinds of
more about the kinds of cameras.
came ras.
Have some variety in in the scenes
scenes when you you
photograph subjects
shoot. For example, photograph subjects near
near and
and
far,
far, indoors and outside, in
in the
the shade
shade and and inin the
the
Photograph different types of
sun. Photograph of subjects,
subjects, such
such
as a portrait, a landscape, andand an an action
action scene.
scene.
Page 9 gives some suggestions.
suggestions .

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

David Scheinbaum. Erykah

David Scheinbaum.
Badu, Sunshine Theater, Albu-
querque, New Mexico, 2003.
querque,

3
Getting Started
G E T T I N G YOUR
GETTING YOUR C AMERA R
CAMERA EADY
READY
Film (in a film
film camera)
records the image The viewfinder shows
A camera’s
camera's main functions are
view the scene so you can select
are to
select what
to help
what you
help you
you
yo u want
want to
to
transmitted by the lens. 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
you want it toto be,
be, and expose the t he picture
picture so
so itit isis
not too
coo light or too
coo dark.
dark.
This
T his illustration
illust ration divides aa camera
camera in in half
half so
so itit
shows parts forfor both film
film and
and digital
digital capture.
capture.ForFor
more
n1ore about
abo u t specific
sp ecific cameras,
can1eras, see
see pages
pages 10–13.
10- 13.

The lens moves forward and back to

forward and to
bring objects at different distances
into sharp focus.
focus.

The memory card (in a

The shutter opens and The sensor (in a digital camera) digital camera) stores
closes to limit the length converts the light from the lens images until can be
until they can be
The aperture adjusts from larger (letting more of time that light strikes into electrical
electrical signals that
that are
are sent
sent printed
printed or transferred
transferred
light pass from the lens to the light-sensitive the light-sensitive surface. to the
to t he memory card.
card. to a computer or other
surface) to smaller (letting less light pass). storage device.
device.

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)
AUTO 100 125 160 200 2SO
HV 4W "NJ !)<IV OW IWJ

mo 1600 2000 2S1X1 3200 400J

S00J 6400 H(12800l

SD (Secure
(Secure Digital)

Memory Stick - AUTO

320
12SO
S00J
100
~00
1600
6400
m 160
SOO
200J 2SOO
H(1281Xll
640
200
800
3200
2SO
100J
400J

I!! xD-Picture
ISO speed (100,

light.
200, 400, and so
(100,200,400,
sensor's (or film’s)
describes a sensor’s
Thee higher the number,
light . Th number, the
needs for a correct exposure (one
so on)

the less
on)
film's) sensitivity
sensitivity to
less light
( one that
to
light itit
that isis not
not Set an ISO
ISO of
in higher-quality
will generally result in
(see Noise, page 75).
75) .
higher-quality pictures

of 50 to 400 for
for shooting
pictures

shooting out-
out-
Digital cameras store pictures
pictures on memory
memory cards
cards too light or too dark). With aa digital
digital cam-
cam- doors in sunny conditions. In In dimmer
dimmer light,
light,
that vary in capacity and speed.
speed. Because
Because there
there era, you may select an ISO ISO setting
setting within
withi n such as indoors, useuse an ISO
ISO ofof 400 or
or high-
high -
are several types that are
are not
not interchangeable,
interchangeable, that camera’s
camera's range.
range. You may
may choose
choose aa dif-d if- er. Film
Fi lm is made with a fixed
fixed ISO;
ISO; an
an entire
enti re
have one
make sure you have one that fits your camera.
fits your camera. ferent ISO for each picture.
pictu re. Lower
Lower numbers
numbers roll must be exposed at that speed.
speed.

4 C AMERA
CAMERA
Check the Batteries
Batteries Insert aa Memo
Insert Memory Card
Card Display the Menu

Make sure your camera’s

camera's batteries
batteries have have aa Open the options menu. Turn the t he camera
fresh charge. No digital
few film
film cameras
power.
cameras will
power. A half-empty
cameras and
digital cameras
will operate
operate without
symbol wi
half-empty symbol
and
without
will let
ll let
m I
on and press
on and
on
on the
the button
press the
the camera's
button to
camera’s mon
monitor.
itor.
to display
displaythe
themenu
menu

you
you know whewhenn tthe battery isis low.
he battery low. ｾ＠
Carry aa fully-charged spare ifif you
fully-charged spare you can.
can.

Insert the memory card only with the

camera’s power turned
camera's power turned off
off.Then
Then turn
turnononthe
the
camera. Make su
camera. Make re you
sure you are
are using
using the
theright
right
kind
kind of card
card for
for your
your camera;
camera; cards
cards intended
intended
for another camera
camera maymay not
not operate
operatecor•
cor-
rectly in yours.
in yours.

Review the defaults. InIn your

you r camera’s
camera's
manual, read through
manual , read through the
the list
list of
of setti
settings
ngs
that can
can be changed by
be changed by th
the operator. Decide
e operator. Decide
which of them
which them you
you would
would like
like totochange
change
Many cameras use proprietary
proprietary battery
battery
from
from the camera's
camera’s defaults,
defaults, the
theway
waythethe
packs that
chat must be recharged with
be recharged with the
the
camera’s options have
camera's options have been
been set
set by
bytthe
he
manufacturer’s matching charger.
manufacturer's matching charger.Some
Some
factory.
factory.
compact cameras
cameras have
have bui
built-in batteriesthat
lt-in batteries that
limit your shooting
shooting while
while they
they recharge.
recharge.

Keep cards protected when they are not in in

the camera.
camera. Memory cards are
Memory cards arevulnerable
vulnerableto to
dust aand moisture
nd moistu as well
re as well as
as magnetic
magneticfie
fields,
lds,
heat, and
and shock.
shock.

Select a menu item with the t he control wheel

control wheel
on
on tthe camera’s back,
he camera's back, then
then use
use thethejog
jogdial
dial
Some cameras use use standard batteries
batteries (also on
on the
the back)
back) to
to reveal
reveal aa list
list of
ofsettings
settings
that you
you can
can buy
buy nearly
nearly anywhere.
anywhere. MostMost or choices for that
choices for that item.
item.
conventional sizes are
conventional sizes are available
available inin money-
money-
saving rechargeable versions.
rechargeable versions.

C HAPTER 1
CHAPTER 5
Getting Started
FFOCUSING
OCUSING A N D SSETTING
AND ETTING T H E EEXPOSURE
THE XPOSURE
Set Basic Menu Options Focus Set the
Set the Ex
Exposure
osure

Shutter speed Aperture size

-0+0 1/125 sec. 1/16

Select the file type and resolution.

resolution. The Focus on the most important
important part part ofof your
your
MENli
menu
menu item
because
item may
because visual
choice.
be call
may be called
visual fidelity
resolution or
choice. A lower resolution
“imagequality,"
ed "image quality,”
affected by
fidelity isis affected byyour
your
or compressed
compressedfile file
scene toto make
photograph.
different
sure itit wi
make sure will
Practice focusing
photograph. Practice
distances as
d ifferent distances
be sharp
ll be sharp ininthe
focusing on
as you
you look
onobjects
the
objectsat
look through
throughthe
at
the ISO
'-J
lets you
you store
store more
more pictures
pictures on onyour
your memory
memory viewfinder soso that
that you
you become
become familiar
familiarwith
with ｾ＠
card, but atat some
some loss
loss ofof quality.
quality.Saving
Saving the way the
the camera
camera focuses.
focuses.
pictures in
pictures in the
the camera's
camera’s raw raw format,
format,at atits
its W':'
highest resolution, keeps the
resolution, keeps the quality
quality highest.
highest.
?lo..
Ground glass

d auto Focus Indicator

＠
Choose an ISO speed. ItIt can be
for each
each picture.
shoot in
Higher numbers
picture. Higher
light but
in lower light
be different
numbers let
but produce
produce an
letyou
you
an image
image
Manual focusing. As you look through
the viewfinder,
viewfinder, rotate
the front
front of the
single-lens reflex
screen
screen that
are most sharply
also have
rotate the
the lens.
reflex camera
that shows
sharply focused.

center of the
the screen
the focus
lens. The
camera has
shows which
focusing
The viewfinder

focused. Some
have aa microprism,
microprism, aa small
screen inin which
through

viewfinderof

Some cameras

which an
ringat
ing ring

has aaground-glass
which parts
parts of
cameras
small ring
ringat
an object
at
ofaa
ground-glass
ofthe
thescene
scene

atthe
the
objectap-
ap-

~.,
with more noise (see page 75).
with more noise (see page 75). coarsely dotted until it is focused.An
pears coarse ly dotted unti l it is focused. An
advanced or system
advanced DSLR may
system DSLR may offerofferaachoice
choice To get a correctly exposed picture, picture, one one
of
of focusing screens.
screens. that is not too
too light
light ((overexposed)
overexposed) or ortoo
too
(underexposed), you—or the camera—
dark (underexposed), you-or the camera-
::c::::::::J: must set the
the shutter
shutter speed
speed and
and the
theaperture
aperture
Shutter release
.....c=J__ Shutterrelease
according to to the
the selected
selected ISO
ISO sensitivity
sensitivity
Incandescent Fluorescent
Fluor escent utton
bbutron and how light
light or dark your
or dark your subject
subject is. is.The
The
ｾ＠
r"' PPart
ar t_ way down:
way shutter speed
speed determines
determines thethe length
length oftime
of time
autofocus
~autofocus that light strikes
strikes the
the sensor;
sensor; the
the aperture
aperturesize size
activated
determines
determines how bright
bright the
the light
light isis that
that passes
passes
-a-
/2_,,Alltheway
All the way
down: shutter
released
shutter through the lens
through the lens and
sensitive surface.
surface.
and shutter
shutter to
to the
the ligh
light-
t-
Sunlight Cloudy Shade
Automatic focusing.
focusin g. Usually
Usua lly this is done
done by
Select the white balance
balance (color
(co lor tempera-
tempera- centering the
the focusing
focusing brackets
brackets (visible
(visibleininthe
the
ture) of
of the dominant light light source
source in which
which middle of the
the viewfinder)
viewfinder) onon your
yoursubject
subjectas as
you are shooting,
you are shooting, such
such asas incandescent
incandescent you depress
you depress the
the shutter
shutter release partway.
release part way.TheThe
(tungsten) bulbs, sun
(tungsten) bulbs, sunlight,
light, oror outdoor
outdoorshade.
shade. camera adjusts the
camera adjusts the lens for you
lens for youtoto bring
bringthe
the
A camera set onon automatic
automatic makes makes these
thesead-
ad- bracketed object into
bracketed object into focus.
focus. Don
Don’t pushthe
't push the
for you.
justments for you. If your
your camera
camera has
hasaaraw
raw shutter release all the
release all the way
way down untilyou
down until you
format option,
option, itit leaves
leaves the
the white
white balance
balance are ready to
to take
take aa picture.
picture.
choice until you edit
until you edit the
the fifile.
le. More about shutter
shutter speed
speed and aperture on
on pages
pages
More about focus and when and
and how
how to
to override
override 18–27
18- 27 and about exposure and
More about ISO speed
speed on page 75.
75. automatic focus on page 43. metering on pages 62–73.
62- 73.

6 C AMERA
CAMERA
 E XPOSURE R
EXPOSURE EADOUT
READOUT
Automatically Setting
Setting
Exposure Readout
Ex osure Readout Manually Setting the
Manuall Settin the Ex
Exposure
osure the Exposure
Ex osure
IS0
ISO 100: Average subjects outdoors
outdoors
With automatic exposure,
expos ure, the camera
Shutter
Sh utter speed 1/250 second
1/ 250second sets
secs the shutter speed
speed or
or aperture,
aperture, or
or both,
both,
Bright or hazy sun hazy sun
Bright or hazy for you.
you.
on sand or snow (distinct shadows)
f/16 f/11*

Shutter speed 1/125 second

Weak, hazy sun Cloudy bright Open shade
A data panel appears on the body
on the body of some
some (soft shadows) (no shadows) or heavy overcast
cameras, displaying
cameras, displaying shutter
shutter speed
speedand
andaper-
aper- f/8 f/5.6 f/4
ture settings (here, 1½so
settings (here, ⁄250
250 sec. speed,
sec. shutter speed,
f/16 aperture), as
f/ 16 aperture), as well
well as
as other
other information.
information. With programmed
prog rammed (fully
(fully automatic)
exposure,
expos ure, each time you
each time you press
press the
the shutter
shutter
release button, the camera automat
button , the camera automatically
ically
•f; S.6 for backlighted
*f/5.6 backlighted close-up
close-up subjects.
subjects.Subject
Subjectshaded
shadedfrom
from meters the
the light, then secs
light, then sets both
both shutter
shutter
sun
su n but
bui lighted by a large areaofsky.
lighted byalarge area of sky.
speed and aperture.
speed and aperture.
With manual exposure,
expos ure, you set sec both the
shutter speed
speed and
and aperture
aperture yourself.
yourself. How How
do youyou know wh which settings to
ich settings to use?
use?At At
1000
the simplest level
level you
you can
can use use aa chart
chart like
like
500
250
the one above.
above. Decide
Decide what what kind
kindof of light
light
125
60
illuminates the
illuminates the scene,
scene, and and secset the
theaperture
aperture
30
15
(the f-number shownshown on on thethe chart)
chart) and
andthe the
8
4
shuccer speed
shutter speed accordingly.
accordingly.
2
1
Notice that thethe recommended
recommended shutter shutter
16 speed
speed onon the chart isis 1½so
the chart ⁄250 sec. or 11/i2s
250 sec. ⁄125
125 sec.
These relatively fastfast shutter
shutter speeds
speeds makemakeitit
The shutter speed and aperture re settings easier for youyou co
to gee
get aa sharp
sharp picture
picturewhenwhen With shutter-priority automatic exposure,
expos ure,
appear in the viewfinder of some cameras
e cameras hand
hand holding
holding thethe camera
camera (when (when itit isis not
noton on you set the
the shutter
shutter speed
speed and
and the
the camera
camera
(here, 1⁄250
250 sec. shutter speed, f/16
16 aperture).
apertu re). a tripod).
tripod). AcAt slow
slow shuccer
shutter speeds,
speeds, such
suchas as sets the aperture.
aperture. To
To prevent
prevent blur
blur from
from
1½o
⁄30 sec. or slower, the
30 sec. the shutter
shutter isis open
open longlong camera motion you are
motion if you are hand
hand holding
holding thethe
enough
enough forcfor the picture co
he picture to be
be blurred
blurred ififyou you camera, select aa shutter
shutter speed of %0
speed of 1 ⁄60
60 sec.
sec.
move the camera
camera slightly
slightly during
duringthe theexposure.
exposure. or faster.
faster.
,

•
M I ) ( ﾷＲ Ｑ Ｑ Ｑ Ｑ Ｌ ＿Ｒ＠

.. -.(:r
( (
I 1__1 _1.1_1

You can use a camera’scamera's built-in

built-in meter
meter
for manual exposure. Point
manual exposure. Point thethecamera
cameraat at
the most
most important
important part
part ofof the
the scene
sceneand and OFF 1.
activate
activate the the meter.
meter. The
The viewfinder
viewfinderwi will show
ll show
LIGHT ON• ..
whether the the exposure
exposure isis correct.
correct. Ifie
If itisn
isn’t,
't,
change
change the the shutter
shutter speed
speed and/
and/oror aperture
aperture With aperture-priority
aperture -priority automatic expo- expo-
A histogram
histog ram is a very accurate
accurate read
reading
ing until
unti l it is. Here, plus
is. Here, plus numbers
numbers signal
signaloverex-
overex- sure, you set the
s ure, you the aperture
aperture and and the
the camera
camera
of exposure
exposure that
that most
most cameras
cameras can
can posure,
posure, minusminus means
means underexposure
underexposure.. Lining Lining sets the shutter speed.
speed. To To keep
keep the
the picture
picture
display on
on tthe monitor after
he monitor after you
you cake
take up the redred arrow
arrow with
with the
the dot
dot ininthe
thecenter
center sharp when
when you
you hand
hand hold
hold the the camera,
camera,check
check
each
each photograph. your subject
photograph. If your subject isis not
not indicates
indicates the the exposure
exposure isis right.
right. that
chat the shutter speed isis 11/60
shutter speed ⁄60
60 sec. faster.
sec. or faste r. If itit
moving or isis otherwise
otherwise cooperative,
cooperative, make
make To prevent blur blur caused
caused by by the
the camera
camera not, sec
is not, set the
the aperture
aperture toto aa larger
larger opening
opening(a (a
exposure of
a test exposure of the
the scene
scene first. Over-or
first. Over- or moving during
during thethe exposure
exposure (ifche cameraisis
(if thecamera smaller f-number).
f-number ).
underexposed tests
underexposed tests can
can be
be deleted.
deleted. More
More not on
on aa tripod),
tripod), select
select aa shutter
shutterspeedspeedof ofatat
about histograms
histograms onon pages
pages 60-
60–61.
61 lease 1V60
least ⁄60
60 sec. A shutter speed
shuccerspeed of 1⁄
of½2s125
125 sec. is safer.
safer. More about how to override automatic
automatic
exposure on page 66.

C HAPTER 1
CHAPTER 7
Getting Started
E X P O S I N G IIMAGES
EXPOSING MAGES
Hold the Camera Steady Expose Some Images Download the Pictures
Download the Pictures

Make an exposure. Recheck Recheck the t he focus

focus aand
nd
composition just
composition just before
before exposure.
exposure.WhenWhen
For horizontal photographs
photographs (sometimes
(sometimes you are
are ready to
to take
take aa picture,
picture, stabilize
stabilize
called "landscape" mode)
called “landscape” mode),, keep
keep your
your arms
arms your camera
camera and
and yoyourself
urself anand gently press
d gently press
against your body
body to
to steady
steady the
the camera.
camera. the shutter release
release all
all the
the way
way down.
down. Most
Most
Use your right
right hand
hand to
to hold
hold the
the camera
camera cameras prefocus automatically whe
prefocus automatically when you
n you
and your right
right forefinger
forefinger toto press
press the
the shut-
shut- press tthe button halfway
he shutter button halfwaydown.down. IfIf
ter release. Use your
release. Use your left
left hand
hand toto help
help sup-
sup- your subject
subject cooperates,
cooperates, try try several
severaldifferent
different Transfer your pictures to anotheranother storage
storage
port the camera
camera or toto focus
focus oror make
make other
other exposures the same
exposures of the same scene,
scene, perhaps
perhapsfromfrom device,, usually aa computer's
device computer’s hard hard drive,
drive, at
at
camera adjustments.
adjustments. different angles.
d ifferent angles. the end
end of aa day's
day’s shooting
shooting or orwhenever
wheneveryou you
want toto review th
them in detail.
em in detail.This
This transfer
transfer
is called You can
downloading. You
called downloading. can remove
removethe the
memory cardcard and
and plug
plug itit into
into aa card
cardreader,
reader,
as shown above, or
shown above, or connect
connect the the camera
cameraandand
computer directly
directly with
with aa cable,
cable, below.
below.Some
Some
cameras cancan transfer
transfer images
images wirelessly.
wirelessly.

An LCD monitor shows s hows exact framing

and lets you
you check
check to
to see
see that
that the
the picture
pictureisis
not too
too light or too
light or too dark
dark after
after you
youtake
takeitit..
For vertical photographs (("portrait"
“portrait” mode),
mode), Most digital
digital cameras
cameras will
will also
also let
letyou
youzoom
zoom
support the
the camera
camera from
from below
below inin either
either in the monitor display
display on
on aa small
small part
partof
ofthe the
your right or left
left hand.
hand. Keep
Keep that
that elbow
elbow picture to
to check
check precise
precise focus.
focus.
against your body
body toto steady
steady the
the camera.
camera.

Download your pictures directly directly to to aa

computer if if it’s convenient.
it 's co nven ient. If you you are
are
shooting on location you can transfer
shootin g on location you can transfer
them
them to co aa portable
portable hard hard drive
drive oror ocher
other
device made
made for for reading
reading cards.
cards. Don
Don’t't
erase the
the memory
memory card card untiluntil you
you are
are sure
sure
all your
all yo images
ur im ages areare secure
secure aand—if pos-
nd - if pos-
You’ll learn faster ifif you keep aa record
You'll record as
as sible—duplicated
sible - duplicated in in atat least
least two
two places.
places.
you are
are shooti
shooting. Digital cameras
ng. Digital camerasautomati-
automati- You can
You can dedelete unwanted images
lete unwanted images from
from
cally save camera
camera and and exposure
exposure informa-
informa- the
th e card
card using the the camera,
camera, but- but—unless
unless
tion—like the aperture
tion - like the aperture,, shutter
shutter speed,
speed,aandnd you
you are running
ru nnin g outout of of room
room on on the
the card
card
ISO—and store itit with
ISO- a nd store with each
each picture.
picture. But
But itit during aa shoot-
shoot—it is safer
it is safer toto save
save chat
that ed-
ed-
helps to note the reasons
note the reasons for
for those
thosechoices:
choices: iting
iti ng step until after al
unti l after alll you
yourr images
images have
have
A tripod steadies the camera
camera foforr you
you and
and the way aa subject
subject waswas moving,
moving, for for example,
example, been downloaded.
been downloaded.
lets you
you use slow
slow shutter
shutter speeds
speeds for
for night
night or the direction
direction and and quality
quality ofof light.
light.Thi
This
s wiwill
ll
scenes or other situations
situations when
when thethe light
light let you
you identify the paths
identify the paths to
to your
your successful
successful
is dim.
dim. Make sure to
Make sure to use
use aa cable
cable release,
release, images andand help
help youyou make
make great
great pictures
pictures
remote trigger,
trigger, or
or self-tim
self-timer with it.
er with it. more often.
often.

8 C AMERA
CAMERA
 WHAT W
WHAT ILL Y
WILL OU P
YOU HOTOGRAPH?
PHOTOGRAPH?
Bob Simons

Where do you start?

start? One
One place
place toto start
start isis Get closer
closer (usually). Often
Often people
people photo-
photo- you more
more interested inin the
the person
person cooking?
cooking?
by looking around through
through the
t he viewfinder.
viewfinder. too far
graph from too far away.
away. What
What part
part of
ofthe
the Do you want the whole wall of ofaa building,
building,
A subject often looks different
different isolated
iso lated in
in scene attracted you? DoDo you want
want to
to see
see or was it only the graffiti on
on itit that
that caught
caught
a viewfinder than itit does when you see itit
you see the whole deck, the
the whole back
back yard,
yard, or
or are
are your attention?
surrounded byby other objects.
objects. What
What inter-
inter-
ests you about this scene? What isis itit that
that
you want to make
make into
into a photograph?
photograph?
Kyle Bajakian

Try a different angle.

ang le. Instead
Instead of
ofalways
always Look at the background
backg round (and
(and the
the fore-
fore- the setting? Is
Is there aa distraction
distraction (like
(like bright
bright
shooting from normal
normal eye-level
eye-level height,
height, try
try gground).
ro und) . How
How does
does your subject
subject relate
relate to
to sunlight or a sign directly
d irectly behind
beh ind someone’s
someone's
getting up high and looking
looking down
down onon your
your its surroundings? DoDo you want thethe subject
subject head) that you could
cou ld avoid
avoid by
by changing
changing
subject or kneeling and
and looking
looking up.
up . centered or off
off to
to one side
side to
to show
show more
more ofof position? Take a look.
look.

More about backgrounds and

and the
the image
image frame
frame on
on
pages 154–157.
154-157.
Ray K. Metzker
Karl Baden
Karl Baden

Check the lighting. At first,

first, you
you are
are more
more Don’t
Don't be afraid to experiment,
experime nt, too.
too . resulting photograph,
photograph, darker
darker parts
parts of
ofthe
the
likely to get a good exposure ififyouyou photo-
photo- Include
Include a bright
bright light
light source
source or
or bright
bright sky
sky scene may
may appear
appea r completely
completely black,
black, or
or the
the
graph a more or less
less evenly
evenly lit
lit scene,
scene, not
not in the picture
picture (just
Uust don’t
don 't stare
stare directly
directly at
at subject itself
itself may
may be
be silhouetted
silhouetted against
against aa
one where the subject isis against
against aa very
very light
light the sun through thethe viewfinder). InIn the
the brighter background.
background, such as as a bright
bright sky.
sky.

More about lighting

lighting on pages 134–151.
134-151.

C HAPTER 1
CHAPTER 9
Types of
of Cameras
FFILM
ILM C AMERAS
CAMERAS

W hat kind of cam-

W hat ki nd of cam- know about because
many elements of these
these
tographers used
roll film.
used larger
film. Recent SLRs
SLRs
is not in focus. As you
focus. As
rotate the focusing
era is best fo r you? For
era is best for you?
occasional snapshots
snapshots of designs have been incor-
been incor- incorporate automatic
automatic ring, the split image
family and friends, an an porated into their digi-
digi- exposure, automatic
automatic comes together when
when
inexpensive, completely tal counterparts. focus, and automatic the object is focused
focused
automatic, nonadjust-
nonadjust- flash but allow manual
manual
able camera that you you Single-lens reflex cameras control. Many different
just point and
and shoot will
will (SLRs) show you a scenescene interchangeable lenses
lenses
probably be satisfactory.
satisfactory. directly through
through the for SLRs are available.
available.
But if you have become
become lens, so you can
can preview Digital SLRs (DSLRs)
(DSLRs)
interested enough
enough inin what will be recorded.
recorded. resemble their 35mm
35mm
photography to take aa
to take You can see exactly whatwhat film ancestors. Some
fi lm ancestors.
class or buy a book, youyou the lens is focused
focused on;on; SLR cameras mademade
will want an
an adjustable
adjustable with some cameras, you you for 2 ¼-inch-wide roll
2¼-inch-wide
camera because it willwill can check the depth
depth of film
film (called medium-
give you greater creative
creative field
field (how much
much of thethe format) may be usedused
control. If
lf you buy a scene from foreground
from foreground with accessory digital
digital
camera with automatic
automatic to background will be be capture
caprure backs.
backs. Digital-
features,
features, make sure it is is sharp). Through-the-
Through-the- only models, also
also called
called
one that allows youyou to
to lens viewing is a definite
definite medium-format, are also also
manually override chemthem advantage with telepho-
with telepho- available. Rangefinder
Ra ngefi n d er Film Camera
Ca m e ra
when you want to to make
make to lenses, for close-ups,
close-ups, SLRs have long been
been
exposure and focus
focus or for any work
work when
when very popular with
with profes-
profes- sharply. Rangefinder
choices yourself.
yourself. you want a precise view sionals, such
such as
as photo-
photo- cameras let you
you focus
focus
of
of a scene. journalists or fashion
fashion precisely, even
even in
in dim
dim
Film camera
ca mera designs Very early SLRs usedused photographers, or with with light, but you
you cannot
evolved as tools for
for spe-
spe- large glass plates or film
film anyone who wants
wants toto visually assess the depth
depth
cific tasks, and
and followed
followed sheets but since thethe move beyond making of
of field
field because allall parts
parts
the slow evolution of 1950s
1950s almost all all were
were snapshots. of
of the scene, even
even the
the
film (see Chapter 10, made to accept 35mm35mm split image, look equally
pages 184–186).
184- 186). Here
Here film.
film. A few models
models Rangefi nder cameras are
Rangefinder sharp in the viewfinder.
viewfinder.
are the major styles, aimed at (and priced
priced viewfinder film cameras.
film cameras. Because the viewfind-
which are useful
useful to for)
for) professional pho-
pho- This means they havehave er is in a different posi-
posi-
a peephole, or window, tion from
from the lens
lens that
separate from
from the lens,
lens, exposes the film, you do
film, you do
through which
which you
you view not see exactly what the the
the scene. Inexpensive
Inexpensive lens sees. This difference
difference
“point-and-shoot” view-
"point-and-shoot" view- between the viewfinder
finder cameras simply image and
and the lens
lens
show the approximate
approximate image is called parallax
framing through
through the error, and is greater forfor
window. A rangefinder objects that are
are closer
camera is more complex, to the camera.
camera. Better
with a visual focusing
focusing rangefinder cameras
cameras cor-
cor-
system that you use as as rect for parallax error
you look through
through the
the and have interchange-
viewfinder window. The The able lenses, although
although
window shows a split usually not in as many
image when
when an an object focal lengths asas are avail-
Single-lens
Si ng le-le n s Reflex
Re fl ex Camera
Ca m era

10
10 C AMERA
CAMERA
able for SLRs.
SLRs. Most
Most use
use parallax error and
and aa Each
Eac h film exposure
film exposure
35mm film; (called
film; some (called viewfinder image that
that is
is is made on on a separate
medium format) are
format) are reversed
reversed left to right. A
co right. sheet, you can
sh eet, so you can make
make
for wider roll film, few
few few now-discontinued
now-discontinued one shot in color and and
are digital.
digital. Rangefinder
Rangefinder TLRs had
had interchange-
interchange- the next in in black and and
cameras are fast, reliable, able lenses; adjustments
adjustments white, or develop
develop eacheach
quiet in operation, and
and on all models are
are com-
com- sheet
sheer differently.
differently. Fi Film
lm
relatively small.
re latively small. pletely manual.
manual. size is large—4
large- 4 X × 55 inch-
inch-
es and larger—for
larger- for crispcrisp
and sharp detail even even in in
a big print.
Using a view cameracamera
can be a more consid-
consid-
ered process because
because
they are slow to to use
use
compared
compared to to smaller
hand-held cameras. They
hand-held cameras. They
are large and
and heavy and and
must be mounted
m ounted oon n aa
tripod. The image on on tthe
he
viewing
viewi ng screen is is upside
upside
Filipe N. Marques

down, and
and it is usually
usually View Camera
so dim that yo you have
u have
to put a focusing
focusing clothcloth
over your head and and tthe
he
screen to see the image image film; some may rotaterotate the
t h e button when
when moved
moved
clearly. When
When yo you want
u want the lens from side to
from side to side
side across a scene.
scene.
complete control of an
co mplete control an during the expos
exposure. ure. Stereo or 3-D cameras
image, susuch as for
ch as for archi-
archi- Digital panoramas
panoramas take two pictures
p ictures at the the
Twin-lens Reflex Camera
tectural or product pho- pho- can be made during same time through
through two two
Twin-lens reflex cam- View cameras have
h ave a lens tography or for personal
for personal editing by stitching sev- sev- side-by-side lenses.
lenses. The
eras (TLRs), except for
for in the front, a ground-
ground- work, the view camera's
camera’s eral individual frames
individual frames resulting pair of images,
a couple novelty "retro"
“retro” glass viewing screen
screen in
in advantages outweigh
outweigh together, either fromfrom a stereograph) gives the
stereograph, gives the
digital versions, are
are all
all the back, and
and aa flexible, what some might see see as
as digital capture or from from illusion of three dimen-
dimen-
film cameras.
cameras. New onesones accordion-like bellows
bellows inin inconveniences.
inconveniences. scanned film, so so special-
special- sions when
when seen
seen inin aa
are made by only two two between. The camera's
camera’s purpose panoramic stereo viewer.
viewer.
companies, but second-
bur second- most valuable feature is
feature is Some cameras are made cameras are no longer
no longer Underwater cam-
hand models are are widely its adjustability: the cam-
adjusrabiliry: the cam- to fill a specialized
s pecialized need.
need. common. Some digital eras are not only for for
available. They cannot era’s
era's parts can
can be moved
moved Panoramic cameras cameras can
can disp
displaylay aa use underwater but for for
easily be adapted
adapted to to digi- freely in relation
relation toto each
each make a long, narrow
narrow segment of th thee previous
previous any situation in in wh
whichich
tal capture. Each camera
Each camera other, which
which lets you alter
lets you alter photograph
photograph that cancan bebe frame oonn the side
side of thethe a camera is likely to to
has two lenses: oneone for
for perspective and
and sharpness
sharpness effective, for example, monitor to align
to help align get wet.
wee. Some cam-
viewing the and
t h e scene and to suit each scene.
scene. You
You with
wit h landscapes. Some
landscapes. Some the next shot for more more eras are water resistant,
resistant,
another
anoth er just below it it can change lenses and
lenses and of
of these cameras crop
crop seamless reassembly rather than
than usable
that exposes the film.
film. even the camera's
camera’s back; out part of the normal
normal later. Other cameras
cameras underwater. Specially-
underwater. Specially-
A large film format
film format for example, youyou can
can image rectangle toto make
make (and smart phones)
phones) have have made underwater hous- hous-
(2
(2¼¼ inches square)
square) is attach a back to to use
use self-
self- a panoramic shape.
shape. a “sweep”
"sweep" mode
mode that that can
can ings are available
availab le foforr
the TLR's
TLR’s advantage.
advantage. developing film
film or one
one coto Others use a wider-than-
wider-than- capture a panoramic professional use or larger
Its disadvantages
disadvantages are are record a digital
digital image.
image. normal section
section of ro
roll
ll image with one press of camera models.
models.

C HAPTER 1
CHAPTER 11
11
Types of
of Cameras
D IGITAL C
DIGITAL AMERAS
CAMERAS

D igital camera designs

D igital camera designs est SLR out forfor a walk
walk
requires a shoulder strapstrap
are continually evolving
are continually evolving
and the array of avai
avail-
l- or camera bag. Using
bag. Using
able models can
can be over-
over- one in public suggests
suggests to to
whelming. With so
whelming. With so many
many others that you
you are
are not
not aa
options, you
you can
can usually casual snapshooter, that that
choose a camera based
based you are photographing
on the combination
combination seriously.
seriously.
of
of features you need,
features you Compact cameras are are
but you may have
b ur you have to
ro mostly designed
designed forfor
compromise. To get the the amateur
ama teur photographers
photographers 1:1.!!i
most out of this
this book
book but vary considerably in in Subcompact Camera
(and
{and your photography)
photography) quality. The smaller
smaller rhethe
choose a camera that
that camera, the more
more likely anywhere, any time.
rime. onto a mirror and and then
then
offers you
you the
the option
option to to its
irs features will be
feat ures will be lilim-
m- But image qualiry
quality and
and to your eye through
through aa
control focus and expo-
focus and expo- ited. Some compacts
compacts are are features
features often compare
often compare pentaprism (see page page 17)17)
sure manually.
manually. good enough
enough to be used
ro be used poorly to larger cameras.
cameras. so you
you see what the the lens
lens
Few subcompacts allow
allow sees. Because the the view-
view-
manual control.
control. finder is held to your
to yo ur
eye, it is relatively easy
Lens. Do you need in inter-
ter- to follow action. Bur
fo llow action. But
changeable lenses? One One the mirror must swing swing
common characteristic out
our of therhe way forfor rhe
the
of
of a camera made
made for for moment of exposure, so so
serious photographers
photographers is is you don’t
don 't actually see see
that a wide assortment
assortment the exact image
image yo you have
u have
of lenses can
can be attached.
attached. captured. And And the
the mir-
mir-
An arsenal of specialized
specialized ror’s
ror's motion can can cause
cause
expensive
lenses can be expensive unwanted vibration that
unwanted vibration that
to acquire and cumber-
cumber- causes slight blurring.
blurring.
Compact Camera
some to carry. fixed
cany. A fixed Mirrorless cameras
Size is often the first con-
con- lens may be all youyou need,
need, most
mosr often have a small small
sideration in choosing
side ration in choosing by professionals when
when especially if it is aa zoom
zoom monitor or LCD screen
LCD screen
a camera. Your camera they
rhey don’t to carry
don 't want ro carry that covers the range
range on the
rhe back of the the cam-
cam-
shouldn’t so large
shouldn' t be so large or
or a larger camera;
camera; some
some you’d
you'd expect to use use (see
(see era that displays
displays what
what
so small that it
it gets
gets in
in are made toro be used
used aa pages 32-
32–33).
33). the lens is seeing,
the way of your photog-
photog- few times and tthen
rimes and set
hen set transmitted directly
raphy. aside. Compact digital
digital Viewing system. The from
from the image
reflex cameras are a bir
Digital single-lens reflex bit too
too purpose of a camera's
camera’s sensor. T This
his
(DSLR)
(DSLR) cameras are are the
the large and heavy forfor most
most viewing system
system is to
to let image, called
called
most versatile choice but pockets, but fit
choice but fit well
well in
in you frame
frame and preview, view, is used
live view, used
they are big enough that a small
enough that smal l shoulder bag as accurately as
as possible, for framing
you’ll
you'll probably carry oneone along with
with your phone
phone the photograph you are
photograph you are and focusing,
you are mean- and
only when you and sunglasses.
sunglasses. about to capture.
capture. and is replaced
replaced
ing to use it. Professional Subcompact digital A single-lens reflex momentarily
models can be relatively can be
cameras can be carried
carried camera projects the with a view of each each Medium-format Digital SLR
heavy, but taking even
caking even in a pocket so
so you
you are
are image-forming light captured image imme-
the smallest and
and light-
light- ready to make pictures
pictures directly from
from your lens
lens diately after being taken.taken.

12 C AMERA
CAMERA
The monitor oon some
n some lessly to a compu
computer as
ter as
cameras is articulated, or or you shoot. Somee cam-
shoot. Som cam-
tiltable,
tilrable, for
fo r viewing from from eras can be remotely
unusual angles,
angles, such
such as as controlled with built-in
con trolled with built-in
overhead oorr waist
waist level.
level. Wi-Fi, Bluetooth,
Bluetooch, or or
Mirrorless cameras
cameras infrared receivers. Many
receivers. Many
may have an an electronic cameras will capture
capture
viewfinder,, or EVF.
viewfinder EVF. This
This video, some at very hi high
gh
viewfinder
viewfi nder is a smaller quality levels. have
levels. They have
version
ve rsion of the LCD
rhe LCD built-in microphones
microphones to to
monitor
m onito r that is is located
located record sound
sound andand many
inside the camera. Ir
rhe camera. It allow external micro-
micro-
can be seen
seen whenwhen ho hold-ld- phones to be connected.
connected.
ing the cam
camera era to
to yoyourur To record an active
record an active
Mirrorless
Mirrorless EVF
EVF Camera
Camera
eye rather
rath er than
rhan at arm arm’s 's lifestyle, there are
are action
action
length. SLR-style mirro mirror- r- print. Gen
Generally, to keep
erally, to keep Larger sensors are made made sports cameras chat that are
less cameras have have aa char- the same image quality, for medium-format digi- digi- waterproof, shock
shock resis-
resis-
acteristic
acteris ti c pentaprism;
pentaprism; the larger the print, the priced for
tal cameras, priced for tant, and can
tan t, and can be helmet
helmet
other cameras resemble
resemble higher the resolution
resolution well-paid
we ll-paid professional
professional or
o r surfboard mounted.
mounted.
rangefinder film cam-
film cam- needed (see page
page 55).
55). If photographers.
photographers. Some
eras with
with the EVF vis- vis- aren’t planning
you aren't planning to to common
comm on sensor sizes sizes Cell phone cameras nownow
ible through
through a peephole
peephole make large prints, youyou smaller
smallet than full frame
than full frame outnumber all ocher
o utnumber all other
located in in a cocorner
rn er of thethe probably don't
don’t need
need thethe are (in decending
decending oorder
rder types by a wide mar-
camera’s back.
camera's back. highest
hi ghest megapixel
megapixel co count.
unt. of size) APS-C, Fout-
of size) Four- gin, and
and they capture
An EVF display can can Thirds, 2/3”,
2/ 3", 1/1.8” (see
1/ 1.8" (see a majority of the
the pho-
pho-
be made lighter
ligh tet anand d Sensor size also affects the chart onon page 45).
page 45). tographs
tograp hs made
made daily,
darker to compensate
compensate image quality.
quality. A 12MP
12MP worldwide. take
wo rldwide. Most take
for
foe the bcighness
brighness of aa sensor
sensot can be physically Other features may be only
o nly low-resolution
low-resolution
scene or for setting dif- dif- large or small.
small. If it isis a factor
facto r in your
in yo choice.
ur choice. images and allow the
ferent apertures (page (page small, to have same
have the same Most cameras have
Mose cameras have aa user no control ocher
other
22). Some cam cameras
eras cancan number of individual
individual built-in flash for use
flas h for use in
in than where irit points and
points and
show in the viewfinder
viewfinder light-sensing elements as
light-sensi ng elements as dim light. A fewfew have
have when it shoots, but
but the
the
an outline
o utline of the areas areas a large 12MP sensor, the the built-in Wi-Fi that can can best camera is always
always rhe
the
of
of best focus, sometimes
foc us, sometimes elements muse
must also
also be be transfer image files
files wire-
wire- one
o ne you have with
with you.
you.
called focus peaking.
focus peaking. smaller and more
more tightly
tightly
packed. The lacget
larger and and
Resolution . The maxi-
Resolution. m axi- less crowded these
these ele-
ele-
mum number of pixels pixels ments are onon the
the sensor,
a camera's
camera’s sensor willwill the higher
hi gher the quality
capture is called
called its
its of
of the image (see
(see noise,
resolution.
resol utio n. A camera, page 75). subcom-
75). Most subcom-
for example, may be be pact cam
cameras have very
eras have
12,
12, 16, or 24 m megapix-
egapix- small sensors and, there-there-
els (MP). An
An image
image filfilee fore, produce images
images of
captured
captured by almost any any somewhat lower quality.
quality.
current digital
digital cam
cameraera A sensor the sam samee
can make a satisfac-
satisfac- size as a 35
35mm
mm filmfilm
tory letter-size (8½
(8½ × x 11) frame is called full frame.
full frame.
frame.

C HAPTER 1
CHAPTER 13
13
Basic Camera Controls
G
G et the pictures you want. Cameras Cameras don’t
don' t how to see the way thethe camera
cam era does
does and
and how
how toto
quite “see”
"see" the way the
t he human
human eyeeye does,
does, so
so at
at use the
t he camera’s
camera's controls to to make
make the
t he picture
picture
first the pictures you
yo u get
get may
may not
not be
be the
th e ones
ones you
yo u you
yo u have
h ave in mind.
mind. Digital
Digi tal cameras
cam eras are
are shown
sh own
expected. This
Thi s book will help
help you
yo u gain
gain control
con trol here. A film camera will have
have some
some or
o r all
all of
of these
these
over the picture-making process
process by
by showing
showing youyo u same
sam e controls.
contro ls.

Control dial

Shutterr release
Shutte
button

Data panel
Controls and data panels appear on both both
this entry-level single-lens reflex camera Focusing ring for
(above) and the more sophisticated “system”
"system" manual focusing
camera (right) aimed at professionals. Both Both
can be equipped with a wide variety of special-
variety ofspecial-
Push-buttons
purpose lenses and accessories. Push-buttons
and dials let you
you select the shutter
shutter speed
speed (the Interchangeable lens
length of
oftime the shutter remains open) and and
the aperture (the size ofofthe opening
opening inside the
the
lens).
lens). With either camera,
eithercamera,you you can exchange
one lens for another. Top-of-the-line cameras
often do not have built-in flash.
flash .

On these fully-automatic cameras, you

can press the shutter release and have the
camera automatically focus the lens (autofo-
(autofo-
cus) and set the shutter speed and aperture
(autoexposure).
(autoexposure). When youyou want to choose
camera settings yourself,
yourself, you can manually
manually
override the automatic functions.
functions .

14 C AMERA
CAMERA
 Focusing. Through the viewfinder
viewfinder window you see thethe scene
that will be recorded, including
including the sharpest part
part of
ofthe
the scene,
the part on which the camera is focused.
focused. A particular
particular part
part of
ofaa
scene can be focused sharply by manually turning
turning the focusing
focusing
ring on the lens, or you can let an autofocus camera adjust
adjust the
the
lens automatically. More about focusing andand sharpness appears
on pages 42–45.
42- 45.

Keith Johnson
Shutter-speed control.
Moving objects can be shown
crisply sharp, frozen in mid-
motion, or blurred either a
little bit or a lot.
lot. The faster
the shutter speed, the sharper
the moving object will appear.
Turn
Tum to pages 18–1918- 19 for
information about shutter
speeds, motion, and blur.

Aperture control. Do you you

want part of
ofthe picture sharp
and part out of
of focus or do
you want the whole picture
you
sharp from foreground to
back-ground? Changing the
size of
ofthe aperture (the lens
opening) is one way to control
openinr,)
sharpness.
sharpness. The smaller the
aperture, the more ofofthe
picture that will be sharp.
See pages 22–25.
22- 25.

Lens focal length. Your

lens’s
lens's focal length controls
the size of
ofobjects in a scene
and how much of ofthat scene
is shown. The longer the
focal length, the larger the
objects will appear. See
pages 32–39
32- 39 for more about
focal length.
length.

C HAPTER 1
CHAPTER 15
More about Camera Controls

A
A utomatic exposure
exposu re is is aa basic
basic feature
feature in in tion can be useful
useful in
in rapidly
rapidly changing
changing situations
situations
almost all cameras. The purpose purpose is is to
to let
let in
in aa because it allows you simply
simply to
to respond
respond to
to the
the
controlled amount of of light
light soso that
that thethe result-
result- subject, focus, and shoot.
ing image is neither
neither too
too light
light nor
nor too
too dark.
dark. The
The
camera’s
camera's built-in meter
meter measures
measures the the brightness
brightness In shutter-priority mode,
mode, you
you set
set the
the shut-
shut-
of
of the scene and then
then sets
sets shutter
shutter speed,
speed, aperture
aperture ter speed and the camera
can1era automatically
automatically setssets the
the
(lens opening), or both
both in in order
order toto let
let the
the right
right correct aperture. This
Th is mode
mode is is useful
useful when
when the the
amount
an1ount of of light reach
reach the the camera’s
camera's recording
recording motion
n1otion of
of subjects is
is important,
importa nt, asas at
at sport-
sport-
sensor (or the film
film inin a film
film camera).
camera). As As you
you ing events, because the
the shutter
shutter speed
speed determines
determines
become more
more experienced, you you will
will want
want to to set
set whether moving objects will
will be
be sharp
sharp or
or blurred.
blurred.
the exposure manually
manually in in certain
certain cases,
cases, instead
instead
of
of always relying on the the camera.
camera. MoreMore aboutabout In aperture-priority
aperture-priority mode,
mode, you you set
set the
the lens
lens
exposure in Chapter 3, 3, pages
pages 60–73.
60- 73. opening and thethe camera
can1era automatically
automatically setssets the
the
You have a choice of of exposure
exposure modes
modes with with shutter speed. This mode
mode isis useful
useful when
when you
you want
want
many cameras. Read Read your camera’s
camera's instruction
instruction to control the depth of
of field
field (the
(the sharpness
sharpness of ofthe
the
manual toto find
find out which exposure
exposure features
features your
your image from foreground to to background)
background) because
because
model has and how they they work.
work. You
You may
may bebe able
able to
to the size of
of the
the lens
lens opening
opening is is aa major
major factor
factor
download a replacement manual manual from
from thethe manu-
manu- affecting sharpness.
facturer’s
facturer's Web site, if
if you don’t
don't have
have one.
one.
Manual exposure isis also also aa choice
choice withwith many
many
With programmed (fully
(fully automatic)
automatic) exposure,
exposure, automatic cameras. You set set both
both the
the lens
lens open-
open-
the camera selects both
both the
the shutter
shutter speed
speed and
and the
the ing and shutter speed yourself
yourself using,
using, ififyou
you wish,
wish,
aperture based on a program
program built
built into
into the
the cam-
cam- the camera’s
camera's built-in light
light meter
meter toto measure
measure the the
era by the manufacturer.
manufacturer. This
This automatic
automatic opera-
opera- brightness of
of the
the light.
light.

1000

ï 250
60

15
8

5.6

Exposure information appears in the viewfinder

viewfinder of
ofmany
many cam-
cam- panel on
Some cameras also have a data panel on the
the body
body of
ofthe
the
eras.
eras. This viewfinder shows the shutter
shutter speed
speed (here, ⁄250 sec.)
(here, 1½so camera that shows the same information—shutter
information- shutter speed
speed and
and ap-
ap-
and aperture (f/5.6). Displays also show
show you when
when the
the flash
flash isis erture—as
erture- as well as exposure, autofocus, and
and ISO
ISO modes
modes and
and the
the
ready to fire and give you warnings of
ofunder- or
or overexposure. number of
ofexposures remaining
remaining on the memory
memory card
card (here
(here 123).
123).

16
16 C AMERA
CAMERA
 IINSIDE
NSIDE A D I G I T A L SSINGLE-LENS
DIGITAL INGLE-LENS R EFLEX C
REFLEX AMERA
CAMERA

N
A
Au
ll cameras have the same basic features:
cameras have the same basic features:
P Q

＠
■ A
A light-tight box
box to
to hold
hold the
the camera
camera parts
parts and
and aa J
recording sensor or film A
＠
O R
■ A viewing system thatthat lets
lets you
you aim
aim the
the camera
camera
I
accurately T K
＠
■ image and
A lens to form an image and aa mechanism
mechanism to to F
focus it sharply D H
＠
■ A shutter and lens
lens aperture
aperture toto control
control the
the amount
amount
of light that reaches
of reaches the
the recording
recording surface
surface
＠
■ A
A means to hold memory card that saves its
hold a memory card that saves its G
captured information
information or or to
to hold
hold and
and advance
advance filmfilm
B L
M
A Body. The light-tight
A. light-tight box
box that
that contains
contains the
the cam-
cam-
era’s
era's mechanisms and protects
protects the
the light-sensitive
light-sensitive
surface (sensor or film) from
from exposure
exposure toto light
light until
until S
you are ready to make
make aa photograph.
photograph.
B. Lens. Focuses
Focuses an image
im age in
in the
the viewfinder
viewfinder andand onon E
the light-sensitive recording surface. C
C. Lens elements. The optical
optical glass lens
lens components
components
that
chat produce
produce the image.
im age.
D. Focusing ring. Turning the the ring
ring focuses
focuses the
the
A simplified look inside
A
sitive electronic devices (photosites)
(photosites) thatthat record
record the
the
image byby adjusting the
the distance of of the
the lens
lens from
from
image. ThThee ISO
ISO (or light
light sensitivity)
sensitivity) of
ofthethe sensor
sensor isis a digital single-lens reflex
the recording surface. Some cameras focus focus
camera or DSLR (designs
(designs
adjustable, and is is set into
into the camera by by aa dial
dial or
or
automatical ly.
automatically. menu setting. vary in different models).
E. Diaphragm. A A circle of
of overlapping
ove rl apping leaves
leaves inside
inside The camera takes its name
N. Data panel. A
N. A display (most
(most often
often anan LCDLCD screen)
screen)
the lens that
chat adjusts the size
size of
of the
the aperture
aperture (lens
(lens from its single lens (another
(another
for such information
in formation as shutter
shutter speed,
speed, aperture,
aperture,
opening). ItIt opens up
up to
co increase
increase (or(or closes
closes down
down
metering modes,
modes, andand the the num-
num- kind of
ofreflex film camera
ISO, exposure and metering
to
co decrease) the amount of of light
light reaching
reaching the
the
ber of
of exposures remaining
remaining on on the
the memory
memory card. card. has two lenses) and from its
recording surface. reflection of
oflight upward
0. Command dial.
O. dia l. Selects the
the shutter
shutte r speed,
speed, the the for viewing the image.
image.
F. Aperture ring or button.
button. Setting the
the ring
ring or
or turn-
turn-
length of time the shutter
chime shutter remains
remains open.
open. On On some
some
dial (O)
ing a command dial (0) determines
determines the
the size
size of
ofthe
the
models,
mode ls, it also
a lso sets the mode
mode of of automatic
automatic expo- expo-
diaphragm during exposure.
sure operation. In In some locations,
locations, itit is
is called
called aa
G. Mirror. During
During viewing, the mirror
mirror reflects
reflects light
light thumbwheel or jog dial.
from the lens
lens upward
upward onto
onto the
the viewing
viewing screen.
screen.
P. Shutter release. A A button
button that
that activates
activates thethe expo-
expo-
During an exposure, the mirror
mirror swings
swings out
out of
ofthe
the way
way
sure
su re sequence in which the aperture
aperture adjusts,
adjusts, the
the
so light can pass straight to
to the
the recording
recording surface.
surface.
mirror rises,
ri ses, the shutter opens,
opens, light
light strikes
strikes the
the
H. Viewing screen. AA ground-glass (or
( or similar)
similar) surface
surface recording surface, and the the shutter
shu tter closes.
closes.
on which
whic h the focused image
image appears.
appears .
Q. Hot shoe.
s hoe. A A bracket
bracket that
that attaches
attaches aa flash
flash unit
unit to
to
I. Pentaprism. A A five-sided optical
optical device
device that
that the camera and provides
provides an
an electrical
electrical linking
linking that
that
image from the
reflects the image the viewing screen
screen intointo the
the synchronizes camera and flash.
viewfinder.
R. Mode dial. Sets a manual
manual or or one
one of
ofseveral
several auto-
auto-
J. Metering cell. Measures
Measures the brightness
brightness of ofthe
the scene
scene matic exposure modes.
modes. On film film cameras,
cameras, aa crank
crank
being photographed. to rewind an exposed rollrol l of
of film may
may be
be located
located
K. Viewfinder
Vi ewfi nder eyepiece. A A window
window through
through which
which the the here. Most new film cameras rewind rewind automatically.
automatically.
image from the pentaprism
pentaprism is is visible. 5. Cable connections. Plug
S. Plug in
in cables
cables that,
that, for
for exam-
exam-
L. Shutter. Keeps
Keeps light
light from the
the recording
recording surface
surface ple, connect external power
power or or aa computer,
computer, or or con-
con-
ready to
until you are ready to take
take aa picture.
picture. Pressing
Pressing thethe trol the camera remotely.
shutter
shu tter release opens and and closes the the shutter
shutter to to let
let aa T. Memory card. Stores imageimage files.
files. May
May bebe erased
erased
measured amount of of light
light reach
reach thethe sensor.
sensor. and reused; capacity varies. Can be be removed
removed to to
M. Sensor. A A grid (usually
(usual ly called aa CCD
CCD or or CMOS
CMOS facilitate transferring files to
to a computer
computer or or other
other
array or chip)
chip ) comprising millions
millions of of tiny
tiny light-sen-
light-sen- storage device.

C HAPTER 1
CHAPTER 17
Shutter Speed
A F F E C T S LLIGHT
AFFECTS IGHT A ND M
AND OTION
MOTION

LL ight
ight and
and the
the shutter
shutterspeed.
speed. To
To make
makeaacorrect
correct actually
actual ly moves
moves across
across the the recording
recording surface.
surface. TheThe
exposure, so so that
that your
your picture
picture is is neither
neither too
coo light
light more of of that
that surface
surface itit crosses
crosses while
while thethe shutter
shutter isis
nor
nor too
too dark,
dark, you needneed to to control
control the the amount
amount open, thethe moremore the the image
image will
wi ll be
be blurred,
blurred, so so the
the
of
of light
light that
that reaches
reaches the
the digital
digital image
image sensor
sensor (or
(or shutter speed needed needed to to freeze
freeze motion
motion depends
depends in in
film).
film). The shutter
shutter speed
speed (the
{th e amount
amount of oftime
time the
the part
part on the the direction
direction in in which
which the the subject
subject isis mov
mov-
mov- -
shutter remains
remains open)
open) is is one
one ofoftwo
two controls
controls your
your ing
ing in
in relation
relation to to the
the camera
camera (see(see opposite
opposite page).
page).
camera has has over
over the
the amount
amount of light. The
oflighr. The aperture
apertu re The lens lens focal
focal length
length andand thethe distance
distance of ofthe
the
size (page
(page 22)22) is
is the
the other.
other. In In automatic
automatic opera-
opera -
opera- subject from from the the camera
camera also also affect
affect thethe size
size ofof
tion,
tion , the
the camera
camera sets
secs the
the shutter
shutter speed,
speed, aperture,
aperture, the
the image
image on on the
the sensor
sensor (or (or film)
film) and
and thus
thus howh ow
or
or both.
both. InIn manual
manual operation,
operation, you you choose
choose both
both much
much it it will
will blur.
blur. A A subject
subject will
will be
be enlarged
enlarged ififititisis
settings.
settings. The shutter-speed
shutter-speed dial dial (a (a push
push button
button photographed
photographed with with aa long-focal-length
long-focal-length lens lensororififitit
on
on some
some cameras)
cameras) sets
secs the
the shutter
shutterso so that
thatititopens
opens is
is close
close toco thethe camera;
camera; itit has has to
to move
move onlyonly aa little
little
for
for aa given
given fraction
fraction ofof aa second
second after
after the
the shutter
shutter before
before itsits image
image crosses
crosses enough
enough of ofthe
the recording
recordin g
release
re lease has
has been
been pressed.
pressed. The The BB (or(o r bulb)
bulb) setting
setting surface
surface to to bebe blurred.
blurred.
keeps
keeps thethe shutter
shutter open
open as as long
long as as the
the shutter
shutter Obviously,
Obviously, the the speed
speed of of the
the motion
motion isis alsoalso
release
release isis held
held down.
down. important:
important: all all other
other things
things being
being equal,
equal, aa dart-
dart
dart- -
ing
ing swallow
swallow needs needs aa faster
faster shutter
shutter speed
speed thanthan
Motion and
and the
the shutter
shutter speed.
speed. In
In addition
addition to
to does
does aa hovering
hovering hawk. hawk. Even Even aa fast-moving
fast-moving sub- sub
sub- -
controlling
controlling thethe amount
amount of of light
light that
char enters
enters the
the ject,
ject, however,
however, may may havehave aa peak
peak in in its
its movement,
movement,
camera,
camera, the
the shutter
shutter speed
speed also
also affects
affects the
theway
waythat
char when
when thethe motion
motion slows slows justjust before
before itit reverses.
reverses. AA
moving
moving objects
objects are
are shown.
sh own. AA fastfast shutter
shutter speed
speed gymnast
gymnast at at the
the height
height of ofaa jump,
jump, forfor instance,
instance,or or
can
can freeze
freeze motion—
mocion-½so 1⁄250
250 sec.
sec. is is more
more than
than fast
fast aa motorcycle
motorcycle negotiating
negotiating aa sharp sh arp curve
curve isis moving
moving
enough
enough forfor most
most scenes.
scenes. AAvery
veryslowslowshutter
shutterspeed
speed slower
slower than
than at at other
other times
times andand so so can
can bebe sharply
sh arply
will
will record
record even
even aa slow-moving
slow-moving object object with
wi ch some
some photographed
photographed at at aa relatively
rela ti vely slow
slow shutter
shutterspeed.
speed.
blur.
blur. The
The important
important factor
factor isishow
howmuch
muchthe theimage
image See
See the
the project
project on on motion,
morion, page page 161.
16 1.

Drex Brooks
1/8 sec.
1/Ssec. 1/15
1/ 15 1/30
1/30 1/60 1/125
1/12 5 1 /250
1/250 1/500
~ / 2 50

Shutter
Shutter speeds
speeds appear
appear in in the
the AA focal-plane
focal-plane shutter
shutter
1000
camera’s
camera'sviewfinder
viewfinder(near
(nearright),
right), 250
500 consists
consists ofofaa pair
pair of ofcurtains
1
250

curtains
60
2
500 00

125
5

on
on the
the shutter-speed
shutter-speed dial
dial (cen-
30
10

(cen- 60 15
usually
usually located
located in in the
the camera
camera
30
P
8
ter),
ter), ororasas data
data panel
panelreadout
readout 15
50
10
4
body
body just
just in
in front
front ofoof
f tthe
he
8
0 2
(far
(far right).
right). Here,
Here, the
the camera
camera isis
200
ISO

4
sensor.
sensor. During
Duringexposure,
exposure, th tthe
he
1
B

2
set
set to ½so sec. Notice that only
to 1⁄250 sec. Notice that only 1 curtains
curtains open
open toto form
form aaslit slit
the
the bottom
bottom number
numberof ofthe
the frac-
frac- 5. 6 that
that moves
moves across
across the the light-
light-
tion
tion isis shown
shown on
on the
the camera.
camera. sensitive
sensitive surface.
surface.
The
The size
size of
ofthe
the slit
slit isis
adjustable:
adjustable: the the wider
widerthe the
Shutter-speed
Shutter-speedsettings settings are are inin seconds
secondsor orfractions
fractions ofofaa as
as much
much light
light as ⁄500 sec.,
as 11/s-oo sec., half
halfas
as much
much as ⁄125 sec.
as 1Vi2s sec. With
With slit,
slit, the
the longer
longerthe the exposure
exposure
second:
second:11sec.,sec., 1½ ⁄2 sec., ⁄4 , 1Vs,
sec., 1¼, ⁄8 , 1Vis,
⁄15 , 1½o,
⁄30 , 1¼o,
⁄60 , 1Vi2s,
⁄125 , 1½so,
⁄250 , many
many cameras,
cameras, especially
especiallyin in automatic
automaticoperation,
operation, shutter
shutter time
time and
and the
themore
more light
light thatthat
⁄500 , 1Viooo,
11/s-oo, ⁄1000 , and
andsometimes
sometimes 1½ooo, ⁄2000 , 1¼ooo,
⁄4000 , and ⁄8000 . Each
and 11/sooo. Each speeds
speeds are
are “stepless;”
"stepless;"the the camera
camera can
can set
setthe
the shutter
shuttertoto 1½2s
⁄225 reaches
reaches thethe sensor
sensoror orfilm.
film.
setting
settinglets
lets inin twice
twice as
as much
much light
lightasasthethe next
nextfaster
fastersetting,
setting, sec., ⁄200 sec.,
sec., 1½oo sec. , or
orwhatever
whateverspeed
speedititcalculates
calculateswill
willproduce
produceaa Focal-plane
Focal-plane shutters
shuttersare are
half
halfasas much
much as as the
the next
nextslower
slowersetting:
setting: ½so1⁄250 sec.
sec. lets
lets in
in twice
twice correct
correct exposure.
exposure. found
found in in most
most single-lens
single-lens
reflex
reflex cameras
cameras and andsome some
rangefinder
rangefindercameras.
cameras.

18
18 cCAMERA
amera
 • 1/30 sec.
1/ 30 sec. 1/500
1/ 500 sec.

0 Slow shutter speed, subject blurred. The direction aa subject

subject Fast shutter speed, subject sharp. Photographed
Photographed at
at a faster
faster

ｾ＠
is moving in relation to the camera can affect
affect the sharpness of
of shutter speed, the same driver moving
moving in the
the same direction
the picture. At a slow shutter
shutter speed, a driver moving
moving from right
from right is sharp.
sharp. During the shorter exposure, her image did not cross
image did not cross
to left is not sharp. enough ofofthe recording surface to blur.

0 sec .
1/ 30 sec.
1/30 1/30 sec.

•
leaf shutter is usually
A leaf
built into the lens instead of
the camera body. The shutter
consists of
ofoverlapping
of

overlapping leaves
that open during the expo-
sure, then close again.
expo•
again.
Slow shutter speed, subject sharp. Here
sharp even though photographed at the slow

directly toward the camera, so her

of
move across the frame,
Here the driver is
slow shutter
shutter speed
recorded blur in the first picture (top left). She was
her image did not
of the recording surface to blur. The
The other
frame, becomes blurred.
speed that
was moving
moving
that

not cross enough

other go-kart, turning
turning to
to
Panning with the vehicle is another

moving (a
another way
driver relatively sharp. During
way to
to keep
keep itit and the
During the exposure, the
moved the camera in the same direction that the
(a horizontal sweep from right to left).
streaky look of
left.). Notice
ofthe background, characteristic
characteristic of
Notice the
the
the photographer
photographer
the go-kart
go-kart was
the
ofaa panned
was

panned shot.
shot.

The longer the shutter

shutter
stays open, the more light
that reaches the light-sensitive Blurring to show motion.
motion. Freezing
Freezingmotion
motionisisone
one Panning to show motion.
motion. Panning
Panning thethecamera—
camera-
surface. Leaf
Leafshutters are way of
of representing it,it, but
but it
it is
is not
not the
the only
only way.
way. moving
m oving it in the same
sam e direction
di rectio n as
as the
t he subject’s
subject's
found on most compact,
In
ln fact, freezing motion
motion sometimes
sometimes eliminates
elin1inates thethe movement during the t he exposure—is
exposu re- is another
a nother way
way of
of
point-and-shoot, rangefinder,
and twin-lens reflex cameras, feeling of
of movement
movem ent altogether
altogether so so that
that thethe subject
subject showing motion
m o tion (bottom right).
righ t). The
T he background
backgroun d
view-camera lenses, and some seems to be at rest.
rest. Allowing the
the subject
subject to to blur
blur can
can will be blurred,
blurred , but
b ut the
the subject
su bject will
will bebe sharper
sh arpe r
medium-format single-lens be a graphic means of ofshowing thatthat itit is
is moving.
moving. than it would
wo uld be if the
t he camera were
we re held
held steady.
steady.
reflex cameras.
cameras.

C HAPTER 1
CHAPTER 19
19
Shutter Speed
U S E IIT
USE T C REATIVELY
CREATIVELY

M
M ake a decision about
about shutter
shutter speed
speed for
for Steve Bloom. Camargue horses running, France,
Creating blur can effectively suggest motion and
France, 2002.
2002.
and
every shot;
shoe; don’t
don't simply
simply inherit
in herit one
one from
from your
your
can often be a better choice than freezing
freezing aa moving
moving
previous exposure or or let
let the
the camera
camera choose
choose forfor subject.
subject. Bloom pursues “the
"the idea ofofa still
still photograph
you. Experiment with arresting
arresting motion,
motion, like
like the
the capturing the movement around us.” us. " For
For this ⁄4-sec-
this 1¼-sec•
photographs on the the opposite
opposite page,
page, and
and with
with the
the ond
and exposure, he “panned
"panned to follow the the movement
movement of of
possibilities
possibi lities of
of blur. Try
Try making
making aa long
long exposure
exposure the horses, trying to keep one oror two ofofthe
the faces
faces in aa
constant position in the frame, allowing
allowing the bodies,
bodies, and
and
of
of a moving subject withwith aa motionless
motionless camera,
camera, asas in particular the legs, to form trails.”
trails. "
shown on page page 160,
160, and
and byby panning,
panning, asas above.
above.
Every photograph you decide to to make
make can
can capture
capture
multiple
n1ulciple variations of of movement,
n1ovement, and
and each
each can
can
still be a correct exposure.

20
20 C AMERA
CAMERA
Josef Koudelka. Spain,
Josef
1971.
1971. A shutter speed
that captures rapid
motion also freezes
slower.The
anything slower.The
posture and gestures ofof
the participants in this
event are held in place for
our close inspection.

Naoya Hatakeyama.
Blast ##5416,
5416, 1998.
1998.
The shutter arrests
action but it doesn’t
doesn't
protect the photogra-
pher. For his own safety,
making this series of of
pictures of
ofexplosions at
a quarry, Hatakeyama
used a remote control to
trigger the 1Viooo-second
⁄1000 -second
exposures. He relied on
advice from the blasting
blasting
engineer, who understood
the “nature”
"nature" ofofthe rock,
to locate his camera to
capture the “nature”
"nature" of
of
light without damage.
damage.

C HAPTER 1
CHAPTER 21
Aperture
A F F E C T S LLIGHT
AFFECTS IGHT A ND D
AND EPTH O
DEPTH OFF FFIELD
IELD

LL ight
ght and the aperture.
aperture. The
The aperture,
aperture, or
or lens
lens size of
of the diaphragm
diaphragm,, a ring
ring of
of overlapping
overlapping metalmetal
opening, is the other control
control that
that you
you can
can use
use in
in leaves inside the lens. (In
(In automatic operation,
operation, thethe
addition to
co shutter speed toco adjust
adjust the
the amount
amount camera can do this
chis for
for you.) Like
Like the
the iris
iris of
of your
your
of
of light that
chat reaches
reaches the
the digital
digital image
image sensor
sensor oror eye, the diaphragm can get gee larger
larger (open
(open up)up) to
co let
lee
film. Turning a ring
ring on
on the
the outside
outside of
of the
the lens
lens more light in; it can get smaller
smaller (stop
(stop down)
down) to co
(pushing a button on some
some cameras)
cameras) changes
changes thethe decrease the amount of of light.
light.

Light and the aperture.

The size ofofthe lens open-
f/16
f/ 16 - cccccccccccccccccccccc ing—the
ing- the aperture, or
Half as much light as f/11 f-stop—controls
{-stop- controls the amount
- Halfasmuchlighcasf/ 11
of
oflight that passes through
the lens.
lens. Each aperture is one
“stop”
"stop" from the next; that
Twice as much light as f/16 is,
is, each lets in twice as much
light as the next smaller
f/11 CCCCCCCCCCCCCCCCCCCCC< opening, half
halfas much light as
Half
Half as much light as f/8
f/ 8 the next larger opening. No-
tice that the lower the f-stop
fstop
number,
number, the wider the lens
opening and the more light
Twice as much light as f/11
f/ 11 that is let in.
in. For example,
f/8 (((((((((((((((((((((( f/8 is a wider opening and
lets in more light than f/11,
f/1 1,
11 16

Half
Half as much light as f/5.6
f/ 5.6 which lets in more light than
does f/16,
f/ 16, and so on.
on.
8

Twice as much light as f/8

f/ 8

(((((((((((((((((((((((
5.6

f/5.6

Half
Half as much light as f/4
f/ 4
4
2.8

Twice as much
mu ch light as f/5.6
f/ 5.6
2

f/4 (((((((((((((((((((((((
Aperture settings appear on a camera’s
camera 's Half
Half as much light as f/2.8
f/ 2.8
lens aperture ring (shown above), in the
the
viewfinder (below left),
le~), or as data-panel Twice as much light as f/4
readout (below right). Here,
Here, the
the camera
is set to f/5.6.
isset f/5.6.

ï
c,,,Sccc((~~~~f{~{~(Cc@
f/2.8

Half as much light as f/2

Twice as much light as f/2.8

5.6
"' Q cccC~C(cCCCCCfiCc@
f/2

22 C AMERA
CAMERA
Aperture settings (f-stops).
(f-stops). Aperture
Aperture settings,
setti ngs, by stopping (closing) down
down the the aperture
aperture to to its
its next
next
from larger lens openings
open in gs to to smaller
smaller ones,ones, areare f/1,
f/ 1, smaller opening.
f/1.4,
f/ 1.4, f/2,
f/ 2, f/2.8,
f/ 2.8, f/4,
f/ 4, f/5.6,
f/ 5.6, f/8,
f/ 8, f/11,
f/ 11 , f/16,
f/ 16, f/22,
f/ 22, and
and No lens has the
t he entire
en tire range
range of of f-stops;
f-stops; mostmost
f/32.
f/ 32. Settings
Setrings beyond f/32 f/ 32 are
are usually
usually found
found only only have about
abo ut seven. A 50mm lens lens may
may range
range fromfron1
on some view-camera lenses. lenses. f/2
f/ 2 at its widest opening to to f/16
f/ 16 atat itsits small-
small-
The lower the the f-stop
f-sto p number,
n umber, the the wider
wide r thet he est, a 200mm lenslens may
may range
range from
from f/4 f/ 4 toto f/22.
f/ 22.
lens opening; each setting lets lets in
in twice
tw ice as as much
m uch Most lenses can set intermediate
intermediate f-stops
f-s to ps partway
partway
light
ligh t as the next f-stop
f-stop number
num ber up up thethe scale,
scale, half
half between the whole stops,
stops, often
often in in one-third-stop
one-thi rd-stop
as much
m uc h light
ligh t as the
t he next
next number
num ber down down the t he scale.
scale. increments. The widest lens lens setting
setting may m ay be be anan
For
Fo r example,
exam ple, f/11
f/ 11 lets in in double
do uble thethe light
ligh t ofof f/16,
f/ 16, intermediate stop, forfo r example,
example, f/1.2.
f/ 1.2.
half as much as f/8. f/ 8. Larger
Larger openings
o pen ings have have smaller
smaller
numbers because the f/ f/ number
n um ber is is aa ratio:
ratio: thet he Depth of
of field and the aperture.
aperture. The
The size
size of
of
lens focal length divided d ivided by by the
the diameter
diameter of of the
t he the aperture setting also affects
affects how
how much
n1uch ofofthe
the
lens opening.
open ing. image will be sharp.sharp. This isis known
known as as the
the depth
dep th
Referring
Refe rring to a stop (without
(witho ut thet he “f ”) is
"f") is aa short-
short- of
of field.
fie ld. As the
t he aperture
apertu re opening
o peni ng gets
gets smaller,
smaller, the
the
hand way of statingstati ng this
this half-or-double
half-o r-double relation-
relation- depth
dep th of field
fi
fieeld
ld increases and
and more
m ore ofof the
the scene
scene
ship.
shi p. You can give one stop more more (twice
(twice as as much)
much) from
fro m near to far appears
ap pears sharp
sharp in
in the
the photograph
ph otograph
exposure by by setting the the aperture to to its
its next
next wider
wider (see photos, below, and pages pages 42
42 and
and 45).
45). See
See the
th e
opening, one stop less (half (half asas much)
much) exposure
exposu re depth
dept h ofof field project on pagepage 159.
159.

Small
Sma Aperture
ll Ape rture
More Depth of Field
De pth of

Depth of field and the aperture.

The smaller the aperture opening, the
greater the depth of offield.
field. At f/16
(left, top), with the hands and string
string
in the foreground crisply in focus, the
face in the background is also sharp.
At a much larger aperture, f/1.4
(left, bottom), there is very little
depth ofof field.
field. The face in the back-
ground is completely out of offocus.
focus .

Large Aperture
Less Depth
De pth of
of Field
Fie ld

C HAPTER 1
CHAPTER 23
23
Aperture
U S E IIT
USE T C REATIVELY
CREATIVELY

-
A choice about aperture isis aa choice
A choice about
about Joel Sternfeld. The Space Shuttle Columbia
Joel
Lands at Kelly Air Force Base, San Antonio,
here, to flatten three dimensions into
into two.
two.
Sternfeld uses that flatness for a playful ambi-
focus, one on e of
of the
th e most
most important
importan t decisions
decisions you you
Texas,
Texas, March 1979.
1979. A small aperture gives guity. The foreground spectator
spectator appears toto be
be
can make
n1ake about
abou t a picture.
picture. For
For all
all the
the similarities,
sitn ilari ries, offield that can make all parts of
great depth of of inspecting a wall-sized photograph or or watching
watching
a camera
cam era doesn’t
d oesn't really
really see
see the
the way
way your
your eye
eye does.
does. an image equally sharp. This can seem, as a giant television.
television .
A picture freezes focus;focus; sharp
sha rp parts
parts stay
stay sharp,
sharp,
blur and softness remain
rem ain non o matter
n1arrer how
how much
n1u ch we we
stare
s tare at
a t a photograph.
pho tograp h . Our
Our vision,
vision, though,
though, is is fluid.
fl u id .
Our
O ur eyes dart
da rt around
arou nd aa scene
scene so so we
we can
can perceive
perceive itit
as a whole,
who le, and they
they are
a re constantly—and
constantly- an d involun-
involun-
tarily—refocusing.
tari ly- refocusing. Knowing
Kn owing the the difference
d iffere nce between
between
human vision and an d photographic
photographic visionvision can
can be be aa
powerful tool, as these
these examples
examples show.
show.

24 C AMERA
CAMERA
 Te"i Weifenbach. Lana
Terri Lana 66,
Italy, 2002. A large aperture
creates a narrow band of of
focus that can slice through
the middle ofofa scene, leaving
objects blurry both in front and
behind. While photographing
the town ofofLana in northern
Italy,
Italy, Weifenbach “read
"read every
night from an old volume of of
the Brothers Grimm’s
Grimm's fairy
tales.
tales. The mountains in the
area had castles, paths, woods,
and waterfalls ..... . everything
everything
referenced in Grimms’
Grimms' tales.
The land made the tales almost
real and the tales enlivened thethe
land.
land. II think of
ofLana 66 as a
portrait.
portrait. . . . within the fairy-
tale vocabulary.”
vocabulary."

Byron Wolfe. Shortest day: at

noon on the solstice, through the
eyes of
ofthe Weeping Santa Rosa
Plum, December 21, 2002.
Shallow depth of offield creates
a contrast between the sharp
image in a dewdrop lens and
the background blur. As a pho-
tography teacher, Wolfe wanted
wonted
to make sure he was doing what
he asked his students to do, to
make the camera a part of oftheir
their
daily lives.
lives. Every day, betwen his
35th and 36th birthdays, Wolfe
3Sth
tried to make a completely new
picture, creating “a"a flowing
narrative about the landscape
of
of personal experience.”
experience." Wolfe
chose a digital camera “to "to be
able to keep up with it all;
working digitally meant that II
could shoot, edit, and print very
quickly and on a daily basis. A
digital camera also allowed for
instant feedback on ideas so that
II could monitor my progress,
quickly respond to visual ideas,
and be confident that I’d I'd made
the picture II intended.”
intended."

CHAPTER 1 25
 Cameras set set shutter
shutter speeds
speeds
between whole
whole stops. Older
stops. Older
Shutter Speed and Aperture shutters only had full
double the
each double
time of
full stops,
the amount
stops,
amount of
of the shutter speed
speed
of

before it or half
half that
that of of the
the
B LUR V
BLUR S. D
VS. EPTH O
DEPTH OFF FFIELD
IELD it. Today's
one after it. Today’s shutters
shutters
speeds in
set shutter speeds in incre-
incre-
ments ofof one-half
one-half or one-one-
third stops.
stops. This
This chart
chart shows,
shows,
in gray,
gray, those
those fractional
fractional stops.
stops.
C
C ontrolling
ontroll ing the exposure.
exposure. Both
Both shutter
shutter speed
speed next faster shutter speed (one
(one stop
stop less
less exposure)
exposure) cameras allow
Some cameras allowyou
to choose among different
different
you
and aperture
apertu re affect the
t he amount
amount of of light
ligh t reaching
reaching is matched
n1atched by a move toto the
the next
n ext larger
larger aperture
aperture
ways to set shutter speeds
speeds
the camera’s
camera's light-sensitive
light-sensitive recording
recording surface.
surface. ToTo (one stop more exposure). (and apertures),
apertures), use use full
full
get a correctly exposed picture,
picture, one
one that
that isis neither
neither stops while learning.
learning.
too light nor tootoo dark,
dark, you need
need toto find
find aa com-
com- Which combination do do you
you choose?
choose? Any Any of of
Speeds a camera displays;
bination of
of shutter speed
speed and
and aperture
aperture thatthat will
wi ll several combinations of of shutter
shutter speed
speed andand aper-
aper- these are fractions,
fracti ons,
let in the right
righ t amount of of light
light for
for aa particular
particular ture could make a good exposure,
exposure, but but the
the effect
effect 8 on a display is 1/8 sec.
scene and ISO setting. (Pages
(Pages 60–73
60-73 explain
explain howhow on the appearance of of the
the image
image will
will be
be different.
different. 1/3
1/ 3 STOP 1/2
1/ 2 STOP
to do this.) Shutter
Sh utter speed affects the the sharpness
sharpness of of moving
moving
1 1
objects; aperture size affects
affects depth
depth of of field
field (the
(the 1.3 1.5
Equivalent exposures. Once
Once you
you know
know aa correct
correct sharpness ofof a scene fromfrom near
near to to far).
far). Shutter
Shutter 1.6
2 2
combination of of shutter speed
speed andand aperture,
aperture, youyou speed also helps
helps prevent
prevent blur
blur caused
caused by by camera
camera 2.5 3
can change one setting and stillstill keep
keep the
the exposure
exposure motion during the the exposure. If If you
you areare holding
hold ing 3
the same as long as you change
change thethe other
other setting
setting the camera
can1era in your hands,
hands, youyou need
need aa faster
faster shut-
sh ut- 4 4
s
5 6
the same amount in in the
the opposite
opposite direction.
direction. IfIf ter speed than ifif you have
have thethe camera
camera on on aa tripod
tripod 6
you want to to use a smaller aperture
aperture (which
(which letslets in
in (see page 28 for details). 8 8
10 11
11
less light), you can keep
keep the
the exposure
exposure the the same
same byby You can decide for each picture picture whether
whether
13
using a slower shutter speed
speed (which
(which lets
lets in
in more
more stopped motion or depthdepth of of field
field isis more
more impor-
impor- 15 15
light), and vice versa. tant. More depth of of field
field and
and near-to-far
near-to-far sharp-
sharp- 20 20
25
ness with a smaller aperture means means you you would
would be be 30 30
A stop of
of exposure change. Each
Each full
fu ll using a slower shutter
sh utter speed and and so so risking
risking that
that 40 45
45
f-stop setting of
of the
the aperture letslets in
in half
half(or(or dou-
dou- motion would blur.blur. Using
Using aa faster
faster shutter
shutter speed
speed so
50
60 60
ble) the amount of of light
light as
as the
t he next
next full
fu ll setting,
setting, to
co freeze motion meansmeans you would wou ld be be using
using aa 80 90
a one-stop difference. Each
Each shutter-speed
shu tter-speed setting
setting larger aperture, with less of of the
the scene
scene sharp
sharp near
near 100
125 125
does the same. The term
term stop
stop isis used
used whether
whether the the to far. Depending on the the situation,
situation, you you may
1nay have
have 160 180
aperture or shutter speed is is changed.
changed. The The expo-
expo- to compromise on a moderate
moderate amount
amount of ofdepth
depth of of 200
sure stays constant if,
if, for
for example,
example, aa move
move to to the
the field with some possibility
possibility ofof blur.
blur. 250 250
320 350
400
500 500

Slower shutter speed

speed:: Faster shutter speed: speed: Shutter speed and aperture combina-
combina-
More light enters
enters Less light enters enters tions. Both the shutter speed and the the
More chance
chance of motio.
motion
~n,.bblurring Less
"lu"-rn~·n_.g.__ __ _ _ _ _..:Lc.e.., cchance
ss. ..h,.a..
n.. .of
ce. o motion
,1_m
.,o.._ti..
o_ blurring
n ..
b..:
lu-rn_.
·ng aperture size control the amount of oflight.
Each setting lets in half
half(or double)
11/8
/8 sec. 1/15
1/15 1/
1/30
11.30 1/60
1160 1/125
1/125 1/250
1/250 1/500
1/500 the amount of oflight as the adjacent
setting—aa one-stop difference.
setting-
IfIfyou
you decrease the amount of oflight
Shutter
one stop by moving
moving to the next smaller
smaller
speed
s peed
aperture setting, you
you can keep the
exposure constant by also moving
moving to the
next slower shutter speed. InIn automatic
Aperture
Aperture
operation, the camera makes these
changes for you.
you.
Each combination of ofaperture
f/16
1/16 f/11
1/11 f/8
1/8 f/5.6
1/5.6 f/4 f/2.8
1/2.8 112
f/2 and shutter speed shown at leftle~ lets in
the same amount of oflight, but see the
aperture:
Smaller aperture: Larger aperture:
aperture: photographs on an the opposite
apposite page: the
Less light enters More light enters combinations change the sharpness of of
More depth of field Less depth
depth of field
field the picture in different ways.

26
26 C AMERA
CAMERA
 1⁄500 sec.): the moving
Fast shutter speed ((Vsoo moving swing is sharp.
Wide aperture (f/2):
({/2): the trees, picnic table,
table, and
and person
person inin
the background are out ofoffocus.
focus. Only objects the
the same dis-
tance as the foreground posts, on which thethe lens was
was focused,
focused,
are sharp.

Shutter . : : .
speed .,

sec. 1/6 1/15 1/30 1160 11125 11250 11500

f/16 f/11 f/8 f/5.6 f/4 f/2.8

Aperture af/2

Medium-fast shutter speed ((¼o 1⁄60 sec.): the moving swing

swing
shows some blur. Medium-wide aperture (f/5.6): (f/ 5.6): the
the
background is still a little fuzzy but the middle ground appears
in focus.
focus.

t ) Shutter
speed

sec. 1/6 1115 1/30 1160 1/125 1/250 11500

f/16 f/11 f/8 f/5.6 f/4 112.8 f/2

0 Aperture

1⁄8 sec.): the moving swing

Slow shutter speed ((1/s swing is completely
completely
blurred.
blurred. Small aperture (f/16): the middle- andand background
background
are completely sharp.

Shutter
speed

sec. 1/6 1/15 1/30 1/60 1/125 1/250 11500

f/16 f/11 f/8 f/5.6 f/4 f/2 .8 112

• Apertu re
John Becker

Shutter speed and aperture combinations. Each Each ofofthe

the exposure
exposure combinations
combinations forfor this
this scene
scene
lets in the same total amount of
oflight, so the
the overall
overall exposure
exposure stays
stays the
the same.
same. But
But the
the motion
motion of of
the swing is blurred with a slow shutter
shutter speed, sharp with
with aa fast
fast shutter
shutter speed.
speed. The
The depth
depth of offield
field
(overall
(overall sharpness of
ofnear-to-far objects) is shallow
shallow with
with aa larger
larger aperture,
aperture, extends
extends farther
farther with
with aa
small aperture.
aperture.

C HAPTER 1
CHAPTER 27
Getting the Most from
from Your
Camera and Lens

C
C amera motion causes blur. blur. Though
Tho ugh some some help when youyo u want to to compose
compose aa picturepicture carefully
carefully
photographers
pho tographers claim cl aim toto bebe able
able to
to hand
han d hold
ho ld aa or
o r do close-up
close-u p work. TheyThey area re always
always used used for
for copy
copy
camera
cam era steady at a t slow shutter speeds- 1I/is
shutter speeds— ⁄15 sec. or work,
wo rk, such as photographing
photographing aa painting,pain t in g, another
an o ther
even slower—it
slower- it takes
takes only
o n ly aa slight
slight amount
a m oun t ofo f cam-
cam- photograph, or o r something
som ething from from aa book, book, because
because
era motion
m o tio n during
d u ring exposure
exposu re to co cause
cause aa noticeable
n oti ceable hand
ha nd holding
h olding at even a fast fas t shutter
shutter speed speed will
will not
not
blur in an
a n image.
image. If aa sharp
sh arp picture
picture isis your
yo ur aim,
aim, produce critical
cri tical sharpness
sha rpness for fo r fine
fi ne details.
d erails. A
A view
view
using a fast
fas t shutter speed or or supporting
sup porting the the cam-
cam - camera
ca1nera is always usedu sed on
o n aa tripod.
tripod.
era on a tripod
tri pod is a muchmuch surersu re r way
way to
to produce
produce aa The job of of a cable release,
release, to to trigger
t ri gger the
the shut-
shut-
sharp
sha rp image. ter without transmitting
tran smi tting movement,
movem ent, may n1ay also
also be
be To hand hold a camera,
accomplished
acco m plished at a distance
distan ce with
with aa variety
variety of ofremote
rem ote keep feet apart, rest the
camera lightly against your
your
When hand holding the the camera
camera (see (see right,
ri gh t, top
to p wireless triggers that
t ha t use
use radio
rad io oro r infrared
in frared signals.
signals.
face.
face. Hold your
your breath as
and center), use use the
the focal
focal length
length of of your
your lens
lens asas aa you squeeze the shutter
you
guide to how fast fas t your
yo u r shutter
shu tter speed
speed should
sh ould be. be. To protect a camera in in use,
u se, use
u se aa neck
neck strap,
strap, release slowly.
slowly.
Thee longer
Th lon ger the t he focal length,
len gth, the the faster
fas ter the
the shutter
shu tter either
eith er worn
wo rn around your yo ur neck
n eck oror wound
wo und around
around
speed must
m u s t be, because
because aa long long lens
len s magnifies
m agnifies any any your
yo ur wrist. It keeps
keeps the
the camera
cam era handy
han dy and a n d makes
ma kes
motion
n1o tion of o f the
th e lens during the the exposure
exposure just just asas itit you
yo u less likely toto drop
d ro p it.
it. Lenses
Lenses can
can bebe kept
kept inin lens
lens
magnifies
m agnifi es the t he size of o f the
the objects
objects photographed.
photographed . cases or
o r plastic
plasti c bags to to protect
protect themthem fromfro m dust,
dust,
As a general rule, ru le, the
the slowest shutter shutter speed
speed with lens caps both back back andan d front
fro nt for
fo r additional
additional
that
t hat is safe to to hand hold ho ld is is matched
m atched to to the
t he focal
focal protection of lenslens surfaces.
surfaces .
length
len gth ofo f the lens. That is, is, aa 50mm
50mm lens lens should
should be be A padded bag, case, or backpack backpack will will protect
p ro tect
hand held at a shutter speed speed of of 1I/so
⁄50
50 sec. or faster,
fas ter, a your
yo ur equipment from fro m bumps and an d jolts
jolts when
wh en itit is
is
100mm lens at 11/100
100mm ⁄100 sec. or o r faster, andan d soso on.
on. This
T hi s carried
carri ed or moved,
m oved, a camera
cam era bag bag makes
ma kes youryo ur acces-
acces-
doesn’t
doesn't meanm ean thatchat theth e camera
can1era can can bebe freely
free ly moved
m oved sories and extra film readilyreadily available.
availa ble. Aluminum
Aluminum
during the exposure. At these these speeds,
speed s, thethe camera
cam era or
o r molded
m olded plastic
plas tic cases withwith fitted
fitted foam
foam com-com-
can be hand
ha n d held,
held, but
but with
wit h care.
care. At
At the
the moment
m omen t of of partments
part ments provide
p rovide the
t he best
best protection;
protection; some som e areare With the camera in a
exposure, hold h old your
yo ur breath
breath and and squeeze
squeeze the the shut-
shut- even waterproof.
waterp roof. Their disadvantage
disadvan tage is is that
that they
they vertical position, the left
ter release smoothly.
sm oothly. are bulky, notno r conveniently
conve niently carried
ca rried on
o n aa shoulder
sho ulder hand holds and focuses the
lens; the right hand releases
The camera
cam era itself can affect affec t your
yo ur ability
ability to to strap, and
a nd the
t he camera may m ay not
not bebe rapidly
rapidlyaccessible.
accessibl e. the shutter.
hand
h a n d hold
ho ld it; some cameras cam eras vibrate
vib rate morem o re than
than
others
o thers during
duri ng exposure.
exposu re. A A single-lens reflex reflex cam-
cam - Battery power
power is
is essential
essential to
co the
the functioning
functioning of
of
era, with its moving m oving mirror,
m irro r, for for example,
exam ple, vibrates
vibrates most
m ost cameras.
cam eras. If If your viewfinder
viewfind er display
display or o r other
o ther
more
n1ore thant h a n a rangefinder
ra n gefinder or or compact
compact camera. cam era. data
d ata display begins to to act
ac t erratically,
erratically, the the batteries
ba tteries
Some
Som e newer lenses and a nd camera
cam era bodies
bodi es haveh ave elec-
elec- may
m ay be getting weak. Many cameras cam eras havehave aa bat-
bat-
tronic
t ro n ic stabilization systems system s that that helphel p you
yo u take
take tery
tety check that
tha t will let
let you
yo u test
test battery
battery strength
stren gth oror
sharp photographs
photograph s at longer lo n ger exposures.
exposures. an indicator
indicato r that
th a t warns of o f low
low power.
power. It’sIt's aa good
good
idea to check batteries before before beginning
begin ning aa day’sd ay's
A tripod and cable release release (shown
(sh own right,
right, bot-
bo t- shooting
sh ooting oro r a vacation
vacatio n outing
outin g and a nd toto carry
carry spares
spa res
tom)
to m ) will keep the
the camera
cam era absolutely
absolurely still
still during
du ri ng anan in your
yo u r camera bag.
bag. IfIf you
yo u don’t
d on 't have
have spares
spa res and
and
exposure. The tripod
tripod supports
su pports the
t he camera
cam era steadily;
steadily; the batteries fail, try cry cleaning
cleani ng the the ends
ends of of the
the bat-
bat-
the cable release
release lets
lets you
yo u trigger
trigger the
the shutter
shutter with-
wit h- teries and the battery contacts
con tacts in in the
t he camera
ca1nera with
with A tripod and cable
out
o ut having
havi ng to touch
touch the
the camera
camera directly.
directly. AA tripod
tri pod a pencil
pen cil eraser or cloth;
clo th; the
t he problem
p rob lem may m ay just
just be
be release are essential ififyou
you
want a sharp image at slow
and
a nd cable release
release are useful
usefu l when
when you yo u need
n eed aa slower
slower poor electrical
electri cal contact.
contac t. Warming the the batteries
batteries in in shutter speeds. Keep some
shutter speed thanthan is
is feasible
feas ible for
for hand
h and holding;
ho lding; forfor the palm of of your hand
han d might
might alsoalso bring
bring themthem back
back slack in the cable release so
example, at duskd usk when
when the
the light
ligh t is
is dim.
dim. They
They alsoalso to life temporarily.
tempo ra rily. it doesn’t
doesn't tug the camera.

28 C AMERA
CAMERA
 Cameras and memory
memory cards
cards in
in transit
transit should
should Touching the sensor
sensor can
can bebe risky;
risky; scratches
scratches are
are
be protected from strong
strong magnetic
magnetic fields,
fields, shock,
shock, permanent. Start by by trying
trying to
to blow
blow offoff unwanted
unwanted
excessive heat, and sudden temperature
temperature changes.
changes. dust gently. AA rubber
rubber squeeze
squeeze bulb
bulb isis safer
safer than
than aa
Avoid leaving equipment in in aa car
car on
on aa sunny
sunny day.
day. can of
of compressed gas thatthat may
may produce
produce enough
enough
Excessive heat can soften the the oil
oil lubricant
lubricant in in the
the force to damage components.
components. A A squeeze
squeeze bulb
bulb that
that
camera, causing the oil oil to
to run
run out
out andand create
create prob-
prob- blows ionized air will dodo aa better
better job
job of
ofremoving
removing
lems, such as jamming lens lens diaphragm
diaphragm blades.
blades. AtAt dust held by an electrostatic
electrostatic charge.
charge.
very low temperatures,
ten1peratures, moving
moving mechanisms,
mechanisms, both both If
If your camera’s
camera's sensor
sensor needs
needs aa more
more thorough
thorough
Clean the sensor and oil-lubricated and dry,
dry, as
as well
well as
as camera,
camera, flash,
flash ,and
and cleaning, special brushes,
brushes, pads,
pads, or
or swabs
swabs are
are avail-
avail-
inside the camera very meter batteries may
may be be sluggish,
sluggish, so so on
on aa cold
cold day
day able. But
But touching
touching the
the sensor
sensor may
may make
make permanent
permanent
carefully. When you
you blow
blow
it is a good idea to
to keep
keep the
the camera
camera warm warm by by carry-
carry- marks,
rnarks, and voids aa camera’s
ca1nera's warranty;
warranty; you you may
n1ay
air inside the camera, tip
the camera so the dust falls ing it under your
your coat until
until you’re
you're ready
ready to
to take
take aa want to have your sensor
sensor cleaned
cleaned professionally.
professionally.
out and isn’t
isn't pushed into picture. When you bring a cameracamera in in from
fron1 the
the cold,
cold,
the mechanism. Don’t
Don't touch let it warm up before removing
removing the the lens
lens cap
cap to
to keep
keep Any lens surface must
must be
be clean
clean for
for best
best per-
per-
anything, even with a brush,
condensation off off the
the lens.
lens. On
On the the beach,
beach, protec-
protec- formance, but keeping
keeping dirtdirt off
off inin the
t he first
first place
place
unless absolutely necessary.
tion from salt spray andand sand
sand is is vital.
vital. is much better thanthan frequent
frequent cleaning,
cleaning, which wh ich cancan
damage the delicate lens lens coating.
coating. Avoid
Avoid touching
touching
If
If a camera will not
not be
be used
used for
for aa while,
wh il e, turn
turn the lens surface with your fingers fingers because
because they they
off
off any on/off
on/ off switches,
switches, and
and store
store the
the camera
camera leave oily prints that
that etch intointo the
the coating.
coating. Keep Keep
away from excessive heat,
heat, humidity,
humidity, and and dust.
dust. a lens cap on thethe front
front ofof the
the lens
lens when
when itit is is not
not
For long-term storage,
storage, remove
remove batteries
batteries be cause
because in use and one on the the back
back ofof the
the lens
lens whenwhen itit isis
they
t hey can corrode and leak.
leak. Return
Return thethe batteries
batteries removed from
from thethe camera. Clean Clean back
back capscaps thor-
thor-
temporarily and operate thethe shutter
shutter occasionally
occasionally oughly before using
using them;
them; dust
dust on on thethe cap
cap will
will
Clean the lens. First, blow because it can become balky
balky ifif not
not used.
used. often find its way to to your
your sensor.
sensor.
then brush any visible dust off
off During use, a lens lens hood
hood helpshelps protect
protect the the
the lens surface. Hold the lens Protect your camera from dust
dust and
and dirt.
dirt. lens surface in
in addition
add ition to to shielding
shieldin g thethe lens
lens from
from
upside down to let the dust fall
fall Replace memory cards and change change lenses
lenses inin aa dust-
dust- stray light that may may degrade
degrade the the image.
image. AA UV UV
off the surface instead of
off just
ofjust
circulating on it.
it.
free place ifif you possibly
possibly can.can. You
You should
should blow blow (ultraviolet) or 1Al A filter
filter will
will have
have very
very little
little effect
effect
occasional dust offoff the
the focusing
focusing mirrormirror or or screen,
screen, on the image;
image; some photographers
photographers leave leave one
one on on
but it’s
it's wise to let aa competent
competent cameracamera technician
technician the lens all the
the time
time forfor protection
protection against
against dirt dirt
do any work beyond
beyond this.
this. and accidental damage.
Dust and specks that that appear
appear in in your
your view-
view-
finder are usually outside the the optical
optical path
path andand will
will To clean the lenslens you willwill need
need aa rubber
rubber squeeze
squeeze
likely not appear in in your
yo ur photographs.
photographs. However,However, bulb or a can ofof compressed gas, gas, aa soft
soft brush,
brush, lenslens
any dust or dirt on a digital
digital sensor
sensor (actually
(actually on on the
the tissue, and lens cleaning
cleaning fluid.
fluid. Use
Use aa squeeze
squeeze bulbbulb
built-in glass filter that
that covers
covers it)it) will
will appear
appear on on or compressed gas to co remove
remove dust,
dust, lens
lens cleaning
cleaning
Use lens cleaning fluid. each picture. Some cameras have have aa built-in
built-in mecha-
mecha- fluid and tissue ifif you have
have fingerprints
fingerprints or or smears.
smears.
Dampen a wadded piece of of
nism to shake the sensor clean but but when
when youyo u seesee Cans of of compressed gas gas may
may spray
spray propellant
propellant
lens-cleaning tissue with the
fluid
f}uid and gently wipe the lens unwanted marks in in the
the same
same location
location on on allall your
your if
if tilted; keep
keep them
them vertical
vertical for
for use.
use. Avoid
Avoid using
using
with a circular motion. Don’t
Don't pictures, consider cleaning the the sensor.
sensor. cleaning products mademade forfor eyeglasses,
eyeglasses,particularly
particularly
put lens fluid
f}uid directly on the Digital SLRs havehave a menu
menu command
command for for sen-
sen- any treated cloths; they
they are
are too
too harsh
harsh for
for lens
lens sur-
sur-
lens because it can run to the
sor cleaning, which locks
locks the
the mirror
mirror up up so
so you
you cancan faces. A clean cotton cloth
cloth or
or paper
paper tissue
tissue isis usable
usable
edge and soak into the barrel.
Finish with a gentle, circular access the sensor byby removing
removing the the lens.
lens. It
It also
also cuts
cuts in an emergency, but bur lens
lens tissue
tissue oror an
an untreated
untreated
wipe using a dry lens tissue. the sensor power
power toto reduce
reduce static
static charge.
charge. microfiber cloth will
wi ll be
be much
much better.
better.

C HAPTER 1
CHAPTER 29
29

Lens Focal Length ..............
. . . . . . . . . . . . 32
32
The basic difference between lenses .. .. 32 32
Normal
Nonna! Focal Length ...........
. . . . . . . . . 34
34
The most like human vision ........
. . . . . . 34
34
Long Focal Length . .............
. . . . . . . . . . . 36
Telephoto lenses .•.••.•••••.•••••
. . . . . . . . . . . . . . . 36
36
Short Focal Length .............
. . . . . . . . . . . 38
Wide-angle lenses ................
. . . . . . . . . . . . . . 38
38
R EBECCA C
REBECCA UMMINS
CUMMINS
Look-Out, Miami,
Miami, Florida,
Florida, 2005.
A magnifying glass is a simple
lens. The lens in your
lens. your camera is
called a “compound”
"compound" lens and
is made from six or more simple
lenses cemented together or
spaced apart in a housing.
housing.
Cummins intended her title to
invoke “both
"both meanings ofof the
phrase: to look
look. out for what is
coming and to look outward—
outward~
look up, explore, expand.”
expand."
Zoom, Macro, More about Depth
and Fisheye Lenses ............
. . . . . . . . . . 40 of Field .......................
ofField . . . . . . . . . . . . . . . . . . . . . 46
46
Focus and Depth How to preview itit ................
. . . . . . . . . . . . . . 46
46
of Field .......................
of . . . . . . . . . . . . . . . . . . . . . 42
42 Perspective.. ....................
Perspective . . . . . . . . . . . . . . . . . . 48
Automatic Focus ...............
. . . . . . . . . . . . . 43
43 How a photograph
shows depth . ...................
. . . . . . . . . . . . . . . . . 48
48
Depth ofof Field .................
. . . . . . . . . . . . . . . 44
44
Controlling sharpness Lens Attachments ..............
. . . . . . . . . . . . 50
in a photograph . ................
. . . . . . . . . . . . . . 44
44 Close-ups and filters ..............
. . . . . . . . . . . . 50
50
 Lens 2
In this chapter you’ll
yott 'll learn…
•• the focal length
length of
difference between
length, the larger
learn ...
of a lens
lens is
between lenses,
is the
the most

larger a subject appears.

•• that a viewer almost always looks
most important
lenses, the longer
appears.
looks at
important
longer the
the focal

at the
focal

the sharpest
sharpest
FF orming an image. Although
sharp photographs,
primitive camera can
with a tiny pinhole
pinhole at one
Although aa good
photographs, you don’t
can be
one end
light-sensitive photographic
be constructed
end and
photographic paper
good lens
do n't actually
constructed from
and aa digital
paper at at the
lens isis essential
actually need
from little
digital sensor,
the other.
essential for
need one one to
little more
sensor, aapiece
other. AApinhole
for making
to take
more than
pieceof
pinholewon’t
makingcrisp,
take pictures.
than aa shoe
offilm,
fi lm,or
won'tmake
crisp,
pictures. AA
shoe box
oraasheet
makeas
sheetof
box

asclear
of
clear
part of
of a photograph
photograph first, and you can can control
control your
your
photograph’s
photograph's sharpness in in several
several ways. a picture as a glass lens,
lens, but
but it
it does
does form
form an an image
image of ofobjects
objects inin front
front of
ofit.it.
•• perspective is the impression of of depth inin aa two-
two • A simple lens, such as as aa magnifying
magnifying glass, glass, will
will form
form an an image
image that
that isis
dimensional image;
image; we gauge itit by by the
the relative
relative sizes
sizes brighter and sharper than
than an
an image
image formed
formed by byaa pinhole.
pinhole. But Butaasimple
simplelens
lenshashas
of
of objects, determined by by your
your lens
lens and
and its
its
distance from your subject.
subject. many optical defects (called aberrations)) that
(called aberrations that prevent
preventititfrom
from forming
formingan animage
image
that is sharp and accurate.
accu rate. A
A modern
modern compound
compound lens lens subdues
subdues these
these aberra-
aberra-
tions by combining
combi ning several
several simple
simple lens lens elements
elements made made of ofdifferent
different kinds
kinds of of
glass and ground to to different thicknesses
thicknesses and and curvatures
curvatures so so that
that they
they cancel
cancel
out
our each other’s
other's aberrations.
The main
mai n function
functio n of
ofa lens
lens isis to
to project
project aa sharp,
sharp, undistorted
und istorted image
imageontoonto
the light-sensitive
ligh t-sensitive surface.
surface. Lenses
Lenses vary
vary in in design,
design, and and different
different types
rypes perform
perform
some jobs better than
than others.
others. Two
Two major
major differences
d ifferences in in lens
lenscharacteristics
characteristicsare are
focal length and speed.
Lens focal length is,
is, for
for aa photographer,
photographer, the
t he most
most important
importantcharacteristic
characteristic
of
of a lens. One ofof the
the primary
primary advantages
advantages ofof aa single-lens
single-lens reflex
reflex camera
camera or
or aa
view camera isis the
the interchangeability
interchangeability of
ofits
its lenses;
lenses; many
many photographers
photographers own own
On the lens barrel (as shown below)
below) are controls such as as a ring
ring more than
t han one lens
lens so
so they
they can
can change
change lens
lens focal
focal length.
length. More
More about
about focal
focal
that focuses the lens. Cameras and
and lenses vary vary in design, so
so check
check
the features of your own camera. For
length appears on thethe following
following pages.
pages.
ofyour For example, many many cameras
cameras
have push-button or dial controls on the the camera body
body instead
instead of
of Lens speed is not not the
the same
same as
as shutter
shu tter speed.
speed. More
More correctly
correctlycalled
called maximum
maximum
an aperture control ring on the lens. Markings on the the lens
lens (shown
(shown
below, right) always include its focal
focal length andand maximum aperture, it is the
aperture, the widest aperture
aperture toto which
which the
the lens
lens diaphragm
diaphragm cancan be
beopened.
opened.
aperture (or a range for each ififit isis a zoom), usually
usually along
along with
with aa A lens that
that is “faster”
"faster" than
than another
another opens
opens to
to aa wider
wideraperture
apertureand
andadmits
admitsmore
more
serial number and the maker’s
maker 1s name. light; it can be
be used
used in
in dimmer
dimmer light
light or
or with
with aa faster
faster shutter
shutterspeed.
speed.
Focusing
Focus ing ring Depth-of-field scale
rotates to bring shows how much of of Focal
Fo cal length.
length. The shorter the focal
focal length,
length ,
different parts of
of the the scene will be sharp the wider the view of
of a scene. The longer
scene into focus. at a given aperture the focal
focal length, the narrower the view
(explained on page 46). and the more the subject is magnified.

\ Maximum aperture.
aperture
a perture..
m
/ The lens's widest
50 m opening or speed.
1
Appears as a ratio,
:2

here 1:2.
1 :2. The
maximum aperture
4
1.2
5
1.5 2
7 10
3
20
5 •
ft is the last part of
of the
ratio, f/2.
f/ 2.
Δ 4

AF 16 8 4 4 8 16
TA

MF
9m
OL

2 28 4 5.6 8 11 16
IN

M
\ Filter size
size.. The
Distance
Dist ance mark
marker diameter in mm of of the

Aperture-control
Aper ture-control ring
~t===""~--~~:~:~: indicates on the
ance :
distance
dist :1:h:he
scale the
distance in feet and
lens,
len s, and so the size
of
of filter needed when
one is added onto
selects the f-stop or size meters on which
whic h Manufacturer the lens.
of
of the lens opening. the lens is focused.
focused.

31
31
Lens Focal Length
T HE B
THE ASIC D
BASIC I F F E R E N C E BBETWEEN
DIFFERENCE E T W E E N LLENSES
ENSES
Project:
PP hotographers
hotog raphers describe
describe lenses
lenses in
in terms
terms sensors
sensors areare the
t he same
same size
size asas aa frame
frame of of 35mm
35mm LENS
LENS FOCAL
FOCAL
of
of their
their focal
focal length;
length; generally
generally they
they refer
refer to
to film
fi lm (24
(24 ×X 36mm);
36mm); these th ese are
are called full-frame sen-
called full-frame sen- LENGTH
LENGTH
aa normal,
normal, long,
long, oror short
short lens,
lens, aa 50mm
50mm lens, lens, aa sors
sors and
and are
are usually
usually found
fou nd onon relatively
relativelyexpensive
expensive
YOU
YOU WILL
WILL NEED NEED
24–105mm
24- 105mm zoom zoom lens,
lens, and
and so so on.
on. Focal
Focal length
length cameras
cameras marketed
marketed to to professionals.
professionals. With Withcameras
cameras AA camera
camera either
either with
with aa
affects
affects the
the image
image formed
formed on o n the
the sensor
sensor or or film
film that
that use
use other,
ocher, usually
usually smaller,
small er, sizesize sensors,
sensors, lens
lens zoom
zoom lens
lens oror with
with lenses
lenses
in
in two
two important
important and and related
related ways:
ways: thethe amount
amount focal
focal lengths
lengths areare often
often given
given in in terms
terms of ofaa 35mm
35mm of two different focal
of two different focal
lengths.
lengths. The
The greater
greater
of
ofthe
the scene
scene shown
shown (the
(the angle
angleofofview)
view ) and
view) andthus
thusthe the equivalent.. AA camera
equivalent.
equivalent camera with with anan APS-C
APS-C sensor
sensor(about
(about the
the difference
difference in in focal
focal
size
size of
ofobjects
objects (their
(their magnification).
magnification).AAlens lens with
with aa 15
IS ×x 22mm)
22mm) usingusing aa 31mm
3 1mm lens lens has
has thethe same
same lengths,
lengths, the
the easier
easier itit will
wi ll
single,
single, or
or fixed,
fixed, focal
focal length
length isis called
called aa prime
primelens;
lens; angle
angle ofofview
view asas aa full-frame
full-fram ecamera
camerawith with aa50mm
50mm be to see the difference
be to see the difference
lens
lens (see
(see the
the page
page opposite).
opposite). Focal
Focallengths
lengthsin in this between
between them.
them. IfIfyou
you
aa variable
variable oror adjustable
adjustable focal-length
focal-length lens lens isis called
called thi s
can,
can, use
use aa short-focal-
short-focal-
aa zoom
zoom lens.
lens. book
book are are given
given as as 35mm
35mm equivalents.
equivalents. AA cameracamera length
length lens
lens (35mm
(35 mm or or
with
with an an APS-C
APS-C sensor
sensor isis also
also said
said toto have
have aa crop
crop shorter)
shorter) and aa long
and long lenslens
How
How focal
foca llength
length affects
affects an an image.
image.The Theshorter
shorter factor ofof 1.6.
1.6. Multiplying
Multiplying its its lens
lens focal
focal length
length by by (85mm
(85mm or or longer).
longer).
the
the focal
focal length
length ofofaa lens,
lens, the
the more
more ofofaa scene
scenethe the 1.6
1.6 will
will give
give the
the 35mm
35mm equivalent.
equ ivalent. PROCEDURE
PROCEDURE
lens
lens takes
takes inin and
and the
the smaller
smaller itit makes
makes each each object
object Put
Put the
the shorter
shorter lenslens onon
in
in the
the scene
scene appear
appear in in thethe image.
in1age. You
You can can dem-
dem- Interchangeable
Interchangeable lenses
lenses are
are convenient.
convenient. The
The the
the camera
camera or or adjust
adju st
amount the
the zoom
zoom lenslens toto its
its
onstrate
onstrate thisthis by
by looking
looking through
through aa circle
circle formed
formed a.mount of of aa scene
scene shown
shown andand thet he size
size ofofobjects
objects
shortest
shortest focal
foca l length
length
by
by your
your thumb
thumb and and forefinger.
forefinger. The The shorter
shorter the the can
can bebe changed
changed by by moving
moving thethe camera
cameraclosercloserto to or
or (its
(its widest
wi d est view).
view). MakeMake
distance
distance between
between your
yourhandhand (the
(the lens)
lens)and
andyour
youreye eye farther
farther from
from the
the subject,
subject, but
but thethe option
option of ofchang-
chang- aa head-to-toe
head-to-toe photo-photo-
(the
(the digital
digital sensor
sensor oror film),
film), the
the more
more of ofthethe scene
scene ing
ing lens
lens focal
focal length
length gives
gives youyo u more
more flexibility
fl exibility graph of of aa friend.
friend. Note
Note
the
the distance
distance you you have
have
you
yo u will
will see
see (the
(the wider
wider thethe angle
angle of
ofview).
view). TheThemore
mo re and
and control.
control. Sometimes
Sometimes youyou can’t
can't easily
easilygetget closer
closer to
to stand from your sub-
stand from your sub-
objects
objects that
chat are
are shown
shown on on the
the same
same size
size sensor
sensor(or (or to
to your
yo ur subject—for
subject-for example,
example, standing
standing on on shore
shore ject to to have
have hishis or
o r her
her
negative),
negative), the the smaller
smaller all all of
of them
them will
wi ll have
have toto bebe photographing
ph otographing aa boat boat on
o n aa lake.
lake. Sometimes
Sometimes you you feet
feet just touch
touch the the bot-
bot-
(the
(the less
less magnification).
magnification). Similarly,
Similarly, you
yo u could
could fill
fi ll aa can’t
can't get far
far enough
enough away,
away, as
as when
when youyou areare photo-
photo- tom
tom edgeedge ofofthe
the view-
view-
finder
finder frame
frame while
whil e thethe
sensor either
either with
with anan image
image of ofone
one person’s
person's head head graphing aa large
large group
group of
ofpeople
people in in aa small
small room.
room. top of of the
th e head
head grazes
grazes
or
o r with
wit h aa group
gro up of of twenty
twenty people.
people. InIn thethe group
group With
With aa camera
camera that
that accepts
accepts different
different lens-lens- its
its upper
upper edge.
edge.
portrait,
portrait, each
each person’s
person's headhead must
must be besmaller.
smaller. es,
es, such
such asas aa single-lens
single-lens reflex
reflex camera,
camera, you yo u can
can Do
Do thethe same
same withwith
remove the longer
lon ger lens
lens oror with
with
remove one one lens
lens and
and put
put on on another
another when when you yo u
the zoom lens lens adjusted
adjusted
The size of
of the
the recording
recording surface
surface affects
affects the
the want to to change
change focal
focal length.
length. Interchangeable
Interchangeable to its
its longest
longest focal
foca l
angle
ang le of
of view.
view. With the
the same
same lens,
lens, aa smaller
smaller lenses
lenses range
range from
from super-wide-angle
super-wide-angle fisheyefisheye lenses
lenses length
length (its
(its narrowest
narrowest
sensor will
wi ll capture
capture less
less of
of aa scene.
scene. Some
Some digital
digital to
co extra-long
extra-long telephotos.
telephotos. view). MakeMake aa similar
sim ilar
pair
pair ofof views of
of aa house
house
or
or a chair, fitting
fitting your
you r
100mm focal length
subject
su bject exactly
exactly into
into the
t he
image
image frame.
frame.

HOW
HOW DID DID YOUYOU DO?DO?
Compare the pairspairs of
of
views. How
How did the the
distances you
yo u had
had toto be
be
from your subject
subject with
with
the short lens
lens compare
to those needed
needed with
50mm focal length Focal length is measured from from an optical
optical point
point near
near the long
long lens? How
lens? How do do
the back of
ofa lens to the image itit forms
forms on the
the film
film the backgrounds
backgro und s inin the
the
or digital image sensor. ItIt is measured
measured when
when the
the lens
lens pairs of
of views differ?
::,•:., ' ,:!r,i..: is sharply focused on an object
object in the
the far
far distance Did the impression
impression of of
(technically known as infinity).
infinil:)'). Magnification, thethe size
size depth in the photo-
photo-
of
ofan object in an image, is directly related
related to
to focal
focal graphs change when
length.
length. As the focal length increases, the the image size of of you switched from the the
the object increases. A 100mm
100mm lens produces
produces an im- im- short to the long
long lens?
lens?
age twice as large as one produced by a 50mm
produced a 50mm lens. lens. What else changed?
cha nged?
32 LLENS
ENS
24mm 84 50mm 47 ° 100mm 24°
24
50mm \--/
focal length angle of view focal length angle of view focal length angle of view
(APS-C: 15mm) (APS-C: 31mm) 62mm)
(APS-C: 62mm)
+1
0

+2

–1
+1

–2
+2
0

–1
–2

+1
+2
0
–1
–2

200mm 12
12° 500mm 50
5 1000mm 2.5
2.5°
focal
focal length
(APS-C: 125mm)
H angle of view focal length
(APS-C: 310mm)
H angle of view focal
focal length
length
(APS-C: 625mm)
625mm)
angle of view
+1
+2
0

–1
–2

What happens when you change lens focal length? IfIfevery-

focal length? every-
+1
+2
0

–1

thing else stays the same, changing

changing the
the focal
focal length of ofthe
the lens
lens –2

changes both the amount of ofa scene included

included inin the
the image
image (angle
(angle
of
ofview) and the size ofofobjects (magnification).
(magnification). To To make
make this
this
sequence, the photographer changed
changed only the the focal
focal length
length of
ofthe
the
lenses; the distance from lens to subject
subject remained
remained the the same. As As
the focal length increases (for example, from
from 24mm
24mm to to 50mm),
50mm),
the angle of
ofview narrows and the size of ofobjects increases.
increases.
+1
+2
0

–1

These illustrations are accurate for

for comparing
comparing angles of ofview
view –2

on a full-frame digital or 35mm film camera or or when

when using
using
“35mm
"35mm equivalent”
equivalent" focal lengths. Focal
Focal lengths that that match
match the
the
angle of
ofview on an APS-C
APS-C camera are shown in in parentheses.
C HAPTER 2
CHAPTER 33
33
Normal Focal Length
THE M
THE O S T LLIKE
MOST IKE H UMAN V
HUMAN ISION
VISION

A
A lens of
of normal focal length,length, as as you
you might
might approximately equal to to the
the diagonal
d iagonal ofof the
the sen-
sen-
expect from the name,
nan1e, produces
produces an an image
i1nage that
char sor or film frame.
frame. The
T he normal
normal focal
focal length
length for
for aa
seems normal when compared compared with with human
human view camera with 4 ×x 5-inch film,
film, for
for example,
example, isis
vision. The image
image includes about
about the the same
same angle
angle 150mm. Most digital sensors
sensors are
are smaller
smaller than
than full
full
of
of view as the human eye seessees clearly
clearly when
when looking
looking frame so their normal lens
lens is
is shorter
shorter than
th an one
one for
for
straight ahead, and the
the relative
relative size
size and
and spacing
spacing ofof a full-frame or 35mm camera.
camera. SeeSee the
the size
size chart
chart at
at
near and far objects appear normal.
normal. For For full-frame
full-frame the bottom ofof page
page 45.
cameras (or a 35mm film film camera),
camera), this this effect
effect isis
produced by a lens
lens of
of about
about 50mm
50mm focalfocal length.
length. Normal lenses have
have many
many advantages.
advantages.
Manufacturers thatthat supply
supply their
the ir cameras
cameras with with aa Compared with lenses
lenses of
of much
m u ch shorter
shorter oror much
much
prime lens usually fit
fit a lens
lens of
ofthat
th at length.
length. longer focal length, normal
normal lenses
lenses are
are generally
generally
The size of
of the
the light-sensitive
light-sensitive surface
surface used
used in
in faster; they can be designed with
with wider
wider maximum
maximum
a particular camera determines
detern1ines whatwhat focal
focal length
length apertures to
co admit
adn1it the
the maximum
1naxi1num amount
amount of oflight.
light.
is normal for it; a normal
normal lens
lens has
has aa focal
focal length
length Therefore, they are convenient forfor use
use in
in dim
dim light,
light,

Alison Carey. Graze, 2009.

A normal-focal-length lens
A
is a useful all-purpose
all~purpose lens in
the studio.
studio. Carey fabricates
her imagined landscapes
indoors on a small scale with
clay and paint. Carefully
controlled artificial light and
a painted backdrop help
mimic reality. Her normal-
focal-length lens provides a
comfortable working distance
and opens to a wide aperture
when she wants shallow
depth ofoffield.
field.

34
34 LLENS
ENS
 especially where action
action isis involved,
involved, as as in
in theater
theater or
or Choice of
of focal length
length is
is aa matter
matter of
ofpersonal
personal
indoor sports scenes
scenes or
or in
in low
lowlight
lightlevels
levelsoutdoors.
outdoors. preference. Many photographers
photographers with
with full-frame
full-frame
They are aa good
good choice
choice ififthe
the camera
camera isis to to be
be hand
hand cameras regularly
regu larly use
use aa lens
lens with
with aa focal
focal length
length ofof
held
held because
because aa wide
wide maximum
maximum apertureaperture permits
permits aa 35mm rather
rather than
than 50mm
50mm because
because they
they like
like the
the
shutter speed fast
fast enough
enough to to prevent
prevent blurblur caused
caused wider view and
and greater
greater depth
depth ofoffield
field that
chat aa 35mm
35mm
by
by camera movement
movement during
during exposure.
exposure. Generally,
Generally, lens has
has compared
compared to to aa 50mm
50mm lens.
lens. Some
Some photog-
photog-
the normal
normal lens
lens is
is more
more compact
compact and and lighter,
lighter, as
as raphers use
use an
an 85mm
85mm lenslens because
because they
they prefer
prefer its
its
well as somewhat
somewhat less less expensive,
expensive, than than lenses
lenses of
of narrower view,
view, which
which cancan concentrate
concentrate the the image
image
much
much longer
longer or
or much
much shorter
shorter focalfocal length.
length. on the
the central
central objects
objects of
ofinterest
interest in
in the
the scene.
scene.

Henri Cartier-Bresson. Greece,

Henri Cartier-Bresson. Greece, 1961.
1961. AA lens
lens of
of relative
relative size
size and
and placement
placementof ofnear
nearand
andfar
far objects
objectsareare
normal
normal focal length produces
focal length produces anan image
image that
thatappears
appears what you would
what you would expect
expect to
to see
see ififyou
you were
were standing
standingnextnext
similar
similar toto that
that of
ofnormal
normal human
human vision.
vision. Cartier-
Cartier- to
to the
the camera.
camera. The The scene
scene does
does not notappear
appearexaggerated
exaggerated
Bresson
Bresson made
made manymanyof ofhis
his best-known
best-known photographs
photographs in
in depth,
depth, asas itit might
might with
with aa short-focal-length
short-focal-length lens,lens, nor
nor
with
with aa 50mm
50mm lens lens on
on his
his 35mm
35mm LeicaLeica camera.
camera. The
The do
do the
the objects
objects seem
seem compressed
compressedand andtoo
too close
closetogether,
together,
amount
amount of ofthe
the scene
scene included
includedinin the
the image
image and
andthe
the as
as sometimes
sometimes happens
happens with
with aalong-focal-length
long-focal-lengthlens.
lens.

CCHAPTER
H A P T E R 22 35
35
Long Focal Length
T E L E P H O T O LLENSES
TELEPHOTO ENSES

A prime lens
A lens of
of long focal
focal length
length seems
seems to
to not so much that the the lens’s
lens's usefulness
usefulness is is limited
limited
bring things closer, just as a telescope
telescope does.
does. As
As to special situations. A lens lens of
of 65mm
6Sn1m has has aa com-
con1-
the focal length gets longer,
longer, less
less ofof the
rhe scene
scene isis parably long focal length for for anan APS-C
APS-C camera
camera
shown (the angle of of view narrows),
narrows), and and what
what isis with a 1.6x
l.6x crop (or conversion)) factor
(or lens conversion factor (see
(see page
page
shown is enlarged (the (the magnification
magnification increases).
increases) . 32), so does a 300mm lens lens on
on aa 44 ×x 55 view
view camera.
camera.
This is useful when you are are soso far
far from
from thethe sub-
sub- The difference between aa medium-long
medium-long lens lens and
and
ject that a lens ofof normal
normal focal
focal length
length produces
produces an extremely
extremely long one (for (for example,
example, aa 500mm 500mm
Ed Jones. Fisherman’s
Edjones. Fisherman's
an image
i1nage that is
is too
too small.
sn1all. Sometimes
Son1etin1es you you can’t
can't lens with a full-frame
fu ll-frame camera) is is rather
rather like
like that
that Dragon Boat Race, Hong
get really close—at
close- at a sports event,
event, for
for example.
example. between a pair of of binoculars
binoculars and and aa high-power
high-power Kong, 2010.
2010. A long lens
Sometimes it is better to to stay
stay atat aa distance,
distance, as as in
in telescope. You maymay want a telescope
telescope occasionally,
occasionally, can seem to compress
nature photography. An OlympicO lympic finish
finish line,
line, the
the but
bur usually binoculars
binocu lars will
will do.
do. space. Forced to shoot from
shore, Jones chose a 500mm
shore,jones
president descending from from AirAir Force
Force One,
One, andand lens to fill his frame with
an erupting volcano are all all possible
possible subjects
subjects forfor A long lens provides relatively
relatively little
little depth
depth the action.
action. The boats and
which you might
might want
want a long
long lens.
lens. of
of field. When you use long lenses,
lenses, you’ll
you'll notice
notice oarsmen seem to be stacked
that as the focal length increases,
increases, depth
depth of of field
field on top of
of one another in a
jumble ofofaction and color.
How long is a long lens?
lens? AA popular
popular medium-
medium- decreases so that less of
of the
the scene
scene is
is in
in focus
focus atat
When do you you get this effect
long lens for a full-frame camera
camera isis 105mm;
105mm; this
this any given f-stop. For
For example,
example, when
when focused
focused at at and why? 48- 49
why> See pages 48–49
focal length magnifies
magnifies your view
view significantly
significantly but
but the same distance, a 200mm lens lens at
at f/8
f/8 has
has less
less to find out.

36
36 LLENS
ENS
Andreas Feininger. The
Ocean Liner Queen Mary,,
Queen Mary
New York City, 1946.
1946.
A long lens magnifies a
distant subject, letting
you shoot from a distance.
you
Feininger used a 1000mm
1000mm
lens to shoot across the
Hudson River from the New
Jersey shore, two miles away.
jersey
Built as a luxury liner, the
through
Queen Mary served through
Queen
the war as a troop transport
beginning in 1940,
1940, and was
decommissioned shortly after
this photogaph was taken.

depth of
of field than
than a 100mm
100mm lenslens at
at f/8.
f/ 8. This
This can
can relatively small; f/4
f/ 4 or f/5.6
f/ 5.6 is
is common.
common. It It must
must bebe
be inconvenient—for
inconvenient- for example,
example, ifif you
you want
want objects
objects focused carefully because with with its its shallow
shallow depth
depth
to be sharp both inin the
the foreground
foreground of ofaa scene
scene and
and of
of field there will be
be a distinct difference
difference between
between
in the background. But But it
it can
can also
also work
work to to your
your objects that are sharply
sharply focused
focused and and those
those that
that
advantage by permitting you to to minimize
minim ize unim-
unim- are not.
nor. A
A faster shutter
sh utter speed is is needed
needed to to keep
keep
portant details
derails or a busy
busy background
background by by having
having the image sharp while
while handhand holding
holding thethe camera
camera
them out ofof focus.
focus. (or a tripod should be be used
used forfor support)
support) because
because
the enlarged image magnifies
magnifies the the effect
effect ofof even
even
A medium-long lens
lens is
is useful
useful for
for portraits
portraits a slight movement of of the
the lens
lens during
during exposure.
exposure.
because the photographer
photographer can can be
be relatively
relativelyfar
far from
from These disadvantages increase
increase as as the
the focal
focal length
length
the subject and still fillfill the
the image
image frame.
frame. Many
Many increases, but so do thethe long
long lens’s
lens's unique
unique image-
image-
people feel more
more at ease when
when photographed
photographed ififthe the forming characteristics.
camera is not tootoo close.
close. Also,
Also, aa moderate
moderate distance
distance
between camera and subject preventsprevents thethe exagger-
exagger- Photographers often callcall any
any long
long lens
lens aa tele-
tele-
ated size ofof facial features
features closest
closest toto the
the camera
catnera photo lens, or tele, although notnot all
all long-focal-
long-focal-
that occurs when a lenslens is
is very
very close.
close. A
A good
good work-
work- length lenses are actually of
oftelephoto
telephoto design.
design. The
The
ing distance forfor a head-and-shoulders
head-and-shoulders portraitportrait isis optics of
of a true telephoto
telephoto make
make it it smaller
smaller than
than aa
6–8
6- 8 ft. (2–2.5
(2- 2.5 m),
m), easy toto do with
with aa medium-long
medium-long conventional long lens of ofthe
the same
same focal
focal length.
length. AA
lens—from
lens- from 85mm to to 135mm
135mm focalfocal length.
length. tele-extender, or teleconverter,
teleconverter, contains
contains an an optical
optical
element that increases the
the effective
effective focal
focal length
length of
of
A long prime lens, compared
compared with
with one
one of
of a lens. It attaches between thethe lens
lens and
and the
the cam-
cam-
normal focal length, is larger, heavier, and era. The optical performance,
performance, however,
however, will
will not
not be
be
somewhat
son1ewhat more expensive.
expensive. Its
Its largest
largest aperture
aperture isis as good as the
the equivalent long
long lens.
lens.

C HAPTER 2
CHAPTER 37
Short Focal Length
W I D E - A N G L E LLENSES
WIDE-ANGLE ENSES

Manzano. Two rebel soldiers

Javier Manzano.
Javier fast-moving and sometimes crowded sit-
LL enses ofof short focal length
length are
are also
also called
called in Syria guarding their sniper’s
the Karmel jab/
sniper's nest in
Jabl neighborhood,
neighbarhaad, Aleppo,
Aleppa,
uations. For example, many photojour-
nalists regularly use 35mm or 28mm as
wide-angle or sometimes
someti1nes wide-field
wide-field lenses,
lenses, which
which
Syria,
Syria, 2012. Short lenses let you get their “normal”
"normal" lens instead of ofa 50mm
describes their most
most important
important feature—they
feature- they viewview
close. Here, the photographer was
in close. lens.
lens. These medium-short lenses give a
a wider angle of of a scene thanthan normal.
normal. A A lens
lens of
of working in a very confined space but still wider angle ofofview than does a 50mm
normal focal length records
records whatwhat youyou see
see when
when wanted to show as much of ofthe crowded
crowded lens,
lens, which makes it easier to include
you look at a scene with eyeseyes fixed
fixed in
in one
one position.
position. and tense environment as possible. The the setting in close qquarters.
uarters. Shorter
wide lens gathered all the details.
details. lenses also give you
you more depth ofoffield,
field,
A 35mm wide-angle lens lens records
records thethe 63°
63 ° angle
angle ofof Wide-angle lenses are popular which can let a photographer focus the
view that you see ifif you movemove youryour eyes
eyes slightly
slightly with photojournalists, feature pho- lens approximately instead of ofhaving
having to
from side to
to side. A
A 7.5mm
7.5mm fisheye
fish eye lens
lens records
records the
the tographers, and others who shoot in fine-focus every shot.
180° angle you see ififyou turnturn your
your whole
whole head
head toto
look over your left
left shoulder and and then
then over
over your
your
right shoulder.
A popular short lens lens for
for aa full-frame
full-frame camera
camera
is 28mm. Comparable focal focal lengths
lengths areare 55mm
55mm
for a medium-format film film camera
camera withwith 66 ×x 7cm
7cm
format, and 90mm for for a 44 ×x 5-inch
5-inch view
view camera.
camera.

38
38 LLENS
ENS
 A short lens can give great great depth
depth of offield.
field .The The
shorter the focal length of of a lens,
lens, the
the more
more of of aa
scene will be sharp (if
(ifthe
the f-stop
f-stop and
and distance
distance from from
the subject remain unchanged). A A 28mm
28mm lens, lens, forfor
example, when stopped down to to f/8
f/ 8 can
can produce
produce
an image that is is sharp from
from less
less than
than 6.56.5 ft.
ft. (2
(2 m)m)
to infinity (as far as the
the eye
eye oror lens
lens can
can see),
see), which
which
often will eliminate thethe need
need forfor further
further focusing
focusing
as long as the subject is is within
within the the range
range of of dis-
dis-
tances that
chat will be
be sharp.
The focal length of of what’s
what's called
called aa widewide (or (or
normal or long) lens depends on on the
the size
size oror for-
for-
mat ofof the film or digital sensorsensor you you areare using.
using.
The light-sensitive recording chip chip inin many
many digital
digital
cameras is smaller than full full frame
frame and,and, ifif itit is,
is, itit
will capture any given angle
angle of ofview
view with
with aa shorter-
shorter-
focal-length lens.
Short lenses show a wide view. Short-focal-length lenses are Depth ofof field, on the the other
other hand,
hand, depends
depends
useful for including a wide view of
ofan area. They are capable
capable of
of on the actual focal length of ofthe
the lens;
lens; ififeverything
everything
great depth of
offield so that objects both close toto the lens
lens and
and far
far else stays the same, a shorter
shorter lenslens will
will always
always give give
from it will be in focus,
focus, even at a relatively large aperture.
aperture.
you greater depth of of field.
field. The compact
compacr camera camera
on page 12,
12, left, has aa fixed
fixed zoom
zoom lens lens (see
(see page
page
40) with a focal length of of 4.3–86mm.
4.3- 86mm. BecauseBecause of of
the small sensor size, its its 35mm
351nn1 equivalent
equivalent is is aa
24–480mm
24- 480mm zoom. Using Using that
chat camera,
camera, you you would
would
get much greater depth of of field
field for
for any
any photo-
photo-
graph than
t han you would
wou ld using
using itsits 35mm-equivalent
35mm-equivalenc
lens with a full-frame camera.
camera.

Wide-angle “distortion.”
"distortion." A A wide-angle
wide-angle lenslens can
can
seem toco distort an image and produce produce strange
strange
perspective effects. Sometimes these these effects
effects are
are
actually caused by the the lens,
lens, as
as with
with aa fisheye
fis heye lens
lens
(page 41
41 bottom). But,
But, more
more often,
often, what
what seems
seems to to
be distortion in an image
image made
n1ade with
with aa wide-angle
wide-angle
lens is caused by thethe photographer
photographer shooting
shooting very very
close to the subject.
A 28mm lens, for for example,
example, willwill focus
focus as as close
close
Karl Baden

as 1 ft. (0.3 m), and shorter

shorter lenses
lenses even
even closer.
closer. Any
Any
object seen from close up up appears larger
larger than
than an an
Objects up close appear larger. A short lens lens can produce object of
of the same
san1e size that
that is
is at
at aa distance.
distance. While
While
strange perspective effects. Because
Because it can be focused
focused at
at very
very
close range, it can make objects in the
the foreground large
large in
in you are at a scene,
scene, your brain
brain knows
knows whether
whether you you
relation to those in the background. With the lens close to to the
the are very close to an object,
object, and ordinarily
ordinarily you you
resting man’s
man's feet,
feet, they look monumental, making
making a photograph would not notice any visual exaggeration.
exaggeration. In In aa
with an entirely different meaning than the
meaning than the one above.
photograph, however,
however, you notice
notice size
size compari-
compari-
sons immediately. Our impression
impression of of perspective
perspective
is based on size relationships
relationships that
chat depend
depend on on lens-
lens-
to-subject
to-subjecc distance. See the the photographs
photographs at at left.
left.

C HAPTER 2
CHAPTER 39
39
 Zoom,
Zoom, Macro,
Macro, and Fisheye Lenses

O
O ther lenses can view a scene
scene in
in aa new
new way
way Macro lenses are used used for
for close-up
close-up photography
photography
or solve certain problems
problems with
with ease.
ease. (opposite, top).
cop). Their optical
optical design
design corrects
corrects for for
the lens aberrations that
char cause
cause problems
problems at at very
very
Zoom lenses are popular popular because
because they they combine
combine short focusing distances, but but they
they cancan also
also be be
a range of of focal lengths
lengths into
into oneone lens
lens (see
(see below).
below). used at normal distances. Their
Their disadvantages
disadvantages are are
The glass elements of of the
the lens
lens cancan be be moved
moved in in a slightly
slighrly smaller maximum
maximum aperture, often often f/2.8
f/2.8
relation
re lation toto each other;
ocher; thus
thus infinitely
infinitely variable
variable for a 50mm lens, and slightly
slighcly higher
higher cost.
cost. (More
(More
focal lengths are available within
within the the limits
limits ofofthe
the about
abour making close-up photographs
photographs on on page
page 50.)
50.)
zooming
zo01ning range.
range. Using
Using aa 50–135mm
S0-13Sn1m zoom, zootn, forfor Longer-focal-length macro
macro lenses
lenses let
let you
you magnify
magnify
example, is like having aa 50mm, 85mm, 85mm, 105mm,105mm, an image, like the
t he one opposite,
opposite, top,
top, without
without dis-dis-
and 135mm
135mm lens instantly
instanrly available,
available, plus p lus any
any focal
focal turbing the subject.
length in between. Compared
Compared to to prime,
prime, or or fixed-
fixed- Macro-zoom lenses combine both both macro
macro
focal-length,
focal- length, lenses,
lenses, zooms are are somewhat
somewhat more more and zoom features. They focus focus relatively
re latively close,
close,
expensive, bulkier, and heavier,
heavier, but but oneone of of them
them although usually not not as close
close asas aa fixed-focal-
fixed-focal-
will replace
rep lace two
two or more
more fixed-focal-length
fixed-focal- length lenses. lenses. length
lengch macro lens, and give aa range
range of
offocal
focal length
length
Zoom lenses are best used used where light light isis ample
ample choices in one lens.
because theythey have a relatively
relatively small
small maximum
maxin1um
aperture. Older
O lder zoom lenses
lenses werewere significantly
significanrly Fisheye lenses have have aa very
very wide
wide angle
angle of ofview—up
view- up
less sharp than
than fixed-focal-length lenses lenses butbut new
new to 180°—and
180 ° - and they exaggerate to to an
an extreme
extreme degree
degree
designs nearly matchmatch them.
them. The “kit” "kit" lenses
lenses sold
sold differences in size between
between objects
objects that
that are
are close
close to
to
as a package with DSLRsDSLRs areare usually
usually zooms.
zooms. MostMose the camera and thosechose that
chat are
are farther
farther away.
away. They
They
current zoom lenses are also also autofocus.
autofocus. actually distort
d istort the
the image
image by by bending
bending straight
straight
“Digital”
"Digital" zoom, a featurefeature foundfound on on some
son1e lines at the
rhe edges of of the
the picture
picture (opposite,
(opposite, bot-
bot-
digital cameras marketed
marketed to to amateurs,
amateurs, only only crops
crops tom). Fisheye lenses,
lenses, because
because of of their
t h eir very
very short
shore
the image, enlarging the the pixels
pixels in in the
the part
part ofofthe
the focal length, also produce a great great deal
deal ofofdepth
depth of of
image that’s
chat's left. Quality
Quality is
is less
less than
than you’d
yo u'd get
get by
by field: objects within inches
inches ofofthe
rhe lens
lens and
and those
those inin
using a longer lenslens or
or moving
moving closer
closer for for the
the shot.
shot. the far distance will bebe sharp.
sharp.

A zoom
A zoom lens you a
lens gives you
choice of
ofdifferent focal
lengths within the same
lens.
lens. The rectangles
overlaid on the picture
you some of
show you ofthe
very different ways you
you
could have made this
photograph by zooming
in to shoot at a long focal
length or zooming back to
shoot at a shorter one.
Robert Richfield

40 LLENS
ENS
Focus and Depth of
of Field

S$ harp focus attracts the

the eye.
eye. Sharp
Sharp focus
foc us
acts as a signal toto pay
pay attention
attention to to aa particular
particular
part of
of a photograph,
photograph, especially
especially ifif other
other parts
parts of
of
the image are not as sharp.sharp. If
If part
part ofof aa picture
picture
is sharp
sh arp and part is is out ofof focus,
focus, it it is
is natural
natural
to look first at the the sharply
sharply focused
focused area area (see
(see
photographs, pages 158–159).
I 58- 159). When
When you yo u are
are
photographing, it is is also natural
natural to to focus
foc us the
the
camera sharply on o n the
the most
most important
important area. area. You
You
can select and, to
to a certain extent,
extent, control
contro l which
wh ich
parts of
of a scene will bebe sharp.

When you focus a camera camera on on anan object,

object, the the
distance between lenslens and
a nd film
film (or
(or digital
digital image
image
sensor) is adjusted,
adj usted, automatically
a u tomatically with with an an inter-
inter-
nal motor or manually by by your
you r rotating
rotating aa ringrin g on
on

Karl Baden
the
t he lens barrel, until
until the
the object
object appears
appears sharpsharp on on
the
t he viewing screen.
screen. You
You focus
focus manually
manually by by turn-
tu rn-
ing that focusing ring ring until
until thethe object
object appears
appears
Depth of offield is the part of ofa scene that
that photographer actually focused on the dog’s
dog's eye.
sharp in your
yo ur viewfinder or or aa mark
mark on on thethe lens
lens appears acceptably sharp in a photograph. For another picture, above right, the photog-
barrel corresponding to to its
its distance
d istance aligns
al igns with
with Depth of field can
off,eld con be deep, with everything
everything rapher wanted shallow depth of off,eld, with only
field,
a focusing
foc u sing mark.
n1ark. If
If you areare using
u sing anan automatic-
a u tomatic- sharp from near to far.
far. In the photograph above, some of
ofthe scene sharp. Here the only
only sharp
left,
le~, it extends from the dog’s
dog's paws in the
the fore-
fore- part of
of the picture is the eye on which the
the lens
focus camera, you focus focus by by aiming
aiming the the focus
focus
ground to the fluted column behind him. The The was focused.
focused.
indicator in your viewfinder
viewfinder (usually
(usually aa spot spot in in
the
t he center) at the object
object and
and partially
partially depressing
depressing
Depth
De th of
of field:
field: where the
the
t he shutter-release button. The motor n1otor in in the
the lens
lens scene is acceptably sharp
moves the lens elements away away from
from or or closer
closer to co
Plane of critical
the
t he film or sensor until
until that
that spot
spot isis in
in focus.
foc u s.
focus: where the
lens is focused
Depth of of field.
field . In
In theory,
theory, aa lens
lens can
can only
only focus
focus
on a flat plane at one single
single distance
distan ce at at aa time
rime and
and
objects at all other distances will
The distance from your lens
plane of focus, is
of critical focus,
lens to
wi ll be
to that
is called the
be less

the object
less sharp.
t hat plane,
sh arp.
plane, the
t he
object distance
distance
1L
,_
----J
:
and
a nd is usually indicated by by aa distance
distance scale scale onon
the lens. In In most cases, however,
however, part part of of the
the Imagine the plane of focus (the distance on which
ofcritical focus which you focusfocus the
the lens)
lens) toto be
be some-
some-
scene will be acceptably
acceptably sharp
sharp both both in in front
front thing like a pane ofofglass stretched from
from one side of ofthe
the scene
scene toto the
the other.
other. Objects
Objects that
that lie
lie
along that plane will be sharp. In front of ofand behind
behind the
the plane
plane of ofcritical
critical focus
focus lies
lies the
the depth
depth ofof
of
of and
an d behind the most most sharply
sharply focused
focused plane.
plane.
field,
field, the area that will appear acceptably sharp. The The farther
farther objects
objects are
are from
from the
the plane
plane of ofcriti-
criti-
Objects will gradually
gradually become
become moremore and and more
more cal focus in a particular photograph, either toward the
either toward the camera or away from it, the less
or away from it, the less sharp sharp
out of
of focus thethe farther they
they are
are from
from the the most
most they will be. IfIfobjects are far enough from the the plane ofofcritical
critical focus
focus toto be
be outside
outside the
the depth
depth of of
sharply focused area. This This region
region within
within which
which field,
field, they will appear noticeably out of offocus.
focus.
Notice that the depth of offield extends about one-third
one-third in front
front ofofthe
the plane
plane of ofcritical
critical focus,
focus,
objects appear acceptably
acceptably sharp in in the
the image—the
image- the
two-thirds behind it. This is true at normal
normal focusing
focusing distances,
distances, but,
but, when
when focusing
focusing very
very close
close
depth ofof field—can
field- can be be increased
increased or or decreased
d ecreased (see(see to a subject, the depth of field
off,eld is more evenly
evenly divided, about
about ha/fin front and half behind the
half in front and half behind the
pages 44–45).
44- 45). plane ofofcritical focus.
focus.

42 LLENS
ENS
 Automatic Focus
Automatic

Auto focus can mean out Automatic focus used used toto bebe found
found only
only on on
of focus when a scene has a
of point-and-shoot snapshot cameras.
cameras. But But now
now itit isis
main subject (or subjects) off
off
to one side and at a differ- standard equipment on on almost
aln1ost all
all cameras.
cameras. When
When
ent distance from whatever you push down the the shutter-release
shutter- release button
shutter-release button part
part
object is at the center. Most way, the camera adjusts the the lens
lens to
to focus
focus sharply
sharply
autofocus cameras will focus on what it thinks
thinks isis your subject—usually
subject- usually what-what-
on the object at the center of
of
the frame,
frame, here within the ever object is at the
the center
center of
ofthe
the viewing
viewing screen.
screen.
small bracketed area, over Sometimes you will want to to focus
focus the
the cam-
cam-
the shoulder ofofthe subject. era manually. Just as with automatic exposure, exposure,
there will be times
times when you will will want
want toto override
override
the automatic mechanism
mechanism and and focus
focus thethe camera
camera
yourself. Most single-lens reflex
yourself reflex and
and full-featured
full-featured
compact cameras with automatic focus focus will
will also
also
let you focus manually.
manually.
To correct this, first choose
the focusing distance by plac- The most common problem problem occurs occurs when
when your
your
ing the autofocus brackets on
the main subject and partially
subject is at the side ofofthet he frame,
frame, notnot at
at the
the center
center
pressing down the shutter- (see photos, left). A A camera
camera may may also
also have
have prob-
prob-
release button. Lock the focus lems focusing through
through glass, glass, or
or ifif aa subject
subject has
has
by keeping partial pressure very low contrast, is is inin very
very dim
dim light,
light, oror consists
consists
on the shutter release.
of
of a repetitive pattern.
pattern.
Moving subjects can also also cause
cause problems.
problems.
The adjustment
adjustn1ent of of the
the autofocus mechanism
n1echanism can can
sometimes
son1etimes take
rake long
long enough for for aa fast-moving
fast-n1oving
subject, such as a race
race car,car, to
to move
move out out ofof range.
range.
The lens may “hunt”
"hunt" back back andand forth,
forth, unable
u nable toto
focus at all or maymay makemake an an exposure
exposure with with thethe
subject out ofof focus.
focus.
Reframe your picture Some cameras have have more n1ore sophisticated
sophisticated
while keeping partial pressure electronics to deal with these these problems
problems better.
better.
on the shutter release. Push
Push
the shutter button all the way
Automatic focus is moremore rapid,rap id, for
for example,
example, when when
down to make the exposure. the focusing motor
1noror is is located
located in in the
the lens
lens instead
instead
of
of the camera body. Some cameras cameras can can bebe set
set so
so
the lens, once it it is focused
focused on o n aa moving
moving object,
object,
will keep it in focus forfor aa series
series of
ofexposures.
exposures. ReadRead
the instructions forfor your cameracamera and and lens
lens so
so you
you
know how the autofocus mechanism mechanism operates.
operates.

Take a moment to evaluateevaluate each

each situation.
situation .
Override the automatic system
system when
when itit is
is better
better
to do so, rather than
than assume that
that the
the right
right part
part of
of
the picture will
wi ll be
be sharp simply
simply because
because youyou are
are
set for automatic
auton1atic focus.
focus.

C HAPTER 2
CHAPTER 43
43
Depth of
of Field
C O N T R O L L I N G SSHARPNESS
CONTROLLING H A R P N E S S IIN
N A PPHOTOGRAPH
HOTOGRAPH

D
D epth of
of field. Completely
Completely sharp
sharp from
from fore-
fore- increases the depth of
of field.
fie ld. As the
t he aperture
aperture gets
gets
ground to background, totally totally out
out of of focus
focus smaller, more of
of the
the scene
scene will
will be
be sharp
sharp in
in the
the
except for a shallow zone,
zone, or
or sharp
sharp toto any
any extent
extent photograph. Marc PoKempner.
in between—you
between- yo u get to to choose
choose how
how much
much of ofyour
yo ur Rev. Ike, Chicago, 1975.
1975.
image will be sharp.
sharp. When
When you
you make
make aa picture,
picture, Focal length. Using
Using aa shorter-focal-length
shorter-focal-length lens lens Shallow depth of of field
lets you
you draw immedi-
you can manipulate
man ipulate three
three factors
factors that
that affect
affect the
the also increases the
the depth of
of field
field at
at any
any given
given aper-
aper- ate attention to one
depth ofof field (the
(the distance
distance inin aa scene
scene between
between ture. For example, more of of aa scene
scene will
will be
be sharp
sharp area; we tend to look first
the
t he nearest and farthest
fart hest points
points that
that appear
appear sharp
sharp when photographed withwith aa 50mm
50mm lenslens at
at f/8
f/ 8 than
than at the sharpest objects in a
in a photograph). NoticeNo tice in
in the
the illustrations
illustrations with a 200mm lens at f/8.
f/ 8. photograph. The message
of
ofpreacher Reverend Ike is
opposite that doing so may may change
change thethe image
image inin that God is generous and will
other ways. Lens-to-subject distance. Moving
Moving farther
farther away
away you exactly what you ask
give you
from the subject increases
increases the
the depth
depth of
offield
field most
most for, including,
including,, for example,
Aperture size. Stopping
Stopping down
down the
the lens
lens to
to aa of
of all, particularly if
if you started
started out
out very
very close
close to
to a diamond-studded watch,
ring,
ring, and cuff links, on which
cuff/inks,
smaller aperture, for
for example,
example, from
from f/2
f/ 2 to
to f/16,
f/ 16, the subject. the photographer focused.
focused.

44 LLENS
ENS
 Large Aperture Small Aperture

The smaller the aperture (with

00
(with a given lens),
lens), the
the greater
greater
the
t he depth ofof field. Using a smaller
smaller aperture for
for the
the picture
picture on
on
the far right increased the
the depth ofaffield
field and
and made
made the
the image
image
much sharper overall. With
With the
the smaller
smaller aperture, the
the amount
amount ofof
light entering the camera
camera decreased, so aa slower
slower shutter
shutter speed
speed
had to be used to keep the
the total
total exposure the
the same.
same.

Long Lens Short Lens

The shorter the focal

focal length of ofthe
the lens, the
the greater
greater thethe
depth ofof field. Both of
ofthese photographs werewere taken
taken from
from the
the
same position and at the same aperture. Notice
Notice that
that changing
changing
to a shorter focal length for
for the
the picture on the
the far
far right
right not
not only
only
increased the depth
depth of
offield
field but
but also changed
changed the
the angle
angle of
ofview
view
(the amount of ofthe scene shown) and the the magnification
magnification of of
objects in the scene.

Up Close Farther Back

ia
The farther
fa rther you are from
from a subject,
subj ect, the
the greater
greater the the depth
depth
of field, at any given focal
focal length
lenyJ:h and
and aperture.
aperture. TheThe photog-
photog·
rapher stepped back to take the picture on the the far
far right.
right. IfIf you
you
focus
focus on an object far enough away, the the lens will
will form
form aa sharp
sharp
image ofofall objects from
from that point
point out
out to
to infinity.
infinity.

Small Sensor = Great

Great De
Depth of Field
th of Field
Digital cameras with
with small
small sensors
sensors can
can give
give The sensor in in most
most digital
digital cameras
cameras is is small-
small-
Sensor Name
Na m e Diagonal
Diagona l
you unexpected depth
depth of
of field.
field . The shorter aa er—in
er- in many cases,
cases, considerably
considerablysmaller.
smaller.AAnormal
normal
lens’s
lens's focal length (at (at the
the same
same aperture
aperture andand dis-
dis- lens for that type
type of
of camera
camera will
will be
be shorter
shorter than
than
1/2˝
1/ 2 " 8.0mm
8 .0mm
tance from the the subject),
subject), thet he greater
greater therhe depth
depth ofof the 50mm lens that t hat is
is normal
normal forfor aa full-frame
full-frame
field. The size ofof a camera’s
camera's sensor
sen sor affects
affects what
what isis camera, and so will havehave more
more depth
depth ofoffield.
field. The
The
considered a normal-,
normal-, short-,
short-, oror long-focal-length
long-focal-length compact digital camera
can1era pictured
pictured on
on page
page 12,12,top,
top, 1/1.8˝
1/ 1.8 " 8.9mm
8 .9mm
Karl Baden

lens for
fo r that
that camera.
camera. for example, hashas aa sensor
sensor of of 7.4
7.4 ×x 5.55mm.
5.55mm. The The
AA “normal”
"normal" lenslens forfor aa camera
camera (see
(see page
page 34)
34) normal focal length
length isis 9mm.
9mm. IfIf everything
everything elseelse isis 2/3˝
2/ 3 " 11.0mm
11 .0mm
is one with a focal
focal length
length about
about thethe same
same as
as the
the equal, the 9mm lens lens will
will give
give you
yo u much
much greater
greater
length ofof a diagonal line line across
across thethe light-sensitive
light-sensitive depth of field
fi eld than
than the
the 50mm
50mm lens.
lens.
Four Thirds
Thirds˝" 22.5mm
2 2.5mm
surface in the
the camera.
camera. A Afull-frame
full- framedigital
digitaloror35mm
35mm Small sensors use an obscure naming
film camera has has aa 24
24 ×x 36mm
36mm light-sensitive
light-sensitive sur-
sur- system devised for TV
TV camera tubes in
in the
the
1950s.
1950s. Here are sensor
sensor diagonals—hence
diagonals- hence 1.8˝ ( APS-C) 28.4mm
1.8 " (APS-C)
face:
face: a normal
no rn1al lens
len s for
for that
tha t camera
camera is is 50mm.
50mm.
normal lens lengths—for
lengths- for some common sizes.

C HAPTER 2
CHAPTER 45
More about Depth of
of Field
H O W TO
HOW TO P R E V I E W IIT
PREVIEW T

K
K now the extent of
of the
the depth
depth of
of field
field when
when
photographing a scene—how
scene- how much much of of the
the scene
scene
from near toto far will be
be sharp—to
sharp- to make
make better
better pic-
pic-
tures. You may
tnay want toto be
be sure
sure that
that certain
certain objects
objects
are sharp. Or you may
may want something
something deliberate-
deliberate-
ly out of
of focus, such as aa distracting
distracting background.
background.
To control what is sharp, itit is
is useful
useful to
to have
have some
some
way of
of gauging the
the depth ofof field.
field.

Checking the depth of

of field.
fi eld . With
With aa single-
single-
lens reflex camera, you view view the the scene
scene through
through

----
the lens. No matter
matter whatwhat aperture
aperture setting
setting youyou
have selected, the lens
lens isis ordinarily
ordinarily wide wide open
open for
for
viewing to make
make thethe viewfinder
viewfinder image image as as bright
bright
and easy to see as possible.
possible. However,
However, the the large
large
aperture size means
means thatchat youyou seesee the
the scene
scene with
with
depth ofof field at its
its shallowest. When When you you press
press
Jones. Giant Slalom,
Lou Jones.
the shutter release,
release, theth e lens
lens automatically
automatically closes closes barrel, a printed table,
table, or aa calculator
calculator to
to estimate
estimate
Winter Olympics, Japan,
Olympics,)apan,
down to ro the taking aperture. Unless Unless you you are
are tak-
tak- depth of
of field with these
these cameras
cameras as as well.
well. An
An elec-
elec- 1998.
1998. With zone focusing
ing a picture using
using thethe widest
widest aperture,
aperture, the the view-
view- tronic viewfinder can preview
preview depth
depth of
offield.
field. you can be ready for an action
you
finder image will not not have
have the th e same
same depthdepth of of shot by focusing in advance,
ififyou
you know approximately
field as the final
final photograph.
photograph. Some Some single-lens
single-lens Zone focusing for action. Know
Know the
the depth
depth
where the action will take
reflex cameras have have a previewing
previewing mechanismmechanism of
of field in advance when you you want
want toto preset
preset the
the place. Suppose you you are on
that
chat lets
lees you, ifif you wish, stop stop down
down the the lens
lens lens to be ready for
for an
an action
action shot
shot without
without last-
last- a ski slope and you you want to
to view the scene at the the taking
caking aperture
aperture and and see
see minute
n1inuce focusing. Zone focusing
focusing uses
uses aa table
cable or or photograph a skier coming
down the hill. The nearest
nearest
how much will be sharp. sharp. the depth-of-field scale on on the
the lens
lens to
to preset
preset
point at which you you might
Unfortunately, ififchethe lens
lens isis set
set to
ro aa very
very small
small manual
n1anual focus and aperture
aperture so
so that
that the
the action
action will
will want to take the picture is 15 15
aperture, the stopped-down image image on on thethe viewing
viewing be photographed well within
within thethe depth
depth ofof field
fi eld ft.
ft. (4.5 m) from the action;
screen may be tootoo dark
dark to to bebe seen
seen clearly.
clearly. If Ifso,
so, or
or (see below and right).
right). the farthest is 30 ft. (9 m).
Line up the distance
if
if your camera doesn’t
doesn' t have
have aa preview
preview feature,
feature, you
you
scale so that these two
may be able toto read thethe near
near andand farfar limits
limits ofofgood
good

-
Depth of
of field
field distances are opposite a pair
l<----------->i
focus on a depth-of-field scale scale on on the
the lens
lens barrel
barrel I I of f-stop indicators on the
off-stop
(this
(chis page, bottom). Many Many newernewer auto focus lenses
aurofocus lenses Distance scale lines up depth-of-field scale (with the
'
don’t
don 't have them,
then1, but
but you can can use
use tables
tables showing
showing '' opposite the pointer to lens shown at left,le~, the two
'Ｑ＠ show the distance from
from distances fall opposite the
the depth of of field for
for different
different lenses
lenses at at various
various ＠ ＠ ＠ ＠ ＠ ＠ ＠ the camera to the most f/16 indicators).
indicator>}. Now, ifif
＠ ＠ ＠ ＠ ＠ Ｚ＠
' ＠ ＠ sharply focused
focused object.
focusing distances and f-stops. f-stops. SuchSuch tables
tables were
were your aperture is set to f/16,
your f/16,
,o
10 15
15 20
20 30 cjo
ft
everything from 15ft
originally printed in in books,
books, now now online
online and and port-
port- 15ft to 30 ft.
ft.
5 7 110
10 m
10
(4.5–9
(4 .5- 9 m) will be within the
able calculators and smartphones
smartphones provide provide the the

-
I II I 1 11 1 I I
2216
22 16 84
8 4 48
4 8 1622
16 22 Depth-of-field scale depth of offield and in focus.
focus .
same information (see opposite
opposite page).page). 45.681116
4 5.6 8 11
11 16 22
16 2 2 lines up opposite the It doesn't
doesn’t matter exactly
A rangefinder or viewfinder camera camera showsshows distance scale to show where the subject is when
you the scene through aa small small window
window in in the
the cam-
cam- the range of
of distances you make the photograph, as
you
Aperture ring lines up that will be sharp at long as it is somewhere within
era body through which all all objects
objects looklook equally
equally
opposite the pointer to various apertures.
apertures. these distances.
distances. Pre-focus an
sharp. Some digital cameras
cameras without
without aa viewfinder
viewfinder show the aperture to autofocus lens by aiming at
window let you zoom zoon1 in in to to aa test
test shot
shot on on the
the which the lens is set. a spot the same distance the
monitor to to judge depth
depth of of field
field very
very accurately.
accurately. action will be and holding
holding the
shutter button down halfway
You can also use a depth-of-field
depth-of-field scale scale onon the
the lens
lens
until you
you frame and shoot.

46 LLENS
ENS
Ansel Adams. Tetons and
the Snake River, Wyoming,
1942.
1942. The smaller the
aperture the greater the
depth of field. Everything in
of field.
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.
tripod. Even ififyou
you
are using a small camera, a
tripod is a good idea to avoid
motion blur when the aper-
ture is small and the shutter
speed is correspondingly slow.

Focusing for the greatest

greatest depth
depth of
of field.
field. Depth of field

When you are shooting shoo ting aa scene

scene that
ch at includes
in cludes
important
impo r tant objects
o bjects at a distance
distance as
as well
well asas close
close
up, you
yo u will wantwane maximum
maxim um depthdepth of of field.
fie ld.

•
Shown in the t he box at right
right is
is a way
way ofof setting
settin g the
t he 50 100 ft
15 30 m
lens
len s to permit as much n1 uch as possible
possible of of the
t h e scene
scene
22 16 8 4 4 8 16 22
to
co be sharp. It le is easy if
if you
yo u have
have aa lens
lens that
chat hashas 5.6 8 11
11 16
16 22

a depth-of-field
dept h-of-fie ld scale. If If not,
no t, you can
can look
look upu p the
t he
depth
dep th of
of field in a printed
printed table
table or
or byby using
using aa When the lens is focused at infinity ( ∞ oo on the lens
depth ofof field application (see (see below).
below). 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-field tables list, Depth of
of field
field

for each lens focal length,

focusing distance, and
aperture, the near and far
limits of
ofgood focus and the

•
hyperfocal distance (see the 20 30 50 100 ft
box at right).
right). At one time 7 10 15 30 m

only available as a lengthy 22 16 8 4 4 8 16 22

book, a full set of

ofdepth- 5.6 8 11
11 16
16 22

of-field
offield tables can now be
downloaded as an app (a
software program) for your
your
smart phone. You can have
complete focus information
handy wherever youyou are.
At left is Simple
s;mple D-o-F
Calculator on an iPhone.
iPhone.
You can increase the depth of offield even more if, if, instead
instead of of
focusing on infinity, infinif)' mark ( ∞
you set the infinity
infinity,you oo)) opposite the
point on the depth-of-field scale (22) that shows the f-stop f-stop you
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
distance
d;scance).). Now everything from 23 ft. (7 m) to the far far back-
ground is within the depth ofoffield and will
will be
be sharp in the the image.

C HAPTER 2
CHAPTER 47
Perspective
H OW A P
HOW H O T O G R A P H SSHOWS
PHOTOGRAPH HOWS D EPTH
DEPTH

PP erspective:
erspective: the impression
impression of
of depth.
depth. Few
Few
lenses (except thethe fisheye)
fisheye) noticeably
noticeably distort
distort thethe
scene they show. The perspective
perspective in in aa photo-
photo-
graph—the
graph- the apparent size and and shape
shape of of objects
objects
and the impression of of depth—is
depth- is what
what youyou would
would
see if
if you were standing at at the
the camera
camera position.
position.
Why then
t hen do some photographs
photographs seem seem to to have
have anan
exaggerated depth, with the the subject
subject appearing
appeari ng
stretched and expanded (this (this page,
page, top),
top), whereas
whereas
other photographs seem to to show
show aa compressed
compressed
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
foreground
foregro u nd with those
t hose in
in the
the background;
background; the the
greater the size differences perceived,
perceived, the the greater
greater
the
t he impression of of depth. When
When viewing
viewing an an actual
actual
scene, the brain has otherother clues
clues toto the
the distances.
d istances.
But, when looking at a photograph,
photograph, the the brain
brain
looss. Ali vs.
Walter Iooss. vs. Terrell, Houston, 1967.
1967. Expanded perspective seems
Expanded perspective seems to
to
relies primarily
pri1narily on relative
relative sizes.
sizes.
result from the very wide lens. But
But using
using any lens
lens this close
close to
to aa subject
subject stretches
stretches
distances because it magnifies objects near
near the
the lens
lens in relation
relation toto those
those that
that are
are
Perspective can be
be controlled
controlled in
in aa photo-
photo- far from the lens.
lens.
graph.
graph . Any lens very close to
to the
the foreground
foreground
of
of a scene increases thethe impression
impression of of depth
depth byby
increasing the size of of foreground
foreground objects
objects rela-
rela-
tive to objects in the
the background.
background. As As shown
shown on on
the opposite page,
page, perspective
perspective isis not
not affected
affected byby
changing the focal length of ofthe
the lens
lens ififthe
the camera
camera
remains
ren1ains in the same position.
position. However,
However, the the rela-
rela-
tive sizes of
of objects do change
change ififthe
the distance
distance fromfrom
lens to subject is
is changed.
changed.

Perspective can be be exaggerated

exaggerated ififyou you change
change
both focal length and lens-to-subject
lens-to-subject distance.
distance. AA
short-focal-length lenslens used
used close
close to
to the
the subject
subject
increases differences in in size because
because it it is
is much
much
closer to foreground objects than than to
to those
those in in the
the
background. This increases
increases the the impression
impression of of
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 long-
long-
focal-length lens used used farfar from
from thethe subject.
subject. looss. 100
Walter Iooss. 100 m start, Los
Los Angeles, 1983.
1983. Compressed perspective isis
Compressed perspective
usually associated with a long-focal-length lens. ItIt is because
because the
the lens
lens isis relatively
relatively
Differences in sizes are decreased
decreased because
because the the lens
lens far from both foreground and background that that size differences
differences between
between near near and
and
is relatively far
far from
from all objects.
objects. This
This decreases
decreases the the far parts of
ofthe scene are minimized, as isis the
the impression of ofdepth.
apparent depth and sometimes
sometimes seemsseems to to squeeze
squeeze
objects into a smaller space space thanthan they
t hey could
could
occupy in reality.
reali ty.

48
48 LLENS
ENS
 Changing focal length alone does not
perspective-—the
change perspective—the
perspective 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 waswas –1
–2
400

increased. As a result, the size of

ofall the
the ob-
0

increased. +1
+2

jects increased at a comparable rate. Notice

jects
that the size of
ofthe fountain and the size ofof MA
S

the windows in the background both change

the same amount. The impression of ofdepth
remains the same.
Alan Oransky

Lens-to-subject distance controls perspec-

tive. 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 –1
–2
–1
–2
–1
–2

bigger while the size of

ofthe windows remains
400

400
400

0 0 0
+1 +1 +1
+2 +2 +2

about the same. The depth seems to increase

because the camera was brought closer
closer to the MA MA MA
S

nearest part of
ofthe subject.

C HAPTER 2
CHAPTER 49
49
 Attachments
Lens Attachments fens is your
A macro lens your best
choice for sharp close-ups. IfIf
C LOSE-UPS A
CLOSE-UPS N D FFILTERS
AND ILTERS you don't
you don’t have one, there are
other ways to get close.

C
C lose-up equipment, some
som e of
of which
which isis shown
shown closer to a subject. But Bue the
th e more
m o re theth e lens
lens isis
on the right,
ri ght, will let youyo u move
m ove in
in very
very close
close to
to aa extended,
exten ded , the
t he dimmer the the light
ligh t that
th a t reaches
reaches thethe
subject. The T he closer your
yo ur camera
cam era isis to
to aa subject,
subject, thet he light-sensitive
ligh t-sensit ive surface, and
a nd the
the more
mo re exposure
exposu re youyo u
larger the imageim age on o n the
the sensor
sensor or o r film.
fi lm . A
A close-up
close-up need
n eed so the
t he result will not
not bebe underexposed.
u n d erexposed.
A close-up lens at-
is an
a n image on o n the
the light-sensitive
light-sensitive surface
surface from
from A camera
cam era that
chat meters
m eters through
th rough the the lens
lens will
will taches to the front
fron t of
ofa
abo ut 11/10
about ⁄10
10 life size (1:10) to to life size (1:1).
(1:1). Macro-
Macro- increase thethe exposure
expos ure automatically.
auto ma tically. But Bur ifif the
the camera lens. They come
photography refers to
photography to anan image
im age that
that is is anywhere
anywh ere close-up
close-u p attachment breaks
breaks the
the automatic
au to matic coupling
coupling in strengths measured
from life
li fe size (1:1)
( 1:1) to
to as big
bi g as
as ten
ten times
t im es life
life size between lens and camera, in diopters; the higher
higher
size camera, you
yo u must
must increase
increase thethe
the diopter number,
(10:1). Photo-micrography uses uses aa microscope
microscope to to get
get exposure manually;
1n an ually; follow
follow thethe recommendations
recomm en dation s the closer you
you ccan
yo an
an
a n image larger than than 10:1.
10: 1. given by the manufacturer
man ufacturer ofof the
the tubes
tubes or or bellows.
bellows. focus.
focus. Close-up lenses are
relatively inexpensive and
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 small, but image quality
qua/ii;)'
will not be as good as with
closer the
th e lens comes
com es to co the
the subject,
su bject, the
the narrower
narrower let you
yo u use smaller
sm aller apertures
apertures forfor greater
greater depth
depth of of other methods.
the depth
de pth ofo f field
fi eld (the
(th e more
m ore the
th e background
backgro und and a nd field. To bring
b ring out texture,
texture, angle
angle light
ligh t across
ac ross the
the
foreground
fo reground go out of of focus).
focus). Focusing
Focusing manually
m an ually subject from the the side
side to to pick
pick out
o u t every
evety ridge
ridge and
a nd
and moving
m oving the the camera
cam era slightly
slightly forward
forwa rd or o r back
back crease. Direct
Di rect light can be be very
ve ry contrasty,
contrasty, though,
th o ugh,
may
m ay help to to get precise
p recise focusing.
focus ing. Smaller
Sm aller aper-
ape r- with
wit h bright highlights
high ligh ts and and too-dark
too-dark shadows.
shadows. IfIf
tures for increased depth de pth of
offield
field will
will increase
in crease the
the this
chis is the case, fill light
light can
can help
hel p lighten
ligh ten thethe shad-
sh ad-
exposure time;
ti m e; a tripod
t ripod (used
(used with
with aa cable
cable release,
release, ows (pages 142–143).
142- 143). Close-up
Close-up subjects
su bjects areare small,
sm all,
remote
rem o te trigger, or o r self-timer)
self-timer) will
will prevent
preven t camera
cam era so using
u sing even a letter-sized
letter-sized piece
piece ofofwhite
whi te paper
pa per asas
motion
n1ocio n during
du ring exposure. a reflector can lighten
ligh ten shadows
shad ows significantly.
significantly.
To copy a flat fl a t subject,
su bject, such
such as as aa page
page from
fro m
Increased exposures are
are always
always needed
needed for
for a book, lighting
ligh ting should
sh ou ld bebe even.
even . Two
Two lights
lights of of Bellows (and
(and similar ex-
close-ups. Regardless of
o f the
the method—a
m ethod- a macro
m acro equal intensity, one o ne on o n each side
sid e of
o f the
the subject
subject tension tubes) fit between
the lens and the camera
lens, extension tubes,
tubes, or
or aa bellows—the
bellows- the lens
lens must
must and
an d at the
t he same distance
di stan ce andand angle,
a n gle, will
will illumi-
illum i- to increase the distance
move
m ove farther from
fro m the
the sensor
sensor or
o r film
film to
to focus
focus nate
n a te it uniformly.
u n ifor n1ly. from the lens to the sen-
sor 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 adapt-
able 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. held meter, read filter instructions
instructions for
for aa recom-
recom-
Glass filters attach to
to the
the front
front ofof the
the lens
lens and
and mended exposure increase in in stops
stops or
or aa filter
filter fac-
fac-
are made in sizes to
to fit various lens
lens diameters.
diameters. ToTo tor that tells how many
many times
rimes the
the exposure
exposure should
shou ld
find the diameter ofof your lens,
lens, look
look onon the
the ring
ring be increased.
engraved around thethe front
front of
of the
the lens.
lens. The
The diam-
diam-
eter (in mm) usually
usually follows
fo llows the
the symbol
symbol Ø. 0. Less-
Less- A polarizing filter can remove remove reflections.
reflections.
expensive, but fragile, gelatin filters
filters are
are available
available If you have ever photographed
photographed through
through aa store
store
that can be cut to
to size with scissors
scissors and
and taped
taped in
in window and got more of of thethe reflections
reflections from
from
place over the lens or held
held with
with anan adapter.
adapter. the street than whatever you wanted wanted toro photo-
phoro-
graph inside the store,
store, you know
know how
how distracting
distracting
Exposure must increase when when filters
filters are
are unwanted reflections can can be.be. Using
Using aa polarizing
polarizing
used.
used . Filters
Fi lters work by removing
removing some of
of the
the light
light filter is a way to
ro eliminate some
some of of these
these reflec-
reflec-
that passes through them;
them; you must
must increase
increase the
the tions (see photographs at at left,
left, bottom).
bottom). The
The filter
fi lter
exposure to prevent
prevent underexposure.
underexposure. A A through-
through- eliminates or decreases reflections
reflections from
from glass,
glass,
the-lens meter
n1erer should compensate
cotnpensate accurately,
accurately, but
but water, or any smooth
sn1ooth nonmetallic
nonmetallic surface.
surface.
check your camera’s
camera's response
response with
with aa test
test shot.
shot.
Look at the histogram
histogram (pages
(pages 60–61)
60- 61) and
and adjust
adjust Landscapes can be be sharper
sharper and and clearer
clearer with
with
the settings manually,
manually, if
if needed.
needed. Using
Using aa hand-
hand- a polarizing filter. Light reflected from
from particles
particles
of
of water vapor or dust in in the
the atmosphere
atmosphere can can
Without
W ithout polarizing filter With
W ith polarizing fi
filter
lte r make a landscape look
look hazy.
hazy. AA polarizing
polarizing filter
filter
will decrease these
these minute
minute reflections
reflections and
and allow
allow
you to see more distant details.
details. It
It may
may also
also help
help
to make
n1ake colors purer and more
more vivid
vivid by
by dimin-
din1in-
ishing unwanted coloring such as as reflections
reflections ofof
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
angles; it attaches to the front
front of
ofthe
the lens
lens and
and can
can
Whe n shooting landscapes, using
When using a polar- rotate to
ro increase or decrease thethe effect.
effect. Changing
Changing
izing filter makes distant objects clearer and the angle to the
the subject also affects
affects the
the polariza-
polariza-
the sky darker,
darker, as in the example above right.
The effect is strongest when you
you are shooting
shooting 90°°
90 tion (see diagrams at left). A A camera
camera thatthat views
views
at a 90° angle to the sun. through the lens lets you seesee in
in the
the viewfinder
viewfinder the the
effect of
of the filter; a test
test exposure
exposure will
will show
show itit in
in
a monitor. Adjust your position
position oror the
the filter
filter until
until
you get the results you want.
want.

Neutral-density (ND)
(ND) filters remove
remove aa fixed
fixed
quantity of of light from
from all wavelengths,
wavelengths, conse-
conse-
quently reducing thethe overall
overall amount
amount of oflight
light that
that
reaches the lens. These filters
filters make
make itit possible
possible to ro
use a slower shutter speed or largerlarger aperture
aperture than
than
you otherwise could. For For example,
example, if if you
you want
want to to
blur action but can’t
can't use
use a slower shutter
shutter speed
speed
because you are already set to to the
the lens’
lens' smallest
smallest
Reflecting surface
aperture and your camera’s
ca1nera's lowest
lowest ISO,
ISO, anan NDND
Reflections are a distracting element in
this photograph (above,
(above, left)
le~) of a dimetrodon
ofo filter over the lens has
has the
the effect
effect of
of dimming
dimming the the
30 – 40°
40°
inside the museum case. A polarizing
polarizing filter
filter on light, letting you then
then set aa slower
slower shutter
shutter speed.
speed.
the camera lens removed most of ofthe reflec- Similarly, if
if you want to to decrease
decrease depth
depth of of field
field
tions (above,
(obove, right).
,ight). The filter works best at
filterwo,ks ot a
but are already set to ro your fastest
fastest shutter
shutter speed
speed
MAS

30°–40°
30°- 40° angle to the reflecting
reflecting surface.
and lowest ISO, an ND ND filter
filter would
would let
let you
you open
open
+2
+1

0
–1
–2
400

e
the aperture wider.
wider.

C HAPTER 2
CHAPTER 51
51
 r

P AUL D
PAUL ’AMATO
D'AMATO Sensors and Pixels . .............
. . . . . . . . . . . 54
54 Overriding an Automatic
Isela,
Isela, Chicago,
Chicago, 1993.
1993. Exposure Camera . .............
. . . . . . . . . . . 66
66
Pixels and Resolution .... .........
. . . . . . . 55
55
Color in Photography
Photography.... ......... . . . . . . . 56
56
Making an Exposure
of
of an Average Scene . ...........
. . . . . . . . . 68
68
Color systems ...................
. . . . . . . . . . . . . . . . . 56
56
Color characteristics . .............
Colorcharacteristics . . . . . . . . . . . 57
57 Exposing Scenes that are Lighter
Lighter
or Darker than Average ........
. . . . . . 70
70
White Balance ..................
. . . . . . . . . . . . . . . . 58
Backlighting ...................
. . . . . . . . . . . . . . . . . 72
72
Using Histograms ..............
. . . . . . . . . . . . 60
60
Exposing Scenes
Exposure Meters ...............
. . . . . . . . . . . . . 62
62
with High Contrast ............
. . . . . . . . . . 73
73
What different types do ............
. . . . . . . . . . 62
62
How to calculate and adjust
adjust HDR ..........................
. . . . . . . . . . . . . . . . . . . . . . . . 74
74
manually ...........
an exposure manually . . . . . . . . . 64
64 High dynamic range . .............
. . . . . . . . . . . 74
74
 Light
Li ht and Exposure
Ex osure 3
In this chapter you’ll
yoLL 'II learn…
•• the difference between
learn ...
between additive and subtractive
color systems, the primary
practical applications.
primary colors of
subtractive
of each,
each, and
and their
their
Y
Y our digital camera’s

Light is the
camera's sensor
sor is exposed to
sensor is
to light,
the visible part
is light

part of
light sensitive.
light, aa change
of the
sensitive.Like
change occurs
occurs that
Likefilm,

the electromagnetic
fi lm,when
that can
can be
electromagnetic energy
whenaasen-
sen
be recorded
-
sen-
recorded and
energy that
and saved.
that exists
saved.
exists in
in aa
continuum from
from radio
radio waves
waves through
through visible
visible light
light to
to cosmic
cosmicrays.
rays. These
Theseenergy
energy
•• how to useuse a light meter
meter or aa histogram
histogram to to get aa
picture that
chat is not
not too dark oror too
too light.
light.
forms differ only inin their
th eir wavelength,
wavelength, the
the distance
distance from
from the
the crest
crest of
ofone
one wave
wave
•• the ways light
light sources and
and the time of ofday
day can
can to
to the crest of
of the
the next.
next. The visible
visible part
part of
ofthis
this spectrum,
spectrum,the thelight
light that
thatwewesee,
see,
affect the
t he colors
co lors in
in your image.
image. ranges between 400 and and 700
700 nanometers
nanometers (billionths
(billionths ofofaameter)
meter) ininwavelength.
wavelength.
Exposing your pictures
pictures correctly
correctly (that
(that is,
is, setting
setting the
the shutter
shu tter speed
speed and
and
aperture so they
they let
let in
in the
the correct
correct amount
amount of oflight
light forfor aa given
given ISO
ISO and
and scene)
scene)
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)
change when struck by this part
picture or a picture that
that isis barely
barely visible
visible because
because itit isis too
too light.
light.
part of
ofthe
the electromagnetic
electromagnetic energy
enerw
spectrum. Some can respond to additional
additional wavelengths
wavelengths that
that the
the eye
eye At
Ac the simplest level,level, you
you can
can let
let your
your automatic
automaticcamera cameraset setthe
theshutter
shutter
cannot see, such as ultraviolet and infrared light.
light. speed and aperture for fo r you.
you . If
If your
your camera
camera has has manual
manual settings,
settings,youyo ucan
cancalcu-
calcu -
calcu-
late them by using aa hand-held
hand-held or or built-in
built-in exposure
exposure meter meter toto make
makean an overall
overall
reading of
of the scene. You can can even
even use
use aa simple
simple chart
chart of ofgeneral
generalexposure
exposurerec-rec -
rec-
Ultraviolet ommendations
omn1endations like like the
the one
one onon page
page 7.7. In
In many
many cases,
cases,these
these standardized
standardizedpro- pro-
V iolet cedures will
wi ll give you aa satisfactory
satisfactory exposure.
exposure. But Bur standard
standard procedures
procedures don’tdon' t
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 thethe subject
subject against
againstthe the brighter
brighterbackground.
background.
Blue This may not be be what
what youyou want.
want.
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
results—if
res u lts- if you know
know howh ow to
to interpret
interpret the
the information
information youryour camera
cameraor o rmeter
meter
Green provides and can adjust the the recommended
recommended exposure
exposure to to get
get any
any variation
variation you
you
Ultraviolet
choose. You willwi ll then
then be
be able
able toto select
select what
what you
yo u want
want toto do
do in
in aaspecific
specificsitua-
situa -
situa-
Visible tion rather than exposing
exposing atat random
random and and hoping
hoping for
for the
thebest.
thebest.
best.
Spectrum

Infrared Yellow
Yellow

Microwave
Red

Infrared
Radio Wave

Minor White. Vicinity of ofAlfred, New York,

York, from
from Sequence 10: 10:
Rural 1955. Infrared radiation is electromag-
Rural Cathedrals, 1955.
netic energy in wavelengths that that are invisible toto the
the naked
naked
eye, but digital sensors as well
well as special film
film can record
record them.
them. InIn
an infrared photograph like this one, leaves andand 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 hehe “wanted
"wanted toto 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 Exposure determines the
the lightness
lightness oro r dark-
dark-
onto a digital sensor sensor that tha t is a grid (or (or array) of of ness of
of the image. The exposure you
yo u select
select (the
(t he
cells called photodiodes or photosites.. Each
or photosites Each photosite
p ho tosite combination
combinatio n of of f-stop and and shutter
shutter speed)
speed) deter-
deter-
is a single electronic device called called aa CMOS
CMOS or or aa mines
min es how much light ligh t from
fro m aa scene
scene will
will reach
reach the
t he
CCD that can collect light. Each Each photosite
photosite collects
collects sensor
senso r and
a n d how light
ligh t or dark
d ark the
t he recorded
recorded image
image
and measures
m easu res the
the amount of of light
ligh t that
tha t falls
falls onon itit will be. The “correct”
"correct" exposure
exposure for for aa given
given situa-
situa-
during an a n exposure. After the the exposure,
exposu re, the the mea-
mea- tion
tio n depends
d epend s ono n how
how you want the the photograph
photograp h to to
surements
s u re ments from
fro m all thethe photosites
phorosires on on the
the sensor
sensor look, and
an d you maym ay have
have some
som e exposure
exposure latitude
latitude—a
latitude-—aa
are
a re converted to digital numbersnum bers and and stored
stored on o n the
the range ofof exposures within which whi ch your
yo ur results
res u lts will
will
camera’s
camera's memory
m em ory card.
card . Then the the sensor
sen sor isis cleared
cleared be equally satisfactory. But But with
with too
too much
much varia-
varia-
for theth e next exposure.
exposu re. Each Each photosite’s
ph otosite's digital
digital tion
tio n from
fro m thethe correct exposure,
exposure, results
resul ts begin
begin to to
number
num ber is a measure
measure of o f the
the lightness
lightness or o r darkness
darkness look disappointing
disappo inting (see (see page
page 61,6 1, bottom).
botto m). The The
(sometimes called the value)) of
the value of aa single
single square
square following
fo llowing pages tell tell how
how toto adjust
adjust thethe exposure
exposure to to
called a pixel (from pic ture
pictu ement). Sometimes
re elelement). Sometimes get the effect youyo u want.
wan t.
photosites
p hotosites themselves
them selves areare called
called pixels.
pixels.
A digital picture is is made
m ade up up ofof aa large
large
number
n umber of of pixels, eacheach oneo ne aa square
square
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 areare 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
the picture looks like like aa continuous-
continuous-
tone photograph.
photograph . If If the
the pixels
pixels are are
large
la rge enough,
en ough, theyt h ey are
a re visible
visible
as squares and the t he image
image looks looks
coarse—see
coarse- see the the photographs
photograp hs on on theth e
page opposite
o pposite..
Your image is projected
proj ected inside
the camera onto a sensor (some-
You must control the the amount
amount of of light
light that
that times called the camera’s chi p))
camera 's chip
will fall on the sensor sens or during
du ring each picture
picture so so which breaks it up into individual im-
that
th at you
yo u get a correct exposure.
exposure. Too T oo much
much light
ligh t age squares, or pixels, each in a single
uniform color.
color. The more (and
(and smaller)
can overwhelm a photosite,
p hotosite, making
m aking itsits measure-
m easure-
the pixels in the grid that forms your im-
ment
me nt inaccurate,
inaccura te, and a n d too
too little
lit tle will
will cause
cause itit toto age, the finer the detail.
age, detail. This picture grid
record as a randomly—and
ra n do mly- a nd undesirably—colored
undesirably- colored is recorded as numbers on your camera’s
camera's
pixel called noise (see(see page
page 75).
75). You
Yo u need
need to
to deter-
deter- memory card, which can be transferred to to
a computer where it is reassembled on the
mine,
n1ine, before you yo u shoot, an exposure
exposu re that
char isis cor-
cor-
monitor, ready to be edited and printed.
rect for
fo r each scene. The Th e following
fo llowing pages
pages show
show youyo u
how
h ow to use thet he light
light meter
meter that
that is is built
built into
into your
yo u r
camera, or o r a similar but but separate hand-held light
separate hand-held light
meter,
m eter, to
co set your
yo u r aperture
apertu re and
and shutter
shu tte r speed
speed forfor
a correct exposure every every time.
time.

54 LLIGHT
IGHT A ND E
AND XPOSURE
EXPOSURE
 Pixels and Resolution
For
For the
the
the same
the higher
same image
higher the
image size,
size,
the resolution
resolution
M
M ore
ore pixels
pixels are
are needed
needed for
for aa finer
finerpicture.
picture.
(the
Each
Each pixel
pixel isis aa square
square ofofaa uniform
uniforn1 color
color or,
or,inin aa
(the more
more pixels pixels per
per inch),
inch),
the
the finer
finer thethe detail
detail of
ofthe
the black-and-white
black-and-white photograph,
photograph, aa shade
shade ofofgray.
gray. InIn
image,
image, butbut the the more
more pixels
pixels any
any individual
individual photograph,
photograph, the the pixels
pixels are
are all
all the
the
required.
required. The The photographs
photographs same
same size,
size, and
and theythey can
can only
only bebe captured
captured or or dis-
dis-
at
at right
right show
showincreased
increaseddetail
detail
with
played
played inin aa specific
specificnumber
numberof ofcolors
colorsor
orshades.
shades.As As
with smaller—therefore
smaller- therefore
more—pixels. This
more- pixels. This image image you
you can
can see
see from
from the the photographs
photographs on on this
this page,
page,
has
has 1818 pixels
pixels per perinch;
inch;at
at an
an image
image looks
looks coarse
coarse ((pixelated)
pixelated) when
when thethe pixels
pixels
this
this size
size itit isis aa 40
40 × X 50
SO pixel
pixel are
are large
large enough
enough to to be
be visible.
visible. This
This usually
usuallyresults
results
grid, oror 2000
2000 pixels. pixels.
when
when there
there areare too
too few
few pixels.
pixels.

Resolution
Resolution measures
measures thethe fineness
fineness ofof anan
18
18 pixels
pixels per
per inch
inch image
image but
but resolution
resolution goes
goes down
down when
when size
size goes
goes
up.
up. A A large
large number
number of of very
very small
small squares
squares can can
make
make aa picture
picture withwith 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. MoreMore detail
derai l makes
makes possible
possible (but
(but doesn’t
doesn' t
Double
Double thethe resolution
resolution
makes
makes four
four times
times asas many
many guarantee)
guarantee) aa higher-quality
higher-qualiry photograph.
photograph.
pixels.
pixels. This
This image
image isis an
an 8080 We
We measure
measure resolution
resolution inin pixels
pixelsper
perinch
inch(ppi)
((ppi)
ppi)
×X 100
100 pixel
pixel grid, or or 8000
8000 or
or pixels
pixels per
per cm;
cm; ifif you
you have
have aa fixed
fixed number
number of of
pixels.
pixels. Many
Many of ofthe
the pixels
pixels are
are pixels
pixels andand make
make themthem bigger
biggertoto cover
coveraalarger
largerarea,
area,
identical,
identical, pure
pure white,
white, soso they
they
are not
not visible
visible asas squares,
squares, butbut the
the pixels
pixels appear
appear more more coarse
coarse and
and image
image qual-qual-
each
each must
must still
still be
be saved
saved asas ity
iry seems
seems lower.
lower. If If your
your digital
digital camera
camera captures
captures
part
part of
ofthe
the file.
{,le. a photograph
photograph that that isis 2000
2000 pixels
pixels across,
across, you
you can
can
make
make aa print
print with
with aa resolution
resolution of of200
200 ppi
ppi ififyou
you
choose to to make
make itit 10 10 inches
inches wide,
wide, but
butonly
on ly100
100ppippi
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 dur-
dur-
ing editing.
editing. Image-editing
Im age-ed iting software
software can
can turn
turn
your picture
picture that
that isis 2000
2000 pixels
pixels across
across intointo one
one
that
that is is 4000
4000 pixels
pixels across
across by by aa process
process called
called re-re-
sampling. This exampleexample creates
creates more
more pixels
pixels andand isis
This resolution is thethe called upsampling
upsampling-,; making
upsampling; making fewerfewer pixels
pixels isis downsam-
downsam-
maximum that that can bebe pling.. By
pling By upsampling
upsampling you you can
can end
end up
up with
with higher
higher
reproduced
reproduced in in this
this book.
book.
apparent resolution.
resolution. ButBut toto do
do that,
that, the
the software
software
This
This image is a 800
800 × X 1000
1000
pixel grid, 800,000
800, 000 pixels, must interpolate
interpolate between
between your
your original
original pixels,
pixels,mak-
mak-
nearly one million. ing an educated guess guess at at what
what thethe 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 tonestones and
and blended
blended col- col-
ors. You may may find
find upsampling
upsampling useful useful when
when you you
want to co make
make aa large
large print.
print. But
But the
the software
software can’tcan't
invent fine fine detail,
detail, like
like the
the weave
weave ofof aa jacket
jacket or or
small
smal l text
text on aa sign;
sign; for
for that,
that, you
you need
need to to capture
capture
360 pixels per
per inch higher resolution.

C H A P T E R 33
CHAPTER 55
55
Color in Photography
C O L O R SSYSTEMS
COLOR YSTEMS
A11ll colors can be created byby mixing
A mixing three
three In a similar
simil ar way, color films
film s have
have three
three emulsion
emulsion
primary colors
colors-—either
either the additive primaries
primaries layers, each one sensitive to to only
only oneone color,
color, to to
(red, green, and blue)
blue) or
or the
t he subtractive
subtractive primaries
primaries separate a full-color spectrum into into primaries.
primaries.
(cyan, magenta, and
and yellow). Most
Most colors
colors we
we see
see in
in When working
wo rkin g in color digitally,
digitally, you yo u have
have youryour
nature consist of
of a blend,
blend, or
or spectrum,
spectrum, ofofall
all pos-
pos- choice
ch oice of modes,, RGB
of two color modes
modes, RGB or or CMYK
CMYK(a (a third
t hi rd
sible colors, but any
any visual
visual sensation
sensation or
or perception
perception common mode is is grayscale,
grayscale, oror black
black anda nd white).
white).
of
of color can be matched
matched with
with the
the right
right quantites
quantites RGB (for Red, Red, Green,
Green, Blue)
Bl ue) is is additive,
additi ve, andand itit is is
of
of three specifically
specifically chosen primaries.
primaries. preferable for most photographic
photographic work. work. CMYK
CMYK
is a standard used in commercial
co mmercial publishing
publish ing and and
The additive process (below,
(below, center)
center) mixes
mixes red,red, printing. This modemode adds black black (abbreviated
(abbreviated KK
green, and blue light
lighr in
in varying
varying proportions
proportions to ro instead of of B toto avoid confusion
confusion with with Blue)
Blue) to ro
match any color. Television setssets and
and computer
computer the
t h e three subtractive primaries
primaries to to suit
suit the
the needs
n eeds
monitors use additive color.
color. Equal
Equal quantities
qua ntities of of of
of the printing industry. The The three
t h ree primaries
primaries
the three colors appear neutral
neutral gray
gray or,
or, ififthey
th ey are
are together
rogether can make black, black, but
but black
black ink ink is
is added
added
bright enough,
enough, white. to
ro the darkest shadow areas areas in in pictures
pi ctures andand is is
used
u sed to print text
text because
becau se it
it is
is less
less expensive
expensive and and
The subtractive process process (below,
(below, right)
right) uses
uses easier toro keep neutral
n eutral than
than aa mix mix of of the
th e other
other
cyan (a bluish green), magenta
magenta (a (a purplish
purplish pink),
pink), three
t hree colors.
and
a nd yellow to
ro match any any color.
color. Each
Each color
color absorbs
abso rbs
(or subtracts) one of ofthe
the additive
additive primaries.
primaries. If Ifyou
yo u All printers use the subtractive
subtractive primaries.
primaries.
put cyan paint or pigment
pi gm en t on
on paper,
paper, for
for example,
example, Devices thatt h at mix
mix inkink oror paint,
paint, pigment
pigm ent or or dye,
d ye,
it removes red
red from
fron1 white
wh ite light
light that
that shines
shines on on it,
it, to create
creat e photographic color color on on aa reflective
reflective
and
a nd allows green and blue blue to ro be
be reflected.
reflected. Your
Your surface like paper p a p er must
n1u s t use
use the
the subtractive
s ubtrac ti ve
eye perceives that
t h at mix
mix ofof green andand blue
blue light
li ght to
to primaries:
prim aries: cyan, magenta,m age nta, and
a n d yellow.
ye llow. But
But even
even
be cyan. though
t h o u gh all desktop
d esktop photop horo printers
printers actually
actually use use
Digital color systems
system s separate
separate fullfull color
color into
inro CMYK inks,in ks, they
t hey are
a re designed
d esigned to ro receive
receive files
fil es in
in
primary colors, each saved as as aa channel
channel ofof infor-
info r- the RGB mode m ode for best bes t results;
results; editing
edi t ing files
files in in
mation.
n1acion. Every pixel
pixel hashas a separate
separate numerical
numerical CMYK mode m od e is rarely
rarely needed
need ed outside
o utsid e the
t he offset-
offset-
value for the
the amount,
a m o unt, or o r value,
value, ofof each
each primary.
prim ary. printing
printin g industry.

B R

C Y

G
A color wheel shows the The additive primaries produce The subtractive primaries
relationship of
ofthe subtractive white light when all three are mixed. each remove one ofofthe additive
and additive primary colors. Combining two at a time can make primaries. All three together
each of
of the subtractive primaries. make black.

56
56 LLIGHT
IGHT A ND E
AND XPOSURE
EXPOSURE
 C OLOR C
COLOR HARACTERISTICS
CHARACTERISTICS
Color systems divide all all colors
colors into into three
three mea-
mea- Photographic color
color can’t
can 't duplicate
duplicate colors
colors
surements—hue,
surements- hue, value, and and saturation.
saturation. Hue H ue is in a scene, it can only
only fool the
the eye.
eye. Light
the most intuitive of of these;
these; it it is
is what
what we we normally
norn1ally reflected from
fro m an object usually
usually contains
contains allall the
the
name the color
colo r of
ofan object—a
object- a blue blue car,
car, aa green
green hat.
hat. wavelengths of of the
t he visible
visible spectrum
spectrum in in varying
varying
Value (sometimes called
called lightness
lightness or or luminance)
luminance) isisaa quantities.
qu antities. The daylight that t hat illuminates
illuminates aa green
green
measure of the brightness or or darkness
darkness of ofthe
the color,
color, apple contains
contai ns all wavelengths
wavelengths in in more-or-less
mo re-o r-less
or of the gray that
that would
wo uld bebe left
left ififaa color’s
color'shue huewere
we re equal quantities.
quanti t ies. The
T he apple
appl e reflects
refl ects aa high
high per-
per-
removed, as in a black-and-white
black-and-white photograph.
photograph. You You centage of the the green wavelengths
wavelengths and and very
very little
li ttle
can imagine a blue car car and
and aa green
green hat hat that
rhat might
mighr (absorbing the t he remainder)
remainder) of of thet he red
red and
and blue
blue
have the same luminance. Saturation (or
luminance. Saturation (or chroma)
ch roma) isis ones,
o n es, so we see green.
green .
a description ofof a color’s
color's purity.
purity. You You could
could havehave aa To reproduce
reprod u ce thatchat sensation
sen satio n of of seeing
seeing theth e
tomato
to mato and a brick
brick that
that are
are the
the same
same red red hue
h ue (nei-
(nei- green of an apple, apple, photographs
photographs are are limited
limi ted to to
ther one
o ne more
mo re blue or yellow
yellow thanthan the the other).
o ther). The
The using three very very specific primary
primary colors
colo rs that
that dodo
difference
diffe rence is that
chat a tomato
ron1ato is is aa more
mo re pure—or
pure- or satu-
satu- not
no t necessarily contain
contai n allall the
th e wavelengths
wavelengt hs of of the
the
rated—red
rated- red than
than a brick.
brick. Various
Vario us factors
factors cancan affect
affect spectrum. Photographic
Ph otographi c colorcolo r can
can look
look accurate
accurate
saturation (see box below).
below). because of of the
t he way our o ur eyes
eyes identify
identify color.
color. But
But
the colors in a photograph
photograph are are notno t actually
ac tually the
the
same as those
those of of its
its subject,
su bject, in
in the
t he same
sam e wayway that
that
the photograph itself itself is
is not
not actually
ac tually thet he same
same as as
its subject.

The way photographs are are mademade gives gives youyou

control over some important
important characteristics
characteristics
of
of their color. Remember that that the
the colors
colors inin aa
photograph only
o nly reference,
reference, they
they don’t
d o n' t duplicate,
d u plicate,
those of a subject;
subject; it is
is up
up toto you,
yo u, the
the photogra-
photogra-
pher, to control
contro l that
tha t difference
diffe ren ce for
for your
your ownown ends.
ends.
You
Yo u may
n1ay want
wane your
yo ur viewer to co believe
believe strongly
stro ngly in
in
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 havehave aa specific
specific
Maria Robledo. Cheese
Still Life This photograph emotional
etnocio nal response to co them.
chem. The The wayway youyo u treat
treat
is enhanced by its low color
colo r has a strong effect on o n the
the interpretation
interpretatio n
saturation, controlled by of
o f your pictures; experiment to to find
find out
o ut how
h ow toto
the photographer’s
photographer's sensi-
sensi- make the best use
use of
of these
these important
impo rtant controls.
cont rols.
tive choices of
ofsubject, film,
and lighting.
Characteristics of aa Color
Color Photo~raph
Photograph
White balance. T Too our eyes,
eyes, a white shirt
shir
shirtt looks ation. The purity—or
Saturation.
Satur purity- or vividness, or or inten- Contras
Contr t. TTwo
ast.
as
Contrast. wo kinds of
ofcontrast
contrast are impor
im portant
por tant in aa
important
white both
both outdoors in daylight and indoors in sity—of
sity- of a color is its saturation.
saturation. The color color satura-
satura- photogr
pho tograph;
togr aph; both
photograph; both are established
established by the
the kind
kind ofofillumi-
illumi-
artif
ar tificial
tif icial light.
artificial light. But the two
two light sources do not not tion that exists
exists in front of ofthe camera
camera depends on nation on the scene and can be altered by your tech-
your
by your tech-
havee the same mix of
hav of colors; our
our brains
brains compen-
compen- the physical
physical characteristics
characteristics of ofobjects in the scene nique.
niq ue. Over
nique. Ov erall
er all (or global) contrast,
Overall contrast, or
or dynamic range,
rrange,
ange,
sate in a way way that lets us also see blue pants pants as and on the kind of of illumination. Saturation
Saturation in in the is the difference
difference between
between the lightest and darkest
the same blue in both both places. Unless
Unless there are two tw
twoo w ay colors are reproduced is also affected
way af fected by
affected by the
the parts
par ts of
ofa scene or image. The range
range you
you can capture
cap ture
capture
lightt sources to compare,
ligh compare, we we ignore the differenc-
differenc- specif ic kind of
specific of sensor or filmf ilm used to to capture
capture the
the vvaries;
aries; all films
films and digital sensors have
hav
havee different
different lim- lim-
es—but photogr
photogr
tographs
es- but photographs aphs record
record them.
them . Regardless
Regar dless of
Regardless of image, and the manner of
image, ofpost-processing—film
post-processing—f
post-processing- film ilm its on the range
range that can be captured
captured (see
captured (see page 73).
whether you you shoot
you shoot digitally or with film,
ffilm,
ilm, white
white bal-
bal- development,
dev elopment, image editing, and printing. Some Local contrast
contrast is what makes photogr
pho tographs
togr
photographsaphs look
look
ance has an impor im portant
por tant influence
important inf luence ov
oover
ver the impact
impact ffilms
ilms are made in different
dif ferent versions,
versions, producing
producing crisp or sofi,
soft, and has to do with
soft, with the edges and and tran-
trtran-
an-
and effectiv
ef fectiveness
fectiv eness of
effectiveness your photogr
your
ofyour pho tographs.
tographs. Even
photographs. Ev en subtle
Even more saturation
saturation (adver
(adv ertised
er tised as “vivid”
(advertised "vivid" color) oror sitions ofofcolor and tone. It is affected
affected by by the quality
qquality
uality
shifts
shif
shi~sts in color balance can create create dramatic
dramatic changes less. Digital image editing gives
less. gives direct control ovoover
ver of the lens (and how clean that lens is), the kind
of kind of of
in emotional
emotional content. saturation (see page 98).
saturation 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 Digital cameras can adjust
adjust themselves
themselves for for
you are photographing
photographing in in color.
color. We We identify
identify aa wide
wide color temperature (in digital photography itit
variety of
of light as “white,”
"white," or or having
having no no color
color of of is usually called white balance)
balance).. Built
Built into
into each
each
its own. Despite our perception
perception that that daylight
daylight isis digital camera is thethe ability
ability to
to measure
measure the the color
color
“white”
"white" or “neutral”
"neutral" light,
light, itsits color
color is is constantly
constantly temperature of of whatever light
light is
is illuminating
illuminating the the
changing throughout the the day.
day. Midday
Middaylight lightisis more
more scene, and to adjust its its white balance
balance for for each
each
blue (cooler); early
early morning
morning and and late
late afternoon
afternoon photograph. You can choose one one of of the
the camera’s
can1era's
light is more red
red (warmer).
(warmer). Other
Other light
light sources,
sources, likelike presets for several kinds
kinds ofof light,
light, measure
measure and and set
set
light bulbs, also emit white light light ofofaa specific
specific color
color the white balance manually
manually before
before each
each shot,
shot, or
or
balance or white balance—the
balance-—the
balance the mixture
mixture of ofwavelengths
wavelengths set the camera toto adjust itself
itselfautomatically.
automatically. Use Use aa
of
of different colors that that itit contains.
contains. This This quality
quality color conversion filter (page
(page 218)
2 18) to
to shoot
shoot color
colorfilm
film
of
of white light sources is is also
also called
called itsits color
color tem-
tem- under any source other
other than
than 5500K.
SSOOK.
perature,, and it is
perature is measured
measured in in degrees
degrees Kelvin
Kelvin (K),(K),
an international-standard temperaturetemperature scale scale likelike Include a standard color
color for
for more
more accuracy.
accuracy.
Celcius (C) that
that starts
starts with its its zero
zero atat absolute
absolutezero zero Shoot a color-neutral gray card card or
or aa standardized
standardized
rather than at thethe freezing
freezing point
point ofofwater.
water. color chart on o n an adjacent frame
frame inin the
the same
same light.
light.
Light from an ordinaryord inary incandescent
incandescent light- light- You’ll
You'll be able to to match
match itit later
later when
when you yo u edit
ed it the
the
bulb, with a color temperature
temperature of of about
about 2800K,
2800K, file to correct all thethe colors
colors at at once.
once. A A chart
chart (or
(or
has proportionately less less blue
blue andand moremore yellow
yellow target)),, coupled with software,
target),
target software, cancan create
create aa camera
camera
and red than does daylight at at 5500K.
SSOOK. You You can
can see see profile
profi le (opposite page,
page, top
top right)
right) you
you cancan use
use toto
this
chis difference if if you turn
turn on on anan indoor
indoor lamplamp in in aa auto-correct the color in in aa group
group of ofphotographs.
photographs.
daylit room: the the light
light from
from the the lamp
lamp lookslooks quite
quite
yellow. At night, withwith nono daylight
daylight for for comparison,
comparison, For the best results, capture
capture your
your pictures
pictures in
in
you see the same lamplight
lamplight not not as as yellow
yellow but but as as Camera Raw format (page 85) which lets you
white. Our brains ignore ignore color
color balance
balance when when we we control the interpretation of of sensor
sensor data
data during
during
look at a scene, perceiving
perceiving either
either daylight
daylight or or lamp-
lamp- editing. The white balance
balance adjustment
adjustment is is part
part ofof
light as “white”
"white" ifif there
there isis only
only oneone kind
kind of of light
light the processing that
that is
is applied to
to raw
raw sensor
sensor data
data
present. Unless there
there are
are two
two differently
differently balanced
balanced after capture, so you can compensate
compensate thenthen for
for the
the
light sources inin a scene (see
(see the
the photograph
photograph on on thethe effects of
of different light sources
sources without
without degrad-
degrad-
opposite page)
page) color photographic
photographic images images can can be be ing the quality of of your image.
image. If If your
your camera
camera
adjusted, ifif desired,
desired, to to match
match the the color
color tempera-
tempera- captures in JPEG or TIFF format,
format, white
wh ite balance
balance isis
ture of
of each picture’s
picture's light
light source.
source. applied by the
the camera.

Setting a digital camera’s

camera's white because the light from a blue sky than you
you expect.
you expect. The fourth
fourth photo
photo
balance to daylight (or using color has a higher color temper
temperature
per ature than
temperature w as taken under fluorescent
was fluorescent light,
film) is correct for the relatively direct sunlight. If/(you
you use a daylight
you which tends to have
have proportionately
proportionately
bluish color balance ofofmidday light white balance (or color film)
film) in the more green than daylight. In each,
(5500K
(SS00K color temper
tem perature),
perature), as in
temperature), w armer light of
warmer ofan incandescent a piece of
of white cardboar
car dboardd was
dboar
cardboard was held
the left
left photo.
photo. In open shade (second bulb (third
photo. (third photo,
photo, about 2800K), behind the man, and he is wearing
wearing
photo)
pho to) the results are more blue, your picture may look more reddish
your the same gray
gray shirt.
shir
shirt.t.
58
58 LLIGHT
IGHT A ND E
AND XPOSURE
EXPOSURE
White light takes many forms. In In addition to to ever
ev er--
er
ever-
changing daylight, you you may encounter scenes illumi-
you
nated by a wide variety
variety of of standard
standard bulbs
bulbs in domestic
domestic
and commercial fixtures.
ffixtures.
ixtures. This chart
chart illustrates
illustrates the
the Cool or Commercial White
White Bulb

color temper
tem peratures
peratures for sever
temperatures several
eral common sources. A light
several light Middayy Day
Midda Daylight/Electronic Flash

bulb may be measured by its brightness (in (in lumens; Dayylight Bulb
Da
Colors can be accurately interpreted with with a camera profile
profile
w attage only measures the power
wattage pow er itit consumes), its
power its (see page 84). Photograph
Photograph a color
color chart
chart like the
the ColorChecker
ColorChecker
color temper
tem perature
perature (if
temperature (if not
not a specific
specif ic number,
number, its “white-
"white- Neutral or Natural White
White Bulb
Passport shown and open it with the software
software supplied
supplied with
with the
the
ness”
ness" may be named like those at right), and aa Color Color War
armm White
White Bulb chart.
chart. Follow the simple on-screen steps to to generate aa profile
profile
Rendering Index,
Inde x, or CRI,
Index, CR/, a scale from
from 0 to100.
to 100. that can be used to correct color—in
color- in one step, for for any
any image
image
Incandescent Bulb
YYou
ou can achieve
achieve pleasing and accurate
accurate colorcolor in your
your
in your made in the same lighting conditions. Most
Most profiling
profiling software
software
photogr
pho tographs
tographs made in most sources, although mixed
photographs mix
mixeded is made for interpreted, not raw, files
files but
but Adobe
Adobe Camera
Camera Raw,Raw,
sources (below) or a CRI CR/ below
below about 80 80 will
will make
make Candle
Lightroom, and Photoshop
Photoshop can apply aa profile to to DNG
ONG files
files
accuracy more diff
accuracy dif f icult to achieve.
difficult achieve. using the chart above and its software.

Gueorgui Pinkhassov. Murmansk, Russia,Russia, 2006.

2006. ture, more blue) dusk daylight illuminating
illuminating this
this
Mixed light can suggest mixed environments. winter scene.
scene. Because the port of ofMurmansk on
Warm (lower
(lower color temper
tem perature,
perature, or
temperature, or more red) light
light the Kola Bay remains ice-free year
year round, itit pro-
from the interior incandescent lamp
lamp presents aa vides a safe harbor for Russian
Russian (and,
(and, previously,
sharp contrast with the cool (higher color tempera-
tempera- Soviet) ballistic missile submarines like this one.

C HAPTER 3
CHAPTER 59
59
Using Histograms

A histogram is a graph that

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

Histograms can guide youryour adjustments

adjustments
during image editing
editing,, in scanning software
programs, and in in setting your camera
camera exposure.
exposure.
A histogram of of any
a ny recorded
record ed image
image can
can bebe dis-
dis-
played to
co direct your lightness,
lightness, contrast,
contrast, and
and color
color
adjustments.
adj ustments. The software displays
displays aa histogram
histogram
(for example, see Curves,
Cu rves, pages
pages 96–97),
96- 97), and
a nd you
yo u
Christine Chin. Indian Paintbrushes, Colorado, 2004. A color color
redistribute the
the tones
tones inin the
the image
image according
according to to photograph can have one histogram for for each channel, plus plus
the information it presents.
presents. a combined one that merges them. In In the
the R,
R, G,
G, and
and B8 histo-
histo-
grams 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
Shadows Highlights green values from the foliage, and darker reds from from the
the flowers.
flowers.
At the right end of
ofthe histogram, thethe nearly
nearly identical
identical bumps
bumps
in the very bright highlights for all three channels are fromfrom the
the
neutral-colored snow.
The three channels are shown belowbelow displayed simultane-
ously.
ously. Where two additive primaries overlap itit shows
shows the
the result-
result-
ing subtractive primary (page 56 ). A digital camera generally
56). generally
Pure Black Middle Gray Pure White displays a single merged histogram (left).
(le~)-
0 128 255

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 ofofpixels of
ofa given brightness in the
the whole
whole photo.
photo.

60
60 LLIGHT
IGHT A ND E
AND XPOSURE
EXPOSURE
Bohnchang Koo. Chae Chae Digital cameras can bebe set
set to
to display
display aa his-
his- The histogram that that appears
appears on on your
your cam-
cam-
Shirah, 2004. A histogram togram of
of an image you have
have just
just taken
taken immedi-
immedi- era’s
era's monitor can be be used
used instead
instead ofof aa light
light
can be the best light meter.
Koo shot the Korean movie ately after exposure. It
It will
will tell
tell you
you ififyour
you r picture
picture meter reading. Like a light
ligh t meter (also
(also called
called an
an
star for a magazine using
using his was over- or underexposed
underexposed so so you
you can
can adjust
adjust your
your exposure meter,
n1eter, see page
page 62)
62) itit can
can provide
provide very
very
DSLR in the indirect light shooting strategy. If
Ifthe
the situation
situation allows,
allows, you
you can
can accurate information about exposure,
exposure, including
including
of
ofan outdoor garden. With take a test exposure, review
review the
the histogram,
histogram, correct
correct separate graphs showing
showing the the values
values of
of each
each pri-
pri-
consistent lighting and the
time to take a test shot, the your exposure settings,
settings, and
and even
even delete
delete the
the test
test mary color, but it isis only
only available
available after
after the
the pic-
pic-
camera’s
camera's histogram is your image from thethe memory
memory card
card before
before making
maki ng your
your ture has been made.
made. TheT he examples
examples below
below show
show
most accurate exposure guide. intended photograph. 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
captured photograph should should be be given
given as as much
m uch
exposure as possible
possible without pushing
push ing important
important
highlights past the the right
right end
end ofof the
the histogram
histogram
(called clipping
clipping,, see below).
clipping, below). IfIfthere
there is
is empty
empty space
space
in the histogram,
histogram, it it should
sho uld be
be at
at the
the left.
left. Because
Because
digital sensors are linear
linear and
and our
our eyes
eyes are
are not,
not,
lighter tones
tones are captured with with more
more detail,
detail, leav-
leav-
ing more room for for later
later adjustment
adjustment during
during edit-
edit-
ing, than darker ones.
ones.

A camera’s
camera's histogram is is made
made from from aa JPEG
JPEG
preview so it is not completely
con1pletely accurate.
accu rate. Even
Even
if
if you shoot only
o nly raw
raw files,
files, the
the camera’s
camera's built-in
built-in
conversion software makesmakes aa small small jpeg
jpeg for
for the
the
preview image it it displays on on thethe monitor.
monitor. TheThe
histogram
histogra1n is made
n1ade from
from this
this preview,
preview, butbut the
the con-
con-
version process clips aa little
little highlight
highlight detail.
detail. You
You
can extract that detail later
later inin aa more
more careful
careful con-
con-
version ofof your camera
camera raw raw file
file (see
(see page
page 85)
85) but
but
it won’t
won' t be enough to to save
save an an overexposed
overexposed image.image.

Don’t
Don't forget how to use
use your
your light
light meter.
meter. As
As
useful
usefu l as the histogram is, is, there
th ere are
are many
many situa-
situa-
tions—especially
tions- especially the
th e fast-moving
fast-moving ones—in
ones- in which
wh ich
you must be ready
ready to
to shoot
shoot first,
first, using
usi ng your
your light
light
meter as a guide. TheT he remainder
remainder of of this
this chapter
chapter
tells you how. But
But if
if you have
have the
the luxuries
luxuries of
ofpre-
pre-
dictable lighting and
and enough
enough timetime to to make
make aa test
test
exposure or two,
two, you
yo u can
can learn
learn even
even more
more with
wit h aa
histogram than
than you cancan with
with aa light
light meter
meter and
and
make each image perfectly
perfectly exposed.
exposed.

Underexposure shows tones grouped

grouped at the left Overexposure clusters all thethe information at the
the Normal exposure for this scene creates aa histo-
histo-
end of
ofthe histogram with little or nothing
nothing on the
the right of
ofthe histogram, indicating
indicating that
that more subject
subject gram with tones distributed like this;
this; it shows that
that
right.
right. When tonal values pass one end
end of
ofthe
the histo-
histo- tones exist to the right of
ofthe cutoff
cutoffline but
but were
were all tones in dark areas (at left) and in light
light areas
gram and are discarded it is called clipping..
called clipping not recorded. (right) have been recorded.
CHAPTER
C HAPTER 3 61
61
Exposure Meters
WHAT D
WHAT IFFERENT T
DIFFERENT YPES D
TYPES DOO

E
E xposure meters vary
vary in
in design,
des ign, but
but they
they all
all Hand-held meters
meters measure
measure reflected
reflected light
ligh t or
or
perform the same basic
basic function.
function. They mea- incident light (see
(see opposite page,page, toptop left
left and
and
sure the amount of of light;
light; then,
then, for
for aa given
given sensor
sensor right). When theth e cell
cell of
of aa hand-held
hand-held metermeter (one(one
or film sensitivity
sensitiviry (ISO),
(ISO), they
they calculate
calculate f-stop
f-stop and
and that is not built into
in to a camera)
camera) is is exposed
exposed to to light,
light,
shutter-speed combinations that that will
will produce
produce aa it moves a needle
needle across aa scale
scale of
ofnumbers
numbers or oracti-
acti-
correct exposure forfor a scene
scene that
that has
has an
an average
average vates a digital display. The brighter
brighter the the light,
ligh t, the
the
distribution of
of light
light and dark.
dark. 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
Meters built into cameras
cameras measure
measure reflected
reflected and shutter-speed
sh utter-speed combinations.
light (see opposite page,
page, toptop center).
center) . The
The light-
ligh t-
sensitive part
part of
of the
the meter
meter is is aa photoelectric
photoelectric cell.
cell. Meters are designed to to measure
measure middle
middle
When the metering systemsystem is is turned
turned on on and
and the
the gray. A reflected-light meter
meter measures
measures only
only one
one
lens of
of the
t h e camera is is pointed
pointed at at aa subject,
subject, the
the thing—the
thing-the amount of of light—and
ligh t-and itit calculates
calculates forfor
cell measures thethe light
light reflected
reflected fromfrom that
that sub-
sub- only one result—an
resu lt- an exposure that that will
will reproduce
reproduce
ject. With automatic exposure operation,operation, you you set
set that
th at overall level
level of
of light
light as
as aa medium-gray
medium-gray tone tone A hand-held meter is
separate from the camera.
either the aperture or the the shutter
shutter speedspeed and
and the
the in the final photograph.
photograph. The The assumption
assumption is is that
that
After measuring
measuring the
camera
can1era adjusts the
the other to to let
let inin aa given
given amount
amount most
n1ost scenes, which consist of of aa variety
variety ofof tones
tones amount ofoflight, the meter’s
meter's
of
of light. Some cameras set both both the the aperture
aperture including very dark, medium,
medium, and and very
very light,
light, aver-
aver- calculator dial or display
and the shutter
shurter speed for for you. In In manual
manual expo-
expo- age out
our to a middle tone, tone, one
one with
with equal
equal color
color panel shows the recom-
mended f-stop for your
sure operation, you adjust the the aperture
aperture and
and the
the values. Most, in fact,
fact, do. Pages
Pages 68–73
68- 73 tell
tell how
how to to selected shutter-speed and
shutter speed based
based onon the
the meter’s
meter's viewfinder
viewfinder or
or use a meter to measure
measure an an average
average scene
scene and
and what
what ISO.
ISO. This type ofofmeter
meter
data-panel readout.
readout. to do for scenes that
that are not
not average.
average. can read either incident oror
reflected light depending
on the position of
ofthe small
dome on the meter.

The scene visible in

the viewfinder

A through-the-lens (TTL) meter, built into into aa camera,

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 ofofthe image.

A TTL meter is usually coupled to the camera to to set

set the
the
exposure automatically. ThisThis 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- oror 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
metering system ~sees~
“sees”

62 LIG HT A
GHT ND E
AND XPOSURE
EXPOSURE
 Reflected
lected Light
Reading Reflected
Ref Reading Incident Light

ﾷＭ ＠

Hand-held Meter

ref1ected-light meter measures the

A reflected-light the amount
amount ofoflight
light An incident-light meter measures the amount
amount of oflight
light
reflected from an
on object. It can be
be hand
hand held
held (left)
(left) or
or built
built falling on it—and
it- and so, the amount ofoflight falling
falling on
on aa
into a camera (right).
(right). To make a reading, point
point the
the meter
meter subject in similar light. To make a reading, point
point the
the
at the entire scene or at a specific
specific part
part of it.
ofit. meter away from the subject, toward
toward the
the camera.

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

Averaging Meter Center-weighted

Center-weighted Meter
An averaging or overall meter reads A center-weighted metermeter favors
favors the light
most of
ofthe image area and computes an level of
ofthe central area of an image, which
ofan which
exposure that is the average of
in the scene.
ofall the
the tones
scene. A hand-held meter, Iike
tones
like the
one shown opposite, typically makes an
overall reading.
(X) is often
oft.en the most important one toto meter.
meter.
Cameras with built-in meters usually use
some form of ofcenter weighting.
use

Spot Meter Multi-segment Meter

A spot meter reads only a small part
part of
of A multi-segment meter is the most most
the image.
image. Very accurate exposures can be sophisticated of
ofthe meters built
built into aa cam-
cam-
calculated with a spot meter, but it isis impor- era.
era. It divides the scene into areas that
that are
tant to select with care the areas to
to be read.
read. metered individually, then analyzed against
against
Hand-held spot meters are popular with with 0 a series of
ofpatterns stored in the camera’s
camera's
photographers who want exact measure- memory. The resulting exposure is more more
ment and control ofofindividual areas. Some likely to avoid problems such as underexpo-
underexpo-
cameras with built-in meters have aa spot
spot sure of
ofa subject against a very bright
bright sky.
metering option.

C HAPTER 3
CHAPTER 63
Exposure Meters
H O W TO
HOW TO C ALCULATE A
CALCULATE ND A
AND DJUST
ADJUST
AN E
AN XPOSURE M
EXPOSURE ANUALLY
MANUALLY
H
H ooww do you calculate and
and adjust
adjust an
an expo-
expo-
sure
su re manually?
ma nually? Even if you
yo u have
have an automatic
a u tomatic Power Switch
exposure
expos ure camera,
cam era, it it will
will help
h elp you
you to to know
know how how
Mode Switch
Switch
to do so. Many automatic
a u tom a tic cameras
cam eras do d o not
not expose
expose
Changes from
from
Changes from
correctly
correc tly forfo r backlit
backli t scenes
scen es oror other
o th er situations
situations continuous light
continuous light
where
wh ere the overall illumination
illuminatio n is is not
no t “average,”
"average," (like daylight)
daylight) toto
speeds
Shutter speeds
electronic
electr onic flash.
electronic f lash.
flash.
and
a nd you
yo u will
wi ll need
n eed toto know
know howhow much
much and an d in
in what
wh at ar
aree one stop
stop
direction
d irection to to change the th e camera’s
can1era's settings
setti ngs toto get
get The f-stop
The f-stop settings
settings apart.
apar
apart.t. A shutter
shutter
shutter
aree one
ar one stopstop apart.
apart. f/f/8
apart. 8 speed of 11/12s
speed 125 sec.
sec.
the results youyo u want. lets in twice as
in twice as
lets inin half as
as much
much light
light
This
T his page showssh ows the t he way aa hand-held
ha nd- held meter
m eter as f/5.6. Remember that
f/ 5.6. Remember that much
much light asas aa
works.
wo rks. It is likely
likely youyo u will
will never
never useuse one
o n e or
or even
even the lower the the f-f-number,
f-number
number,, shutter speed
shutter speed ofof
the larger
larger the
the lens
lens 1½so
250 sec.
sec.
hold
h old one
o n e in your
yo ur hand.
hand. ButBut once
o nce youyou grasp
gras p its
its
apertur
aper ture,
tur
aperture, e, and
and so so the
the
operation,
o perati on, youyo u will know kn ow how
h ow any
any meter
meter func-
func- moree light
mor light let
let into
into the
the Reads fraction
fractions
fractionss
tions,
tio n s, whether
wh eth er builtbuil t into
into aa camera
cam era or o r separate
separa te camera.
camer
camera. a. in between the
between the
f-stop
whole f-stop
and hand-held.
hand-held. It’s It's also useful
usefu l to
to understand
u nd erstand that that ISO button;
button; speed
speed settings.
settings.
the
t he functions of of your
yo ur camera
cam era and
an d those
t hose ofofaa light
ligh t rratings
atings double
double each
each
time the
the sensitivity
sensitivity
meter,
m erer, even
eve n the
th e one
o n e inside
ins ide your
yo ur camera,
cam era, areare inde-
in de- of (or of
of the sensor (or of film)
f ilm)
film)
pendent
pend ent from one o ne another.
an o ther. Pages
Pages 68–73
68-73 telltell how
h ow doubles. setting of
doubles. A setting of ISO
ISO
to use any meter
m eter forfor different
d ifferen t types
types of ofscenes.
scenes. 400 is one
one stop
stop faster
fast
fast
aster
er than
than
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. A hand-held exposure
A
= Intensity
Exposure = Intensity ×X Time.
Time. Exposure
Ex posu re isis aa meter. Light striking this
combination
combinatio n of of the
th e intensity
intensity ofof light
light that
tha t reach-
reach- which
whi ch way to move
m ove the
the controls
con trols when
when you
yo u are
a re meter’s
meter's light-sensitive
photoelectric cell results in
es the light-sensitive
ligh t-se nsit ive surface
su rface (controlled
(con trolled by by the
t he faced with an
a n exposure
exposu re you
yo u want
wan t to
to bracket
bracket or
or the display of
ofan f-stop
fstop and a
size of
of the aperture)
ape rtu re) and
an d the
the length
len gth of
of time
time the
the otherwise adjust. shutter speed on its electronic
light
ligh t strikes
stri kes it (controlled
(con trolled by by the
the shutter).
shutter). YouYou display window. You set the
can adjust thet he exposure
exposu re by by changing
chan ging the
t he shutter
shu tte r Bracketing helps ifif you are
are not
not sure
s ure about
about ISO and shutter speed, and
it calculates the correct ap-
speed,
speed , aperture, oro r both.
both. the exposure. To bracket, you yo u make
m ake several erture for a normal exposure
photographs
photograp hs of of the
t he same
sam e scene,
scen e, increasing
increasing and a nd in light of
ofthat intensity. An
Exposure changes
chang es are measured
meas ured in
in stops,
stops, aa decreasing the the exposure
exposu re by by adjusting
adjusting the t he aper-
ape r- automatic exposure camera
doubling
d o u bling (or halving) of of the
th e exposure.
exposure. A A change
cha nge ture or shutter
shu tte r speed.
speed. Among
Am ong several
several different
d iffe ren t performs the same calcula-
tion for you,
you, using a light
from one aperture (f-stop) (f-stop) toto the
the next
next larger
larger aper-
aper- exposures,
exposu res, there
t here is likely
likely to to bebe at
a t least
least one
o ne that
that meter built into the camera.
ture opening, such as from fro m f/5.6
f/5.6 toto f/4,
f/4, doubles
d o ubles is correct. It’s
Ir's not
not just
j u st beginners
beginners who wh o bracket
b racket Most current hand-held
the
t he light
li ght reaching
reachin g thet he sensor (or (or film)
film ) and
and results
results exposures.
exposu res. Professional
Professio nal photographers
ph otographers often o ften dodo meters will also calculate
in one
o ne stop
sto p more
m o re exposure.
exp os ure. A A change
cha nge from fro m oneone it as protection against having having to to repeat
repeat aa whole
wh o le exposures when youyou are using
using
electronic flash (see pages
shutter
s hu tte r speed to to the
th e next
nex t slower
s lower speed,
speed , such
s uch asas shooting session because none n one ofof their
th eir exposures
exposures 146–149)
146- 149) or mixing flash
from 11/zso
⁄250 co 1l/12s
250 sec. to ⁄125
125 sec., also results in in one
o ne stop
sto p was quite
qui te right.
righ t. with daylight.
daylight.
more
m o re exposure.
ex posu re. A changech an ge to to theth e next
n ext smaller
s m aller To
T o bracket, first
fi rst make
m ake an a n exposure
exposu re with with the
t he
aperture
a perture or the next next faster
faste r shutter
shutter speedspeed halves
halves aperture
a perture and shutter
shu tte r speed
speed set set by
by theth e automatic
auto m atic
the
t he light
ligh t and
an d produces
p roduces one o ne stop
stop less
less exposure.
exposure. system or manually
m an ually set by by you
yo u at
at the
t he combination
com binati on
Doubling
Doubli ng the illumination
illumi nation in in aa room
roo m would
wo uld also
also you think
t hin k is the right
righ t one.
o n e. Then
T hen make
m a ke aa second
second
be referred to as a one-stop
one-stop change.
change. shot with one stop s top more
1nore exposure
expos u re and and aa third
third
It is worth
wo rth your
yo u r effort to to memorize
mem ori ze the t he f-stop
f-sto p shot with one stop less less exposure.
exposu re. ThisT his is
is easy
easy toto
and shutter-speed
sh utter-speed sequences,
sequen ces, at at least
least the
t he whole-
wh o le- do if you
yo u set the
th e exposure
exposure manually:
m an ually: for for one
one stop
stop
stop ones (see the the boxbox ono n page
page 26),26), so
so you
yo u know
know more
mo re exposure,
expos ure, either
eith er setset the
th e shutter
shu t ter toto the
th e next
n ext

64
64 LLIGHT
IGHT A ND E
AND XPOSURE
EXPOSURE
Bracketing Exposures
Bracketinsi: Exposures
Bracketing produces
prod uces lighter and darker versions of ofthe
the
same scene. Suppose an exposure for scene isis 1¼o
for aa scene ⁄60
60 sec.
shutter speed at f/5.6
f/ 5.6 aperture.
apertu re.

Original exposure
1/8
1/ 8 1/15
1/ 15 1/30
1/ 30 1/60 1/ 125 1/250
1/ 60 1/125 1/ 250 1/500 sec.
1/ 500 sec.
f/16
f/ 16 f/11
f/ 11 f/8
f/ 8 f/5.6
f/ 5.6 f/4
f/ 4 f/2.8
f/ 2.8 f/2
f/ 2

To bracket for one stop less

less exposure,
exposure, which
which would
would darken
darken
speed at 1¼o
the scene, keep the shutter speed ⁄60
60 sec. while changing
to the next smaller aperture, f/8.
f/ 8. (Or keep
keep the
the original
original f/5.6
f/ 5.6 slower speed or the
the aperture to to the
the next
next larger
larger
aperture while changing
cha nging to the next
next faster
fas ter shutter
shutter speed,
speed , opening
open ing (the next smaller f-number);
f-n u mber); for
for one
one stop
stop
1Vi2s
⁄125
125 sec.)
sec. ) less exposure, either set the
th e shutter
shutter toto the
the next
next
Bracketed for one stop less
less exposure faster speed or the
the aperture to to the
the next
next smaller
smaller
1/8
1/ 8 1/15
1/ 15 1/30
1/ 30 1/60
1/ 60 1/125
1/ 125 1/250
1/ 250 1/500
1/ 500 sec.
sec. opening
open ing (the next larger
larger f-number).
f-number).
f/16
f/ 16 f/11
f/ 11 f/8
f/ 8 f/5.6
f/ 5.6 f/4f/ 4 f/2.8
f/ 2.8 f/2
f/ 2
How do you bracket with an an automatic
automatic
To bracket for one stop more
more exposure,
exposure, which
which would
would exposure camera? In ln automatic operation,
operation, ifif
lighten the scene, keep
keep the shutter
shutter speed
speed atat 1¼o
⁄60
60 sec. wh
while
ile
you change to
to the
th e next
next larger
larger aperture,
aperture, the
the camera
camera
changing to the next larger
larger aperture,
aperture, f/4.
f/ 4. (Or
(Or keep
keep the
the origi-
origi-
nal f/5.6
f/ 5.6 aperture while changing to
to the
the next
next slower
slower shutter
shutter may simply shift to the
the next
next faster
faster shutter
shutter speed,
speed,
speed, 1½o⁄30
30 sec.)
sec. ) resulting in the
the same overall exposure.
exposure. Instead,
Instead,
you have to override the
the camera’s
can1era's automatic
auto matic sys-
automatic sys-
Bracketed for one stop more
more exposure
exposure
tem. See page 66 for how
how to to do
do so.
so. Some
Some cameras
cameras
1/8
1/ 8 1/15
1/ 15 1/30
1/ 30 1/60
1/ 60 1/125
1/ 125 1/250
1/ 250 1/500
1/ 500 sec.
sec.
can be set to make
make three
th ree bracketed
bracketed exposures
exposures inin
f/16
f/ 16 f/11
f/ 11 f/8
f/ 8 f/5.6
f/ 5.6 f/4
f/ 4 f/2.8
f/ 2.8 f/2
f/ 2
succession when you press
press the
the shutter
sh utter once.
once.

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 disap-
pear entirely.
entirefy.

C HAPTER 3
CHAPTER 65
Overriding an Automatic
Exposure Camera

M
M any cameras with automatic
automatic exposure
exposure and lightens the
the picture.
picture. It
It cannot
cannot be
be used
used to
to
have a means of
of overriding
overriding the
the automatic
automatic decrease exposure.
system when you want to
to increase
increase the
the exposure
exposure
to lighten a picture
picture or decrease
decrease the
the exposure
exposure toto ISO setting. Changing
Changing the
the ISO
ISO setting
setting on
on aa
darken it. The change in in exposure
exposure isis measured
measured inin digital camera will change
change either
either aperture
aperture or or shut-
shut-
stops. A one-stop change in in exposure
exposure will
will double
double ter speed but will notnot makemake the the picture
picture lighter
lighter
(or halve) the
the amount ofoflight
light reaching
reaching the
the sensor
sensor or darker. Instead you will will need
need to to use
use the
the but-
but-
or film.
fi ln1. Each aperture oror shutter-speed
shutter-speed setting
setting isis ton, dial, or menu
menu itemite1n that
that controls
controls exposure
exposure
one stop from thethe next
next setting.
setting. compensation. You can can setset the
the camera
camera to to expose
expose
all your photographs at at aa fixed
fixed amount
amount more more or or
Exposure lock. An exposure
exposure lock
lock or
or memory
memory less than the meter
meter indicates,
indicates, or or you
you can can make
n1ake an an
switch temporarily locks
locks in
in an
an exposure,
exposure, so so you
you exposure change forfor one
one picture
picture atat aa time.
time.
can move
n1ove up close or point
point the
the camera
camera inin aa differ-
differ- Setting the ISO on aa film film camera
camera doesn’t
doesn't
ent direction to
co take
rake a reading
reading of
ofaa particular
particu lar area,
area, change the light sensitivity
sensitivity of ofthe
the film,
film, so
so you
you can
can
lock in the desired setting, step
step back,
back, and
and then
then change the exposure (if (if the
the camera
camera allowsallows youyou to to
photograph the
the entire scene.
scene. 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
Exposure compensation.
compensation_ Moving
Moving this
this dial
dial or
or slower or faster than
than it it really
really is.
is. Doubling
Doubling the the film
fi lm
indicator to +1 or +2 +2 increases
increases the
the exposure
exposure by
by speed (for example, from from ISO ISO 100 100 to to ISO
ISO 200)200)
one or two stops and lightens
lightens the
the picture.
picture. Moving
Moving darkens the picture
picture by by decreasing
decreasing the the exposure
exposure
it to –1
- 1 or –2
- 2 decreases the
the exposure
exposure and
and darkens
darkens one stop. Halving
Halving thethe film
film speed
speed (say (say from
from ISOISO
the picture. (Your
(Your camera
camera may
may have
have aa button
button you
you 400 to ISO 200) lightens
lightens the the picture
picture by by increasing
increasing
must hold down whilewhi le making
making this
this change).
change). the exposure one stop.
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
an exposure compensation dial,
dial, it
it may
may have
have aa has a manual mode,
mode, you adjust
adjust the
the shutter
shutter speed
speed
backlight button.
button . Depressing
Depressing the
the button
button adds
adds and aperture yourself. You can
can increase
increase or
ordecrease
decrease
a fixed amount of of exposure, 11 to 1⁄2 stops,
to 111/i the
t he exposure as you wish.
wish.

One or more means of ofchanging

t he exposure are found on most
the most
cameras.
cameras. These features let you
Exposure lock 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
Backlight of
ofoperation after
a~er the picture isis made.
button

Exposure
compensation dial
+1
0
–1

+2
–2

400

Film speed/ISO
speed/ ISO dial Manual mode

66
66 LLIGHT
IGHT A ND E
AND XPOSURE
EXPOSURE
Todd Hido. #2423a from the
Todd Hido. the series House Hunting,, 1999.
House Hunting 1999. YouYou cancan use
use manual
manual mode
mode
to set the shutter speed and aperture for
for photographs
photographs inin 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.

C HAPTER 3
CHAPTER 67
Making an Exposure
of
of an Average Scene

Deborah
Deborah Willis. Willis. Trail
Trailofof
Tears,
Tears, 2001.
2001. Scenes
Scenes in in dif-
dif
fused
fused light
light can
can be be exposed
exposed
well
well withwith anan overall
overall read-
read-
ing. for
ing, for example
example an an overcast
overcast
day, outdoors in the
day, outdoors in the shade 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
are not as dark as they would
not as dark as they would
be
be in in direct
direct light.
fight.
Willis,
Willis, aa long-time
long-time
resident
resident of ofNew
New YorkYork City,
City,
responded
responded to to the
the spontane-
spontane-
ous
ous memorials around her
memorials around her
city
city with
with herher series
series 911
911 The
Day
Day After, 9/ 12/ 2001, that
After, 9/12/2001, that
includes
includes this this photograph.
photograph.

W
W hat exactly
exactly do
do you
you need
need to
to do
do to
to pro-
pro- bution
bution ofof light
light and
and dark
dark areas,
areas, andand ififthe
the scene
sceneisis
duce aa good exposure?
exposure? How
How dodo you
yo u choose
ch oose evenly
evenly illuminated
illuminated as as viewed
viewed from from camera
camera posi-
posi-
one
on e that
that lets
lets just
just enough
enough light
light into
into the
the camera
cam era so
so tion,
tion, that
chat is,is, when
when the
the light
ligh t isis coming
comi ng more
more or or
that
that the
the image
image is is neither
neither underexposed,
underexposed, makingmaking less
less from
from behind
beh ind youyo u or
or when
when the the light
light isis evenly
evenly
A digital
digital camera’s
camera's
the
the picture
picture tootoo dark,
dark, nornor overexposed,
overexposed,makingm ak ingthe
the diffused
diffused over
over thethe entire
entire scene
scene(like
(likethethephotograph
photograph preview
preview oror anan editing
editing
picture
picture too
too light?
li ght? All
All meters
meters built
bui lt into
into cameras,
cameras, above). See
See opposite
opposite forfor how
how toto meter
m eter this
this type
type of
of histogram of ofthethe scene
scene
and most
most hand-held
hand-held meters,
meters, measure
measure reflected
reflected average
ave rage or
o r low-contrast
low-contrast scene.
scene. on this
this page
page would
would look look
light:
light: the
the lightness
lightness or or darkness
darkness of ofobjects
objects (but
(b utnot
not like the
the one at at left. A
left. A
histogram is aa visual
visual display
display
their
their color). In In many
many cases,
cases, you
you can
can simply
simply point
point A meter
meter can
can be
be fooled,
fooled, however,
however,ififyour
yoursubject
subject of
ofthe
the way
way tones
tones are
are distrib-
the
the camera
camera at aa scene,
scene, activate
activate the
the meter,
meter, and
and set
set is
is illuminated
illuminated from from behind
behind (backlit),
(backli t), surrounded
surrounded uted in an image. Flat, Flat, even
even
the
the exposure (or (or let
let the
the camera
camera setset it)
it) accordingly.
accordingly. by
by a much
much lighter
ligh ter area,
area, such
such asas aa bright
bright sky,
sky, or
orbyby illumination usually
usually makes
makes aa
a much
much darker
darker area,area, such
such as
as aa large
large dark
dark shadow.
shadow. histogram that fits all tones
histogram that fits all tones
comfortably within
within the
the avail-
A reflected-light
reflected-light meter
meter averages
averages the
the light
light Even
Even a flatly
flatly litlit scene
scene can
can present
present anan exposure
exposure able latitude. This
This one
one shows
entering
enterin g its
its angle
a ngle ofof view.
view. The
The meter
meter isis calibrated
calibrated challenge ifif it
it is
is not
not aa good
good balance
balance between
between light
light aa decline
decline to
to the
the baseline
baseline at at
on the
the assumption that t hat in
in an
an average
average scene
scene all
all the
the and dark areas. See See pages
pages 70–73
70- 73 for
for what
what toto do
do in
in both ends indicating
indicating thatthat
tones
tones or values—dark,
values- dark, medium,m edium, and and light—will
ligh t- will such cases. all the tones have beenbeen
captured.
captured. The
The rise
rise at
at the
the left
le~
average
ave rage out to to thethe value
value ofof aa medium
medium gray.gray. So So indicates slightly more
more dark
the meter
m eter and its its circuitry
circui try set,
set, or
or recommend,
recommend, an an tones than middle or or light
exposure that
that will record
record allall of
of the
the light
light reflec-
reflec- ones. Overall
Overall it is relatively
relatively
tances
tan ces that
that it
it is
is reading
reading by by centering
centering them
t hem around
around flat, characteristic
characteristic ofan aver-
of
age subject in soft
soft light, thethe
a middle gray. result of
ofan almost equalequal
This works well ifif you are are photographing
photographing an an distribution ofoftones fromfrom
“average”
"average" scene, one o ne that
that has
has anan average
average distri-
discri- dark to light.

68 LLIGHT
IGHT A ND E
AND XPOSURE
EXPOSURE
Using a meter built into
into a camera for for exposure
exposure of
of an
an average
average scene
scene

11 Select an ISO and set it

matically when you load
it in
in the
load the
the camera.
camera. Some
the film.
film.
Son1e film
film cameras
cameras do
do this
th isauto-
auto-

2 Select the exposure mode:

the subject in the

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

33 In aperture-priority mode,

blurring of
of the image
n1ode, you
select a shutter speed; make
you select
make sure
in1age caused by
select an
sure that
by camera
an aperture.

can1era or
aperture. The
chat itit isis fast
or subject
The camera
fast enough
enough to
subject motion.
can1era will

n1otion. In
will
co prevent
prevent
In shutter-
shutter-
priority mode, you select aa shutter
shutter speed.
speed. The The camera
camera willwill select
select an
an
aperture; make sure itit gives
gives the
the desired
desired depth
depth of offield.
field. In
In programmed
programmed
(fully automatic) mode,
mode, the
the camera
camera selects
selects both
both aperture
aperture andand shutter
shutter
speed. In manual
manual mode,
mode, you setsec both
both aperture
apercure and and shutter
shutterspeed
speedbased
based
on the readout in the
the viewfinder.

Calculating
Calculat ing exposure ofof an average
average scene
scene with
with aa hand-held
hand-held reflected-
reflected-
light meter

11 Set
Sec the ISO or film speed into
into the
che meter.
meter.

22 Point the meter’s

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

3 Line up the number registered

on the meter’s
registered by
meter's calculator
calculator dial.
by the
dial. (Some
the indicator
ind icator needle
(Some meters
meters do
needle with
do this
with the
the arrow
arrow
chis automatically.)
automatically.)

44 Set the camera to to one of

speeds shown on the
of the
the combinations
the meter.
combinations of
n1erer. Any
Any combination
of f-stops
f-stops and
cotnbinarion shown
shown lets
and shutter
lees the
shutter
the same
same
quantity of
of light into
into the
the camera
camera and
and produces
produces the
the same
same exposure.
exposure.

Calculating exposure of of an average

average scene
scene with
with aa hand-held
hand-held incident-
incident-
light meter

11 Set
Sec the ISO or film speed into
into the
the meter.
meter.

22 Position the meter so that

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

C HAPTER 3
CHAPTER 69
Exposing Scenes that are Lighter
or Darker than Average

“I
"I tt came out too dark.” dark." Sometimes
Sometimes even even Scenes that are dark overall are
are less
less common,
common,
experienced photographers
photographers complain
complain that that they
they but do
d o occur. When
Wh en the
the meter
m eter sees
sees an
an entire
entire scene
scene
metered a scene carefully,
carefull y, but
but thethe picture
pi cture still
still that is very dark, called low-key
low-key,, itit assumes
ass umes itit isis
wasn’t
was n't properly exposed. All aa meter
n1eter does
does is is mea-
m ea- a dimly-lit average
ave rage scene and
and lets
lets in
in more
more light.
light.
sure light.
ligh t. It doesn’t
doesn't know
know what
what part
part ofo f aa scene
scene If
If your
yo ur main subject is not
not asas dark
dark asas the
th e back-
back-
you
yo u are interested in
in or whether
wh eth er aa particular
particular object
object ground,
gro und, it will be rendered
rendered too
too light.
light. Try
T ry reducing
reducing
should
sho uld be light or dark.
dark. You have
h ave toto think
think ahead
ahead the exposure
ex posure one or two
two stops.
s to ps.
of
of the meter and sometimes change chan ge the
the exposure
exposure
it recommends. You can make some adjustments adjustments in in tone
tone
later, when you yo u edit your
yo ur pictures.
pictures. ButBut good
good
Scenes that are light
light overall, such
such as
as aa snow
snow results and the effect you yo u want
want are
are easier
easier to
to get
get
scene,
scen e, can look too too dark in in the
the final
final photograph
photograph if you
yo u first use
u se the
the camera
can1era toto capture
capture thethe cor-
cor-
if
if you
yo u make just
ju st an overall reading
reading oror let
let an
an auto-
auto- rect exposure. Bracket
Bracket your
yo ur exposures
exposures (page
(page 64)64)
matic camera make make one
o ne for
fo r you.
you. The
The reason
reason is is that
th at if
if you are not sure, especially
especially if
if you
yo u notice
notice that
that
the meter
n1eter will make
make its
its usual
usual assumption
ass umption that that itit the scene is not average—equally
average- equally light
light and
and dark.
dark.
is pointed
po inted at a scene consisting of of light,
light, medium,
n1edium, If your camera is capturing TIFF
If TIFF or or JPEG files,
files,
and dark
d ark tones
to nes (one that
that averages
averages out
o ut to
to middle
middle you
yo u have little leeway. Shooting
Shooting Camera
Camera Raw Raw
gray), and it will set the t he exposure
exposure accordingly.
accordingly. files
fi les gives you a better
better chance
chance at at retrieving
retrieving an an
But this will
wi ll underexpose
underexpose aa scene scene that
that consists
consists image that was slightly
slightly over-
over- or
or underexposed.
underexposed.
mostly ofof light
light tones,
tones, called high-key, resulting
called high-key, res ulting in in aa But ana n image that was was captured
cap tured with
with the
the correct
correct
too-dark photograph.
photograph. Try Try giving
giving one
one oror two
two stops
stops exposure will always be be your
your best
best bet
bet for
for making
m a king
extra exposure to to such
such scenes.
scenes. a print ofo f the highest
hi gh est possible
possible quality.
quality.

An underexposed (too dark) photograph can result result when

when A better exposure for contrasty scenes results from from moving
moving
the light is coming
coming from behind the subject or or when the subject up close to meter only the main subject, as shown above. This This
is against a much brighter background, such as the the sky. The
The way youyou take your
your meter reading from the the most
most important
important part
part
problem is that a meter averages all the the tonal
tonal values
values that
that strike of
ofthe scene-
scene—here,
here, the dinosaur’s
dinosaur's head. TheThe resulting
resulting exposure
its light-sensitive cell.
cell. Here the photographer
photographer pointed
pointed thethe meter
meter of ⁄60 sec.
of11/40 sec. at f/11
f/11 let in two more stops of ofexposure and
and made
made
so that it included the much lighter
lighter tone of
ofthe
the sky
sky and
and clouds
clouds as the final picture (right) lighter. The sky is more realistic
realistic and
and the
the
well as the sculpture. The resulting
resulting exposure of ⁄250 sec. shutter
of1½so important part of ofit, the figure,
figure, is not
not too dark.
speed at f/11
f/ 11 aperture produced a correct exposure for for an
an aver-
age scene but not a correct exposure for for this scene.

70 LLIGHT
IGHT A ND E
AND XPOSURE
EXPOSURE
 Uehling. Miami Beach, Florida,
Jerome Liebling.
Jerome Florida, 1977.
1977. make the sunstruck areas too light. Its
Its histogram
Some scenes need more care in metering, (left) shows mostly dark tones clustered at at the
the
like this handball player in a shaft of
ofsunlight. left end of
ofthe graph. An averaging
averaging meter
meter would
would
An average meter reading
reading would see mostly
mostly the try to move the large mass of
oftones
tones toward the the
dark court and suggest an exposure thatthat would
would center, overexposing
overexposing and clipping
clipping the highlights.
highlights.
ii: I 141,u

C HAPTER 3
CHAPTER 71
71
Backlighting
T
T he most common exposure exposure problem
problem is is aa Jones. Dancers Rehearsing,
Lou Jones.
Boston, 1985.
Rehearsing,
1985. Careful exposure
backlit subject, one that is against a much much light-
light-
is required in backlit scenes like
er background, such as as aa sunny
sunn y sky.
sky. Because
Because the
the this one ififyou
you want to retain detail
meter
n1eter averages all the
t he tonal
tonal values
values it it sees—light,
sees- ligh t, in the shadowed side of ofthe subject.
medium,
m edium, and dark—in
dark-in the the scene,
scen e, itit assumes
ass umes the
the
entire scene is very bright.
bright. Consequently,
Consequently, itit setssets
an exposure that
that lets
lets in
in less
less light,
light, which
wh ich makes
makes
the entire picture darker and and your
yo u r main
1nain subject
subject
too dark.
d ark.

Backlight can make

make an effective
effective silhouette,
silhouette,
but you
yo u shouldn’t
shouldn't render
render your
your subject
subject inin black-
black-
ness
n ess unless that’s
that's the
t h e effect
effect you
you want.
want. ToTo show
show
your
yo ur main
m a in subject
su bject with
with detail
detail in in the
the shadowed
shadowed
side, like the photograph
photograph at at right,
ri ght, make
make sure
sure to
to
meter
m eter the
th e part of
of your
yo ur subject
subject facing
facing the
the camera
cam era
without letting the backlight
backli ght shine
sh ine into
into the
the meter,
m eter,
as shown below. When you you want
want aa silhouette
silhouette
against a bright background,
backgrou nd, try try giving
giving aa stop
stop or
or
two less exposure than
than thethe meter
meter recommends
recommend s for for
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, re- A substitution reading, such as one taken taken from
from the
the palm
palm of
of
flected-light meter, move your hand or a gray card, will give you an accurate reading
your reading ifif
in close enough to read the you can’t
you can't get close enough to a subject or—as
or- as in this
this scene—
scene-
subject but not so close as to
to you can’t
you can't easily find an area ofofaverage reflectance. Make Make
block the light. A spot meter, sure you you are metering just the palm (or
meteringjust (or the
the card)
card) and not not
which reads light from a very
ve,y the sky or other background of a
of a different tone. A hand-held
hand-held
narrow angle ofofview, is par- reflected-light meter is shown, but but you can also use use aa meter
meter
ticularly useful for metering
metering built into a camera.
high-contrast scenes. IfIfyou
you meter from the palm of your hand, try
ofyour try the exposure
exposure
recommended by the meter meter ififyou
you have very
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.

72 LLIGHT
IGHT A ND E
AND XPOSURE
EXPOSURE
 Exposing Scenes with High Contrast

Ray K. Metzker. Frankfurt, 1961.1961.

A high-contrast scene must be
A
exposed carefully, as youyou can see from
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 under-
exposure would clip the dark tones,
making them all black.

L H
J
H igh-contrast scenes are
are difficult
difficult to
to expose
expose the reading. But
Bu r suppose a bright
bright sky
sky with
with inter-
inter-
correctly because the range of oftones
cones in
in aa contrasty
contrasty esting
esti ng clouds is the area in
in which
which you
you want
want toto see
see
scene (also called a scene of of wide or
or high dynamic
high dynamic detail and there are much
much darker
darker land
land elements
elements
range)) can meet or even exceed
range exceed the
the latitude
latitude (the(the silhouetted against itit (see
(see page
page 9,
9, bottom
bottom center).
center).
range ofof tones
cones that
t h at can bebe captured
captured simultane-
simultane- If
If so, the sky is
is your main
main subject,
subject, the
the one
one you
you
ously) of
of the sensor or film.
film. Even
Even aa small
small exposure
exposure should
sh ould meter
merer to determine your
your camera
camera settings.
settings.
error will leave you with
with detail
derail missing
missing (clipping)
(clipping)
in your highlights or shadows. As As always,
always, itit is
is saf-
saf- A substitution readingreading isis possible
possible ifif you
you can’t
can't
est to
ro bracket. move in close enough to to the
the important
important part part of
ofaa
contrasty scene. FindFind an object
object of
of about
about the
the same
same
Try not to underexpose
underexpose with with film;
film; the
rhe shadow
shadow tone in a similar
simi lar light and read
read it
it instead.
instead. For
For exact
exact
areas suffer most from
from exposure
exposure error.
error. Films
Fi lms have
have exposures, you can meter
n1erer the
the light
light reflected
reflected from
from aa
more latitude inin the
the highlights.
highlights. Don’t
Don't overexpose
overexpose card, a card that
gray card, that is
is a standard 18% 18%reflectance
reflectance
with digital cameras, they they typically
typically capture
capture aa middle gray (meters are designed designed to to calculate
calculate
tonal range greater than
than negative
negative films,
films, but
but with
with exposures for subjects of of this
this tone).
tone). You
You can
can also
also
less latitude in the highlights.
highlights. Precise
Precise metering
metering isis meter the light reflected
reflected by by the
the palm
palm of ofyour
your hand
hand
more important in contrasty
contrasty light.
light. (see box, opposite). Hold
Hold thethe card
card or or your
your hand
hand inin
the same light that is is falling
falling on
on the
the subject.
subject.
To expose the main main subject
subject correctly
correctly in in aa
contrasty scene, measure the light light level
level for
for that
that How do you set
set your
your camera
camera after
after you
you have
have
part of
of the scene only. If
If you
you are are photographing
photographing metered a high-contrast
high-contrast scene? If your cam-
scene? If
a person or other
ocher subject against
against aa much
much darker
darker era has a manual
manual exposure mode,
mode, set
set the
t he shutter
shutter
or lighter background, move
move in in close
close enough
enough to to speed and aperture to to expose
expose the
the main
main subject
subject
exclude the background from
from the the reading
reading but
but not
not correctly, using the
t he settings from
from aa reading
reading made1nade
so close that you meter
meter your ownown shadow.
shadow. If Ifyour
your up close or from a substitution
substituti on reading.
read ing. InIn auto-
auto-
main subject is a landscape
landscape or or other
other scene
scene that
that matic operation, you must
must override
override the
the automatic
automatic
includes a very bright sky,
sky, tilt
tilt the
the meter
n1eter or
or camera
camera circuitry (see page 66).
66). Don’t
Don't be
be afraid
afraid toto do
do this;
this;
down slightly so you exclude
exclude most
most of ofthe
the sky
sky from
from only
on ly you know the picture
picture you want.
want.
C HAPTER 3
CHAPTER 73
HDR
HDR
H IGH D
HIGH YNAMIC R
DYNAMIC ANGE
RANGE

H
H ow do you capture a scene scene when
when the
the subject bracketed one stop stop apart
apart (see
(see page
page 64)
64) will
will
contrast is too great
great for
for your
your camera?
camera? What give the best results.
results. Although thethe programs
programs will will
do you do when the the highlights
high lights are
are too
coo bright
bright and
and try
cry to line up exposures that that don’t
don't overlap
overlap per-
per-
the shadows toocoo dark toco be
be captured
captured atat the
the same
same fectly,
fec tly, it is always more
1nore effective
effective to
to use
use aa tripod.
tripod.
time? The range of of tones
tones aa sensor
sensor oror film
fi lm can
can Bracket the exposures using using shutter
shutter speed
speed rather
rather
capture (or a monitor
monitor can
can display
d isplay or
or aa printer
printer can
can than aperture to co avoid depth-of-field
depth-of-field variation
variation
print) is called its
its dynamic range.
range. When
When expos-
expos- between frames.
ing a scene with tootoo much
much contrast—too
contrast- too great
great aa
dynamic range—you
range- you can only
only make
make sure
sure the
the most
most
important tones are recorded,
recorded, you
you can’t
can't capture
capture
all of
of them
th em in one picture.
picture.

Photographers have
have always
always had
around the limitations of
of the
had to
to work
work
the medium.
medium . In
INF-~ \.,.._\.,J
' J ,: ,.
"' ;_6.,, -
; y

the 19 th century, photographers used

19,h used aa separate
separate

J.~.,•~-~l/,
negative toco add clouds to co aa print
print because
because the
the
materials ofof the
the period
period couldn’t
couldn't record
record detail
detai l
in a landscape and skysky 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
brightness range
range of
of their
their subject
subject doesn’t
doesn't exceed
exceed
the range they can capture.
4.'7
Software gives us
us a chance
chance toto overcome
overcome the
the
limited range a sensor can capture. HDR (high
(high Sensor limit for low light.
lig ht. Sensor limit for bright
brig ht light.
lig ht.
dynamic range) images
images can be be assembled
assembled fromfrom
a bracketed sequence of of exposures. Photoshop’s
Photoshop's A digital sensor can only capture the
the fixed
fixed a camera the way they are illustrated
illustrated above,
Merge to HDR feature, asas well
well as
as several
several separately
separately range of brightnesses shown within the
the but are clipped—all
clipped-all tones to the right ofofthe
the
available applications and
and plug-ins,
plug-ins, automate
automate the the histogram displayed on your
your camera’s
camera 's moni- sensor’s range are captured as pure white and
sensor's and
tor.
tor. With a very contrasty scene like the one everything to the left
le~ as pure black. Without
Without
process by blending thethe light
light areas
areas in
in the
the less-
less- below and opposite page, top, some tones will the ability to merge bracketed HDR
HOR frames,
frames,
exposed frames with the the shadow
shadow areas
areas inin the
the fall outside that range. These out-of-gamut your only option is to choose (by selecting
your selecting an ex-
greater exposures. Five toto seven
seven frames
frames of
of aa still
still (page 82) tones are not actually displayed by
by posure) which partial range ofoftones you record.

Five exposures were made to capture The aperture was kept the same in all so
full detail in all the areas ofofthis they could be merged (see the opposite
desert canyon, from 1½a⁄10 sec.
sec. to 6 sec. page) with no depth-of-field variations.
74 LLIGHT
IGHT A ND E
AND XPOSURE
EXPOSURE
 Cra~on. Textures
Billy L. Crafton.
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 photo-
graph rotated 90º
900 from the way
he took it, shown opposite, to
momentarily disorient viewers.

Digital
Di ital Noise
IInn a digital photograph, the lower the light, light, the
the more
more the the noise.
noise. AA Longer exposures increase noise. You use use aa long
long exposure
exposure when
when
sensor’s
sensor's photosites are lessless accurate when they they measure
measure aa very very small
small very little illumination reaches
reac hes the
the sensor—perhaps
sensor- perhaps because
because of
ofaa
amount of of light, and
a nd in every photograph
photograph somesome will
wi ll randomly
randomly gen- gen- very small aperture or a dimly lit lit subject. HDR
HOR photographs
photographs forfor
erate pixels whose color and brightness
brightness are unrelated
unrelated to to the
the subject.
subject. example, because of of the great range
range ofof brightnesses,
brightnesses, areare often
often very
very
Because noise increases as the light light level
level decreases,
decreases, there
t here will
wil l always
always dimly
dim ly lit in the darker areas and require
require longer
longer exposures.
exposures. One
One kind
kind
be more in dark areas of of an image.
image. And, because
because noise
noise in in shadows
shadows of
of noise, heat-generated electrons called dark dark noise,
noise, accumulates
accumulates
appears as bright
bright sparkles ofof color
color in
in a dark
dark field,
field, itit isis most
most notice-
notice- over time, and so forms a more more noticeable
noticeable part
part ofof an
an image
image made
made
able there, too. with a long exposure.

Higher ISO settings increase noise. noise. AA photosite

photosite does does not
not change
change Some noise can be removed. Some digital digital SLR cameras
cameras havehave aa set-
set-
its sensitivity—the
se nsitivity- the way it responds
responds to
to photons
photons falling
fa llin g on
on itit by
by col-
col- ting for Long Exposure
Exposure Noise
Noise Reduction
Reduction that
that works
works onon the
the principle
principle
lecting and counting electrons—when
electrons- when youyou adjust
adjust the the ISO
ISO number
number that some kinds of of noise,
no ise, notably
notably dark noise,
noise, are predictable.
predictable. A A
to a higher setting.
setti ng. The camera’s
camera's circuitry
circuitry simply
simply amplifies
amp lifies thethe data
data long exposure is followed automatically
automatica ll y by
by an equally
equa ll y long
long expo-
expo-
collected.
co ll ected. With a higher ISO,ISO, you shoot withwith aa smaller
smal ler aperture
aperture or or sure with the shutter closed. Noise
Noise generated during
during the
t he second
second
higher shutter speed, so the sensor receives
receives less
less illumination
illum ination overall.
overal l. exposure is then subtracted from the first.
first. Also,
Also, several
several software
software
The kinds of of noise that are always present
present at at aa low
low level
level are
are then
then programs, separate applications as well wel l as Photoshop
Photoshop plug-ins,
plug-ins, are
are
amplified more than they would be be at
at aa lower
lower ISO,
ISO, and
and form
form aa available
availab le to help
help reduce noise,
noise, both
both in
in digitally
digitally captured
captured andand inin
more noticeable part part of
of the image.
image. 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
MARTHA OSLER
ROSLER Equipment and Materials Working with Camera
Invasion, from the series House
House You’ll
You'll Need ...................
. . . . . . . . . . . . . . . . . 78
78 Raw ..........................
. . . . . . . . . . . . . . . . . . . . . . . . 85
85
Beautiful: Bringing the War Home,
New Series, 2008.
2008. Rosler
Rosier collages Pictures are Files ...............
. . . . . . . . . . . . . 80
80 Stay Organized . ................
. . . . . . . . . . . . . . 86
86
the ads in mainstream magazines to Digital Color . ..................
. . . . . . . . . . . . . . . . 82
82 workflow . ............
Setting up a workflow. . . . . . . . . . . 86
86
critique the culture that reads them. Photographer's workflow
Photographer’s workjlow
Made as traditional cut-and-paste col-
Modes, gamuts, spaces,
and profiles . ...................
. . . . . . . . . . . . . . . . . 82
82 programs.. .....................
programs . . . . . . . . . . . . . . . . . . . 87
87
lages,
lages, early pieces in this series from
the 1960s juxtapose smug suburban
1960s juxtapose Channels.. ......................
Channels . . . . . . . . . . . . . . . . . . . . 83
83 Importing an Image ............ . . . . . . . . . . 88
88
consumerism with the horrors of of the Calibrating accuracy . ..........
for accuracy.
Calibrating/or . . . . . . . . 84
84 Scanning ......................
. . . . . . . . . . . . . . . . . . . . 89
89
Vietnam War.
War. More recent images are
digitally composited from
from scanned maga-
zine 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, ofof a kind of
of indifferent rela-
re/a•
tionship to what our country is doing.”
doing."
 Digital
Di ital Workplace
Work lace Basics 4
In this chapter you’ll
you.'ll learn…
learn .. .
•• to identify the components of
digital
digita l photography:
of aa workspace for
photography: a computer, its
and its peripheral devices.
for
its programs,
programs,
A
A fter capturing an an image
graph exists as a computer
Computers alter photographs
image and

photographs by
and before
computer file,
before printing

by manipulating
printing it,
file, and lives its life in
manipulating the
it, your
your photo-

t he binary
photo-
in aa computer.
computer.
bi nary world
wo rld of of
ones
o n es and
an d zeroes;
ze roes; there
there is
is no
no darkroom,
d arkroom, rectangle
rectan gle of o f film,
filn1, or
o r liter
liter of
ofdevel-
d evel-
•• how to determine the bestbest file
file format
format and
and resolution
resolution
for each use you maymay have
have for aa photograph.
photograph. oper.
o per. Software programs
programs forfo r editing
editing photographs
photographs contain
contai n commands
commandsthat charareare
•• to plan
plan an efficient series of
of steps to to lead
lead you
you from
from inherited
inheri ted from—and
from- and tools
tools that
rhar are
are modeled
modeled after—the
after- t hetraditional
t raditionalprocesses
processesof of
deciding to make
make a photograph
photograph to co making
making sure
sure you
you photography.
photography. You apply apply “filters”
"filters" oror use
use “burning
"burning and and dodging”
dodging"tools. tools. It’s
It'suse-
use-
don’t
don't ever lose
lose it. ful—but
ful - bur not necessary—to
necessary- to know
know where
where those
t hose terms
terms camecamefrom. from .
What youyo u will need,
need, however,
however, to to control
control allall the
t he stages
stages between
between capture
capture
and
a nd output,
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 igitalcam-cam-
eras can record hundreds
hundreds of of photographs
photographs on on one
one reusable
reusable memory
memory card; card;the rhe
computer
compute r facilitates saving
saving andand 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 ofanan
image (or a group of them), and
ofrhem), and save
save each
each successive
successive stage
stage of ofthe
theprocess.
process.You You
can then
th en send your
yo ur choices
cho ices toto aa desktop
d esktop printer—connected
printer- con nected to to your
yo u r comput-
compu t-
er—to
er- to make exactly
exactly repeatable
repeatable prints.
prints. By
By the
the time
time youyo u areare aa proficient
proficient digital
digital
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
Scree nshots,, 2007-
2007–09.
09.
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
photographer, youyou’ll
'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?"

＠ :.._: : : :
!:
. .: - .
;
:
'
: : .
..: . .
: .
! : . : .

.ｾ＠- : :~~::
. . .. ｾ＠
.

77
Equipment and Materials You’ll
You'll Need

CAPTURE Image-editing software lets

lets shop
sh op CS6 Extended on STORAGE
Extended on Optical
OpticaJ storage medium
medium
you select editing com-
com- an Apple Macintosh
Macintosh AND such as a DVD or Blu-
Digital camera does not mands that change
change the
the computer; the Standard
Standard TRANSMISSION
TRANSMISSION ray disk lets you
you expand
expand
use film.
film. It electroni- image. Adobe Photoshop is
Photoshop is and Windows editions
editions your storage or rake
take
cally records anan image
image the dominant produce.
product. look nearly identical.
identical. Hard disk ((HDD
HDD or hard files to another location.
location.
in a numerical form
form Photoshop Elements This book is about drive)) stores image
drive files
image files Modem, cable, Wi-Fi, or
that can be sent to to the
the has only some of the photography. can’t
photogtaphy. It can't within the comp
computer.
uter. ethernet connection
connection
computer directly as as features presented in
in replace the owner’s
owner's Solid state drives (SSD),
(SSD
(SSD
SSD),), to another
anoth er computer
digital information.
information. this book. also
book. You may also manual for your cam-
cam- essentially the same
same as
as or
o r a network of them
them
Scanner reads a conven- choose a photographer’s
photographer's era or an
an in-depth
in-depth camera memory cards,
cards, lets you send and
send and
tional negative, slide,
slide, receive digital image
or print and converts
converts it
it files. Connecting to the
to the
into digital form.
form. See Internet lets you
you trans-
trans-
page 89. Monitor Computer mit images worldwide.
worldwide.
Printer

EDITING
EDITING External
hard drive
OUTPUT
Computer is the heart
of
of a digital-imaging Printer transfers the
system. It processes the the image to paper.
paper. Print
image and drives the the quality, cost, and
and per-
per-
monitor, printer, and and manence vary widely.
widely.
other devices to which
which Printers may be the
it is attached.
attached. You'll
You’ll inkjet, laser, or dye-
dye-
need a recent Apple or sublimation type.
type.
Windows-compatible
Windows-compatible Memory card
Web site lets others
oth ers see
computer.
computer. The more
powerful and
more
and faster
faster
Scanner /
Digital
reader
your photographs dis-
played on their moni-
dis-
moni-
models are preferable;
preferable; camera tors, phones, or tablets.
tablets.
editing photographs
is among the more more You don't
don’t need to
to own
own
demanding uses for for workflow appl
application
ication reference for image-
image- perform the same these items yourself.
yourself.
a computer.
comp uter. Adding like Adobe Photoshop
Photoshop editing software.
software. You
You functions faster but If
If you are in a class, aa
more memory (RAM) (RAM) Apple
Lightroom or Apple will need a book
book (or thethe are more expensive.
expensive. lab will
wi ll be provided.
provided.
will make any com- com- Aperture. See page 87.
87. screen-display or online
online External drives can
can be
be Otherwise,
Othenvise, many
puter perform image
perform image Editing software equivalent) for
for your added simply by con-
con- schools and libraries
editing faster.
faster. uses on-screen
on-screen menus to to chosen
ch osen software, either necting with a cable.
cable. provide access to com-
com-
Computer monitor list commands and and to
to the one that comes
comes Cloud storage lets you
you puters, scanners, and
and
displays the image
image youyou call for dialog boxes that with the
rhe program
program or use remote storage
storage printers. Service bureaus
bureaus
are
a re working on on and
and open on the monitor.
monitor. one of
of the many good
good via the Internet. Only (often in shops that do do
shows vario
various software
us software Most dialog boxes
boxes and
and publications or web-
web- a limited number of copying) rent time on on
tools and options.
options. other illustrations onon based tutorials that pictures can
can be stored
stored computers, scan
scan and
and
Should be calibrated
calibrated the pages of this book
book cover in detail all its
derail all internally on a single
single print images, and help
(see page 84).
84). were made withwith Photo-
Photo- tools
too ls and controls.
controls. drive. See box page 80.
80. you use their services.
services.

78 D IGITAL W
DIGITAL ORKPLACE B
WORKPLACE ASICS
BASICS
Carrie Mae Weems. A Broad
and Expansive Sky—Ancient
Sky- Ancient
Rome, from Roaming, 2006.
2006.

When and Where II Enter—Ancient

Enter- Ancient
Rome,
Rome, from Roaming, 2006. 2006.
This series, like much of ofWeems’
Weems'
work, is part photography and and
part performance. It began in
Rome when she found herself
herselfbefore
monuments and palazzos “thinking
"thinking
about questions ofofpower.”
power." Her fig-
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,
she says “I"/ move around with an
old beat-up camera…and
camera ... and as much
film
film as II can carry. Then IIjust trust
that II know what I’m
I'm doing with
this little black box and that it’s
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 Increased
Inc reased file size causes your your computer
computer to to David Taylor. Pedestrian
Fencing,
Fencing, Desierto de Altar/
Altar/
comprising
com p rising a string of of binary
binary numbers
numbers (ones(ones and
and take more
m ore time
time executing
execu ting each
each command
comman d you you give
give
Yuma Desert, 2009. This
zeroes) forfo r each pixel.
pixel. More pixels
pixels and
a nd greater
greater it. Larger
Large r files
fi les require
requi re more
m ore computer
com p u ter memory,
m em ory,
view of the Mexico–US
Mexico- US
bit depth
d epth (the amount
a mo unt of of information
inform atio n per
per pixel)
pixel) and take more
m ore room
roo m to
to store.
store. You
You may
n1ay have
have toto barrier fence is made from
mean
m ean more potential sharpness,
sha rpness, color
colo r quality,
q uali ty,and
a nd balance the quality and an d size
size of
of the
th e picture
picture you
yo u (He (2GB),
a very large file (2GB),
tonal
to nal range
ra nge in thethe image—and
image- a nd thethe bigger
bigger the
the size
size want against the the practicality
practicality of
of the
the file
file size
size for
for stitched from ten separate
exposures that each recorded
of the
th e image
im age file
fi le in
in the
the computer.
com puter. Generally,
Generally,better
better your
yo ur particular computer.
comp u ter. You
You can
can find
fin d out
ou r more
m ore
a section of
ofthis wide view.
cameras capture a higher higher pixel
pixel count
coun t and
and greater
greater from your instructor
instructo r atat school
school or
or an
an image-editing
image-edi t ing Taylor’s
Taylor's 4 ×x 5-foot print yields
yields
bit depth,
dep th, hence larger files.fi les. software manual.
m a nual. information from very close in-
spection as well as from afar.

About File Sizes

Sizes
Fi le sizes are measured
File measured in bytes (8
in bytes (8 bits).
bits) . AA Bit Smallest
Small unit
est un digital
it of digi information,
tal in fo rmation, (Th e numbers
(The numbers are rounded
ro und ed off.
off. A
A kilobyte
kilo byte
12-megapixel
12-megap ixe l camera’s
camera's recording
record ing chip
chip might
migh t can only be be two
two va lu es: 11 or
values: or 00 actually
actua lly contains
contai ns 1,024
1,024 bytes,
bytes, aa megabyte
megabyte
have a 3000 ×x 4000 grid of of pixels—that’s
pixe ls- t hat's 12
12 Byte 8 bits,
bits, can
ca n be
be 256
256 different
d ifferent values
valu es 1,048,576.)
mi llion pixels.
million pixe ls. IfIf each pixel
pixel uses
uses 88 bits
bits (one
(one byte
byte Kilobyte (1K
(1 K or KB)
KB) 1,000
1,000 bytes
bytes
or 256 possible values) va lues) for
for each
eac h color
co lor (red,
(red, Megabyte (1M or MB)MB) 1,000,000
1,000,000 bytesbytes A file for a photograph
photograph on on the
the Internet
Intern et
green, and blue), each image image will prod uce aa
will produce Gigabyte (1G or GB) 1,000,000,000
1,000,000,000 bytes bytes o ne for
might be 90K, one for an
a n 88 ×x 10-inch print
10-inch print
36-megabyte file. file . Terabyte 1,000,000,000,000 bytes
(1T or TB) 1,000,000,000,000 bytes 18MB, one
o ne for a poster
poste r 200MB
200 MB or or more.
more.

80 D IGITAL W
DIGITAL ORKPLACE B
WORKPLACE ASICS
BASICS
 Bit depth controls how
how smooth
smooth thethe tones
tones means you can have have four
four colors—adding
colors- adding aa dark dark
will be. Computers operate on
on bits,
bits, numbers
numbers that
that and a light gray for example. The The pixels
pixels in
in an
an 8-bit
8-bit
can only be a one or a zero.
zero. An
An image
image with
with aa bit
bit picture or file
fi le can have
have 256
256 different
different values:
values: black,
black,
depth ofof one can only
only have
have two
two different
different colored
colored white, and 254 shades of of gray
gray in
in between.
between.
pixels, usually black and white. AA bit
bit depth
depth of
oftwo
two The human eye can distinguish only onlyabout
abouttwo two
File Formats hundred different shades between between black
black and
and white,
white,
You have a choice of of file formats whenwhen .tif (written TIFF) isis aa nearly
nearly universal
universal so a photograph with 8-bit 8-bit pixels
pixels (each
(each having
having 256256
you create or save a digital
digital image.
image. Some
Some format that allows aa photograph
photograph to to bebe possible tones of ofgray,
gray, including
including black
black and
and white)
white) isis
computers need
need aa three-letter
three- letter suffix
suffix (file
(file opened on any computer
computer by by nearly
nearly every
every enough for a black-and-white
black-and-white picture
picture (see
(see the
the pho-
pho
pho--
extension) at the end
end of
of the
the file’s
file 's name
name program that works with photographs.
photographs.
to identify the type. Here
Here are
are the
the impor-
impor
impor-- Saving a file as a TIFF makes
makes no no changes
changes tograph bottom right).
right). But
But for
for aa full-color
full-color image,
image,
tant ones. to it (it is called lossless ), nor
lossless),
), nor does its
its three times that
that much
much is is needed—256
needed- 256 different
different val-
val
val--
optional
optiona l compression mode mode (LZW).
(LZW). A A ues for each ofof three
three component
component colors,colors, red,
red, green,
green,
.psd is Adobe’s
Adobe 's proprietary
proprietary format
format for
for TIFF
T IFF can bebe 8- or 16-bit.
16-bit.
documents that can only only be be opened
opened andand
and blue (see pagepage 56).
56). Each
Each pixel
pixel inin aa full-color
full-color
edited in Photoshop.
Photoshop. IfIf you are are using
using Camera Raw (.CR2, .NEF, .NEF, .PEF,
.PEF, etc.)
etc.) photograph is is usually
usually stored
stored asas aa 24-bit
24-bit number.
number.
Photoshop to edit a file,fi le, there are
are few
few files do not conform to to aa single set
set of
of
reasons to useuse any other
other format
format until
until standards like
like JJPEGs
PEGs or TIFFs. Raw
orTIFFs. Raw is is aa
your editing is is complete and and you save
save generic term for fo r the
the individual
individua l and
and pro-
pro
pro--
High-bit files let
let you make
make more
more adjustments.
adjustments.
the file
fi le for a specific purpose.
pu rpose. prietary way that a digital
digital camera
camera pro-
pro
pro-- Some cameras
can1eras and scanners cancan capture
capture upup to
to 16
16
duces unprocessed data, data , before
before settings
settings bits per color. You can’t
can't see or
or print
print such
such fine
fine dis-
dis
dis--
.jpg (written JPEG) compresses photos photos like white balance
ba lance are applied. Starting
Starting
tinctions (16 bits is
is 65,536
65,536 values between
between black
black
into a smaller
smal ler file. You can can choose one one with a Raw file allows
al lows more
more precise
precise edit-
edit
edit--
of
of several quality levelslevels for
for progressively
progressive ly ing control and lets lets you keep
keep your
your pic-
pic
pic-- and white) but having
having more
more data
data lets
lets you
you make
make
smaller
sma ller files;
fi les; a low
low quality
quality may
may allow
allow an an tures in the high-bit
high-bit (12((12
12 or
or 16
16 bits
bits per
per extreme adjustments without
without losing
losi ng quality.
quality.
image saved as a JPEG to to be
be reduced
reduced to to pixel)
pixe l) format
fo rmat that better
better digital
digital cameras
cameras
as little as one-twentieth its its original
original size.
size. capture.
captu re. You can open raw raw files
files with
with
This
Th is kind of of compression, which which dis dis-- software from the camera manufacturer,
manufacturer, Camera Raw
Raw files preserve
preserve all
all the
the capture
capture
cards information, isis called lossy. Every
cal led lossy. Every but try your editing software first. first. data with no loss. If
If you are
are using
using TIFF
T IFF or
or JPEG
time you open and resave resave aa JPEG its its files from
fron1 your camera, you are are accepting
accepting thethe cam-
cam
can1--
quality deteriorates; choose another another for-for
for-- .dng (Digital Negative)
Negative) isis an open-
open-
mat for editing. JPEGs JPEGs,, with
with smaller
smaller filefile source (no owner, publicly
publicly available)
ava ilab le) era’s
era's interpretation of of what its its sensor
sensor captured,
captured,
sizes making faster transmission times, times, format developed by by Adobe in in the
the hope
hope along with some loss loss of
oforiginal
original data.
data. IfIfyour
your cam-
cam
cam--
are common for displaying
displaying photographs
photographs that camera makers
makers would standardize
standardize era lets you download raw raw files
fi les in
in the
th e camera’s
camera's own
own
on the Web or sending sending snapshots
snapshots over over their now-proprietary formats.
fo rmats. Adobe’s
Adobe' s
the Internet.
Internet. Digital
Digital cameras offer offer this
th is software, or their free utility,
utility, will let
let format (see box at left),
left), you cancan then
then control
control the
the
format as a file fi le option
option to fit more
to fit more pho-
pho
pho-- you convert any Camera Raw Raw file
file into
into aa interpretation of of sensor data (color
(color balance,
balance, tonal
tonal
tographs on a memory memory card.
card. A A JPEG
J PEG can can .dng, which may eventually
eventually become
become the the relationships, etc.), tailoring
tailoring it it to
to make
make anan image
image
only
on ly hold an 8-bit pixel pixel depth.
depth. standard Camera Raw Raw format.
format.
file that is exactly what you
you want.
want. More
More on on page
page 85.
85.

Increasing
lncreasin Bit Depth
Depth

1-Bit 2-Bit 8-Bit

For the same image size, higher two (center) adds two gray shades. white even more finely than our eyes
bit depth reproduces more tones
tones An 8-bit image (right) can reproduce can distinguish, allowing
allowing more adjust-
but requires more pixels. A bit all the grays we can perceive between ment. For a full-color image, each
depth of
ofone (left) can reproduce black and white. A 16-bit
16-bit image pixel has at least three 8-
8- or 16-bit
16-bit
only black or white. A bit depth of
of divides the tones between black and segments, one for each primary color.
C hapter 4 4
CHAPTER 8181
Digital Color
M ODES, G
MODES, A M U T S , SSPACES,
GAMUTS, PACES, A N D PPROFILES
AND ROFILES

C
C olor in digital imaging
imaging shows
shows its
its working
working extent
exten t of
of this
chis gamut isis useful
useful because
because itit is
is always
a lways
parts to the user;
u ser; the controls and
and procedures
procedures smaller than the gamut
gan1uc of human vision;
ofhun1an vision;itit tells
tellsus
us
used to
co adjust color are visible
visible and
and systematic.
systematic. what colors we can see but but can’t
can't reproduce.
reproduce. More More
Understanding how h ow digital imaging
imaging deals
deals with
with importantly, the gamuts of of various devices
devices and and
color will give you better
better control
control of
oftools
cools that
chat can
can materials
n1aterials are different from
from each
each other.
oth er. For
For exam-
exan1-
help you get
gee the final
final image
image you
you want.
wane. ple, you can capture some
some colors
colors with
with your
your camera
camera
that a monitor can’t
can't display. And your
your screen
screen cancan
Every digital image has
has aa color mode,, aa means
color mode
mode, means show you some colors you yo u can’t
can't reproduce
reproduce with with aa
of
of defining the
the colors inin an
an image.
image. Black-and-
Black-and- printing press (or your inkjet
inkjet printer).
prin ter).
white
whice photographs are usually
usually stored
stored in in aa mode
mode
called grayscale,
grayscale, which saves
saves only
only light
light or
or dark
dark Each image carries with
with itit aa working
working space,
space,
tones,
cones, not color. The luminance or or value
value (lightness
(lightness a gamut that should be be slightly
slighcly larger
larger than
than all
all the
the
or darkness) ofof a grayscale pixel
pixel is
is described
d escribed byby other
ocher gamuts (monitor, printer,
printer, etc.)
etc.) to
co allow
allow forfor
one number, between 0Oand and 255.
255. translations from
from one
o n e to
co another
anoth er without
without loss.loss.
When
Whe n an image
im age has
has color
color information
information that that Software (in its Color
Color Settings or Preferences dialog
or Preferences d ialog
needs to be stored forfor each
each pixel
pixel along
along withwith its
its box) assigns
ass igns or lets you assign
assign each
each document
document aa
value (or lightness), several
several options
options are are available.
available. color space—use
space- use Adobe RGB ((1998)
1998) or
or ProPhoto
ProPhotoRGB RGB
The most common in in digital
digital photography
photography isis the the if you expect to
co print
print the
the image, sRGB for
image, sRGB for the
the Web.
Web.
RGB mode in which all colors are are made
made by by com-
com-
bining the
th e primary colors
colors red,
red, green,
green, andand blue
blue Profiles translate one gamut
gamut into
into another.
another.
(more about primary
primary colors
colors on
on page
page 56).
56). CMYK
CMYK No two printers, for example,
exan1ple, have
have thethe same
same
mode (cyan, magenta,
magenta, yellow,
yellow, and
and K K for
for black),
black) , gamut—they
gan1ut- t h ey can’t
can't reproduce
reproduce exactly
exactly theth e same
san1e
used by graphic artists, combines
combines the the ink
ink colors
colors range ofof colors. In order toto be
be able
able toco print
print the
the
used in commercial printing.
printing. same photograph on on two
two different
different printers
printers andand
make the two prints
prints look
look as
as much
much alike
alike asas possi-
possi-
Three numbers are enough to to describe
describe the the ble, you
yo u need a profile
profile that
that describes
describes each
each gamut.
gamut.
color ofof any pixel
pixel inin an
an RGB
RGB color
color image.
image. An output profile accompanies each each file
file you
you send
send
In that
chat mode, one number
number (between
(between 0O and
and 255)
255) to
co a printer and adjusts thatchat photograph
photograph to co the
the
is a measure of of the
the amount
amo unt ofof red
red in
in aa given
given individual color characteristics of of that
chat printer.
printer.
pixel, one is the amount
amo unt of of green,
green, and
and one
one is is A monitor profile standardizes what wh at you
you see
see onon
the amount of of blue.
blu e. AA pixel
pixel that
chat is
is part
pare of
of the
the your screen so your picture
pictu re looks
looks the
the same
same (or(or very
very
image ofof a slightly
slighcl y warm-toned
warm-co ned concrete
concrete build-
bui ld- close to
co the same) on anyany monitor.
monitor.
ing in afternoon sunlight mightmight bebe described
described as as
202, 186,
186, 144.
144. That pixelpixel contains
contains some
some red,red,
somewhat less green, and even even less
less blue.
blue. (If
(If all
all
three numbers were the the same,
same, the
the color
color would
would be be A gamut is all the colors
a neutral gray.) a device can render. This
three-dimensional graph
represents the gamut of ofa
You can’t
can't print
print all the
the colors
colors you
you cancan see.
see. monitor, white at the top and
All digital capture or display
display devices—cameras,
d evices- cameras, black at the bottom. Colors
scanners, monitors, and printers—are sli gh tlylim-
printers- are slightly lim- farthest out from the vertical
ited when compared to to human
human vision.
visio n . The
The color
color axis are the most saturated.
Its outer edges, projected be-
gamut (a color space)
space) of
of a device is
is the
t he total
total of
of all
all low it,
it, are the limits of
ofwhat
the colors
co lors it can accept or produce.
pcoduce. Knowing
Knowing the the it can accurately reproduce.

82 D IGITAL W
DIGITAL ORKPLACE B
WORKPLACE ASICS
BASICS
 .
IC 2
Three channels contain the visual
visual
information in a color photograph. The The
record of
ofbrightness (or luminance) in each
primary color channel (here, red, green,
C HANNELS
CHANNELS
and blue) lets you
you see the image in full color
color IC3
(below),
(below), each color separately, or each
individual color image converted to black
and white (below right). A
A digital color image isis made
made up
up of
of several
several
black-and-white ones.
ones . A photograph on tradi-
tradi-
IC 4
tional color film or a color
color print
print in
in aa darkroom
darkroom
is recorded on three
th ree superimposed layers;layers; each
each isis
actually a black-and-white photograph
photograph rendered
rendered in in
one primary color by aa dye.
dye. A A digital
digital image
image file
file in
in
color is the same; every pixel
pixel has
has aa separate
separate lumi-
lumi-
nance (lightness) for each
each ofof three
three primary
primary colors.
colors.
The luminance values of of aa single
single primary
pri1nary color
color in in
a photograph can be viewed as as aa monochromatic
monochromatic
Three channels produce three image (left). Image-editing software
software lets
lets you
you seesee
different black-and-white
black -and-white and edit each primary separately.
photographs and give youyou more
Digital cameras and scanners
scanners capture
capture inin the
t he
choices when you
you want to convert
a color image to black and white. red, blue, and green additive primaries.
primaries. Unless
Unless
The red channel (right) is the specified otherwise, this
this book
book only
only discusses
discusses imag-
imag-
smoothest and most flattering es in the
t he RGB mode.
mode. Software
Software cancan convert
convert those
those to to
rendering of
ofthe man’s
man's face.
face. Green
CMYK (the cyan, magenta,
magenta, and and yellow
yellow subtractive
subtractive
and blue have more contrast and
give the face more texture. primaries with black) in in preparation
preparation for for commer-
commer-
cial printing in ink.

Your RGB photograph has has three channels;;

three channels
channels;
each comprised of of the
the values of of aa single
single primary
primary
Red
color. A single channel cancan be
be displayed
displayed as as aa mono-
mono-
chromatic photograph,
photograph, usually
usually in in black
black and
and white
white
(called grayscale). Photoshop
Photoshop uses channels palette
uses aa channels palette
(see left, top),
top), which gives you the the option
option of of see-
see-
ing the red channel, forfor example,
example, in in shades
shades ofof red
red
instead ofof grayscale as shown. In In addition
additio n toto seeing
seeing
each channel separately, you can can perform
perform most
n1ost ofof
Photoshop’s
Phoroshop's image adjustments on on any
any one
one chan-
chan-
nel independently. Workflow programs programs divide
divide an an
image into channels onlyonly in
in aa histogram
histogram and and allow
allow
only
on ly limited
li mited single-channel adjustments.
adjustments.

Green More channels can add masks.. When

add masks
masks. When youyou want
want
to apply an adjustment to to one
one part
part ofofan
an image
image and
and
not another (for example
example making
making someone’s
someone's faceface
lighter
ligh ter but
bur not
nor the background),
background), Image-editing
Image-editing
software needs a map
map that
that tells
tells it
it which
which areas
areas you
you
want adjusted. A A new channel
chan nel called
called aa mask
mask isis
created and saved as part
part of
of the
the image
image file.
file. Masks
Masks
are ordinarily not
not visible
visible but
bur you
you can
can choose
choose to to
display them for editing. Photoshop
Photoshop showsshows aa mask
mask
as white where you want the the image
image adjusted,
adjusted, black
black
where you don’t,
don't, and gray where
where you you want
want only
on ly aa
partial adjustment.

Blue
C HAPTER 4
CHAPTER 83
Digital Color
C A L I B R A T I N G FFOR
CALIBRATING OR A CCURACY
ACCURACY

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

A profile aligns a device to

to aa known
known standard.
standard.
In the case ofof a monitor,
monitor, calibration
calibration generates
generates aa
profile; the device is
is first characterized,, meaning
first characterized
characterized, meaning its
its
color display behavior is is measured.
measured. This
This measured
measured
behavior is converted into into aa monitor
monitor profile,
profile, aa Monitors, like televisions, should display right colors, accurate colors, only ififit has
data file that—once
that- once itit is
is installed
installed in
in the
the operating
operating the right colors. The wide-screen TVTV sets been calibrated—adjusted
calibrated- adjusted with a profile to to
system—corrects
system- corrects your monitor’s
monitor's unique
unique charac-
charac- on display above are all being
being fed the
the same display colors and tones in a standardized
standardized
signal and should, in an ideal world, show
show the
the way. For casual picturemaking, it is enough to to
teristics
rerisrics so it matches
1nacches aa standard.
standard. For
For example,
example, ifif
same colors (they should also be, of
ofcourse, use the calibration utility that is part of your
ofyour
your monitor displays 202R, 202R, 186G,
186G, 144B
1448 darker
darker the right colors).
colors). Your monitor
monitor can show the
the computer’s
computer's operating
operating system.
and more blue thanthan it it should,
should, thethe computer
computer will
will
use the profile to
to make
make pixels
pixels with
with those
those numbers
numbers
appear the right amount lighter lighter and
and more
more yellow.
yellow. For more accurate results, use a third-party
third-party be stored in the computer’s
computer's operating
operating system.
calibrating program with a hardware “puck”
"puck" Make sure your
your monitor is thoroughly warmed
warmed
Choose one standard for for white
white point
point and
and (a spectrophotometer or or co lorimeter)) that
colorimeter that up (at least 30 minutes) before calibrating.
rests on your
your screen and reads directly from
from it. Some spectrophotometers, like thethe one
gamma and calibrate your monitor
monitor to
to that.
that. There
There
Its supplied software generates a measured
measured set shown below, can also be used to generate an
are two common choices
cho ices for
for each,
each, used
used forfor dif-
dif- of
ofcolors, compares the sensor’s
sensor's reading
reading of
ofwhat
what output profile for a specific combination of
of
ferent tasks and in different
different industries.
industries. Unless
Unless is displayed,
displayed, and generates a monitor
monitor profile to
to printer, ink, and paper (see page 117).
117).
you have specific
specifi c workgroup requirements,
requiremen ts, setset aa
gamma of 2.2
of2 .2 and a D65
065 white
white point;
point; they
they are
are best
best
for photographic printing.
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 toto output.
output.
Calibrating your monitor
n1onitor is
is an
an important
important starting
starting
point; do so at least once aa month,
month, more
more often
often for
for
critical work. If
If you can,
can, set
set up
up your
your workspace
workspace so so
the environment and the the lighting
lighting are
are consistent.
consistent.
Changes in ambient light while whi le you
you are
are working
working
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.

84 D IGITAL W
DIGITAL ORKPLACE B
WORKPLACE ASICS
BASICS
 Working with Camera Raw

LJ
U nderstanding and using using Camera
Camera Raw Raw files files to guide it from this
this starting point.
point. White
White balance
balance
can make your photographs
photographs better. better. A digital- (pages 57 and 58), for
for example,
example, is is not
not part
part of
ofthe
the
ly captured picture is is only
only abstract
abstract data
data (see
(see box box sensor data, but of of the
the interpretation.
interpretation. The The raw
raw
below) until it is interpreted
interpreted to to look
look like
like the
the scene
scene file saves the setting you
you (or
(or the
the camera
can1era in
in auto
auto
you photographed. If If you
you set
set your
your camera
camera to ro save
save mode) chose for each shot.
shor. That
That choice
choice affects
affects the
the
pictures as TIFF or JPEG files, files, this
this interpreting,
interpreting, preview, but you may
may process
process it
it to
to be
be different.
different.
or processing, is done by by the
the camera.
camera. Most
Most digital
digital
cameras can only save in in one
one or or both
both of of those
chose A workflow application (page (page 87) 87) saves
saves your
your
formats. But ifif yours can
can save Camera
Camera Raw Raw files,files, interpretation along with
with (or(or in)
in) the
the file
file as
as aa set
set of
of
you can interpret thethe data
data yourself
yourself later.
later. ItIt isis easy
easy adjustment decisions,
decisions, and
and leaves
leaves the
the raw
raw data
dataunal-
unal-
to
co do, gives you more
n1ore control, and and can
can produce
produce aa tered. Photoshop uses
uses aa separate application
application called
cal led
higher-quality final
final image.
image. Adobe Camera Raw Raw (ACR) to to interpret
interpret andand convert
convert
the file into Photoshop’s
Photoshop's native
native PSD
PSD format.
format. OnceOnce
Software does the job. job. Most
Most cameras
cameras marketed
marketed a raw file is converted and saved
saved in in another
another format
format
to professionals and serious amateurs
amateurs can can record
record it cannot be returned
returned to
to its
its raw
raw state.
state.
and save raw files,
files , and are sold withwith software
software to to
process and interpret them.them. After
After processing,
processing, the the Consider converting your
your raw
raw files
files to
to DNG,
ONG ,
software will let you save the the interpreted
interpreted filesfiles in
in especially if
if you plan
plan to
to use
use aa workflow
workflow program.
program.
another format (usually
(usually TIFF) that that can
can be be read
read by
by Adobe’s Lightroom and Bridge
Adobe's Bridge will
will do
do the
the convert-
convert-
other programs. ing, as will their free
free DNG
ONG converter
converter program,
program, ifif
For most scenes, therethere is
is no
no absolutely
absolutely “cor- "cor- you choose to to manage and editedit your
your files
files with
with other
other
rect”
rect'' interpretation. The first
first image
i1nage you
you seesee of
ofany
any software. DNG
ONG preserves
presetves original
original sensor
sensor data
data in
in aa
picture is a preview that
chat is
is only
only aa pre-programmed
pre-program1ned form more likely to to be
be readable
readable inin the
the future
future than
than
guess at an accurate interpretation.
interpretation. It It is
is up
up toto you
you your camera’s
camera's proprietary
proprietary raw
raw format.
format.

Processing
Processin aa Raw
Raw File
File
A digital
dig ital camera’s
camera's sensor
senso r can’t
can't “see”
"see" color.
color. Luminance (lightness
(lig htness and darkness)
darkness ) must
must
Instead, itit captures anan array ofof pixels
pixels that
that be processed along with colors for for captured
captured
essential ly a black-and-white
is essentially black-and-white photo-photo- look like the photograph
data to look photograph you you visual-
visual-
pixel's value is
graph. Each pixel’s is based
based ized. The sensor’s
sensor' s cells
cel ls do not
not respond
respond toto
on the light that fell
fel l on
on one
one changes in illumination in in the
the same
same way
way our
our
tiny photodiode (see (see eyes do,
do , especially inin highlights
high lights and
and shad-
shad-
54 ). To record
page 54). ows. Interpreting the raw raw data must
must reshape
reshape
color,
co lor, each ofof these the brightness values considerably, as as you
you
sensor cells is covered with might by using Photoshop’s
Photoshop' s Curves
Curves adjust-
adjust-
blue filter.
a red, green, or blue filter. Our
Our 96- 97), in
ment (pages 96–97), in a more
more extreme
extreme ver-
ver-
Sensor eyes are more sensitive to green, green, so so sion of
of the curve on page
page 96,96, top.
top.
photosites the array hashas twice asas many
many green
green filters
filters
are covered with as it has red or blue.
blue.
array of
an array ofcolored
filters in what is called To display color, a new arrayarray isis made
made from
from
a “Bayer
"Bayer array”
array" or the raw data. Software creates
creates aa new
new pixel
pixel at
at
“Bayer
"Bayer filter mosaic.”
mosaic. " each intersection of of four
four photosites
photosites by by calcu-
calcu-
lating (called
(cal led “interpolating”)
"interpolating") itsits brightness
brightness
and color from the surrounding area area (right).
(right).
Pixels showing a gray cat’s
cat's fur,
fur, for
for
example, should have RGB value
have an RGB value in
in which
which
the three primary
primary colors areare of
of approxi-
approxi- An image made through a
mately equal brightness,
brightness, even
even though
though each
each Bayer array must be processed
photosite measures only only red,
red , green,
green , or
or blue.
blue. to give each pixel a full-color value.
processing, the cat’s
Without processing, cat's fur
fur would
would Interpreting the color is called
appear speckled in in primary-color
primary-color pixels.
pixels. de-mosaicing.
de-mosaicing.

C HAPTER 4
CHAPTER 85
Stay Organized
SSETTING
ETTING U
UPP A W ORKFLOW
WORKFLOW

A workflow is an organized series

A series of
of steps
steps Digital image editing, sometimes
sometimes called
called post-
post-
leading toco a desired result.
result. The
The image-editing
image-editing processing,
processing,, encompasses a wide range
processing range of of adjust-
adj ust-
workflow on page
page 110110 is
is an example
example ofofthe
the adjust-
adj ust- ments and alterations to ro aa photograph
photograph that that can
can
ment steps using Photoshop
Phocoshop that chat lead
lead from
from aa raw
raw go well beyond the the choices that
chat might
might have
have been
been
scan or camera filefil e to
co an image
image with
with the
the desired
desired be made when printing
printing anan image
image from
from film
film inin aa
colors and tones. FollowFollow thethe more
more comprehen-
comprehen- darkroom. Workflow software
software (see
(see opposite
opposite page)
page)
sive series of
of steps
seeps below
below toco ensure
ensure that
chat you
yo u get
get can perform all the
rhe standard image
image adjustments—
adjusrmenrs- Capture
through the
the entire process
process ofofdigital
digital photography
photography cropping and rotating,
rotating, changing
changing size,
size, or
or modify-
modify-
with the results you want.want. ing hue, value, and saturation
saturation-—andand can
can drive
drive aa
printer. Some workflow programs,
programs, and and Adobe
Adobe ｾ＠
Capture your photographs:
photographs: expose
expose the
the image
image Photoshop,
Phocoshop, can do much much more.
more.
sensor or film. Capture is
is what
what most
most people
people think
think Image editing is used to to prepare
prepare anan image
image
photography is all about—shooting
about- shooting and and camera
camera for the next step, output. Because
Because you
you may
may havehave
work—but
work- but there’s
there's more
more to
to it
it than
than that.
that. several different uses
uses for
for the
the same
same image,
image, you you
Download
may edit one photograph into into several
several different
different
Download (also
(also called import
import or ingest)) your
or ingest yo ur versions. Editing hashas its
its own
own workflow,
workflow, see see AnAn
images from thethe memory
memory card card of
of your
yo ur camera
camera Editing
Edi ring Workflow on pages
pages 110
110 and
and 111.
111.
(or from a scanner) into
into a computer
computer soso you
you can
can
complete the rest ofof the
the steps.
steps. The
The computer
computer isis Output is notnot limited
limited to
co printing,
printing, although
although thatchar
the command center for for all the
the operations
operations ofofyour
yo ur may now be youryo ur primary
primary focus.
focus. Later
Later you
yo u may
may
workflow. Downloading the the images
images to
co your
your com-
com- want to show a prospective
prospective client
client your
your work
work on on aa
puter’s
puter's hard drive also frees
frees the
the camera’s
camera's memory
memory tablet or laptop, or email
email images
images toco aa gallery.
gallery. Your
Your Organize
card to be reused. Scanned
Scanned images
images are
are sent
sent directly
directly output may be destined for for aa billboard
billboard or or aa Web
Web
from
fron1 the scanner to
to the
the computer.
computer. site, as well as a wall. To create thethe best
best file
file for
for
each use will require different editing
editing strategies.
strategies.
Convert your Camera
Camera Raw
Raw files
files to
to DNG
ONG (option-
(option-
al). As part of
of a “Camera
"Camera Raw
Raw Workflow,”
Workflow," you
you Archive your work
work in
in an
an organized
organized way.
way. In
In other
ocher
may wish to convert your digital
digital camera’s
camera's propri-
propri- words, make sure all your original original and deriva-
and deriva-
etary
eta1y raw files into
into the
the more
more generic
generic DNG
ONG format
forn1ar tive files (the altered or edited versions)
versions) not not only
only
(pages 81 and 85). are safe—preserved
safe- preserved against change, change, damage,
damage, and and
loss—but
loss- bur that
char individual
individual itemsitems maymay bebe found
found and and
Organize your images,
images, keeping
keeping in
in mind
mind that
that you
you retrieved quickly and easily
easily when
when necessary.
necessary. Edit
may soon havehave thousands.
thousands. Pages
Pages 131
131 and
and 132
132 dis-
dis- Digital files present unique unique challenges
challenges for for
cuss ways to ro make sure you yo u can
can find
find the
the needles
needles long-term storage (see (see page
page 133)133) but
but have
have aa bigbig
in your haystack. Information can can slip
slip from
from your
your advantage over most most materials
materials you’dyou'd like
like to
to pre-
pre-
memory if if there are long
long delays
delays between
between shooting
shooting serve; they can be identically
identically duplicated.
duplicated. A Acopy
copy ofof
and organizing; try try to
to make
make time
time to
co put
put your
yourimage
image a file (or of
of an entire drive) is is called
called aa backup.
backup. All All
files in order at
ar the
the end ofof every
every shooting
shooting day.day. the media on which files files can
can bebe kept
kept areare vulner-
vulner-
able to
co common threats
threats likelike theft,
theft, fire,
fire, and
and flood,
flood, Output
Edit. Editing
Editing has
has two
two different
different meanings
meanings in
in aa and each has its its own set of of weaknesses
weaknesses to ro things
things
photographer’s
photographer's workflow.
workflow. The traditional
traditional mean-
mean- like dust, magnetism, heat, heat, andand shock.
shock. Your
Your best
best
ing of
of editing, letting the
the “good”
"good" pictures
pictures rise
rise to
co defense is to make
make multiple
multiple copies
copies of of everything
everything
the top, is actually part
part of
of organizing.
organizing. Workflow
Workflow you do, as early in in the
the process
process as as possible,
possible, and and
applications (opposite) let let you code
code the
the keepers
keepers to create two or moren1ore identical
identical archives
arch ives that
that are
are
by assigning a flag,
f1ag, aa color,
color, aa number
number of ofstars,
stars, or
or stored
scored in different locations. A A digital
digital file
file can
can van-
van-
by sorting similar photos
photos into
into aa stack
stack with
with the
the ish in an instant; once it it is
is gone—if
gone- ifyouyou don’t
don't have
have
“select,” or best one, on
"select," on top.
top. a copy—it
copy- it is gone forever.
forever. Archive
86
86 D IGITAL W
DIGITAL ORKPLACE B
WORKPLACE ASICS
BASICS
 P HOTOGRAPHER’S W
PHOTOGRAPHER'S O R K F L O W PPROGRAMS
WORKFLOW ROGRAMS

P
P hotographer’s
hotographer's workflow
workflow software
software inte-inte- color balance, cropping, and and other
other characteristics
characteristics
grates most of of the tools
tools aa digital
digital photog-
photog- for each picture. The savedsaved adjustments
adjustments are are not
not
rapher needs. Several similar applications are are applied (no pixels
pixels are
are changed)
changed) untiluntil youyou print
print
available—Adobe
available- Adobe Photoshop
Photoshop Lightroom,
Lightroom, Apple
Apple or otherwise export the the file—uploading
fi le- uploading itit to co your
your
Aperture, Phase
Phase One
One Capture
Capture One
One Pro,
Pro, and
and Corel
Corel Web page,
page, for example, or or opening
opening itit in in Photo-
Phoro-
AfterShot
AfcerShoc Pro
Pro are the
the best
best known.
known. They
They allow
allow shop. You can change and and alter
alter your
your editing
editing
you to perform non-destructive
non-destructive editing
editing byby saving
saving decisions at any time
rime oror save
save multiple
n1ulriple versions
versions of of
your files in their
their original camera
camera raw
raw format
format the same
san1e image,
image, and never
never make
n1ake any
any permanent
pennanenr
along with a record
record of
of your
your decisions
decisions about
about tone,
cone, changes toco the
the underlying,
underlying, original
original file.
fi le. Because
Because
the programs onlyonly save
save your editing
editing commands,
commands,
rather than
t han an altered version of of the
the entire
entire file,
fi le,
your archive doesn’t
doesn't take
cake up up much
m uch more more disk
disk
space than the
the raw
raw files
files alone.
alone.

These programs include

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

With a workflow application

application you
you may
maynot notneed
need
Photoshop,, unless you want to
Photoshop co add
add text
text or
or graphic
graphic
Lightroom lets you customize your workspace
workspace by
by elements, make
make a composite
composite photograph
photograph (pages(pages
showing, moving, or
or hiding tools, commands, and
and
previews in each of
ofits seven work modules. 106–107),
106- 107), or you need
need to
co work
work in
in the
the CMYK
CMYK mode.
mode.

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.

C HAPTER 4
CHAPTER 87
Importing an Image
Y
Y our photographs are saved saved on on aa memory
memory Connect your camera
camera and and computer
computer with
with aa
card when you use use a digital camera.
camera. Most
Most cam-
ca1n- cable, a wireless link, or remove
ren1ove the
the memory
men1ory card
card
eras will accept only one
one kind
kind of
ofcard
card (see
(see some
some ofof and insert it into an appropriate
appropriate card card reader
reader (see
(see
the styles below) but
but you will
will still
still have
have choices
choices to
co below). Some universal
u niversal readers
readers cancan accept
accept as
as many
many
make
n1ake when you want
wane to
to buy
buy one.
one. as 12
12 different card styles,
styles, others
ochers areare barely
barely bigger
bigger
than the card itself.
itself Like
Like the
the card
card speed,
speed, aa reader’s
reader's
Bigger isn’t
isn 't necessarily
necessarily better.
better. Cards
Cards are
are flash
flash speed affects download time. time. Because
Because your
you r com-
com-
memory devices mademade in in aa variety
variety ofofcapacities.
capacities. To To puter can write any kind
kind ofoffile
file directly
direc tly on
on aa card,
card,
choose one, know your needs needs asas well
well as
as the
the size
size you can use a spare card
card like
like aa portable
portable hard
hard drive
drive
file your camera
can1era makes.
makes. A A 16-megapixel
16-megapixel cameracamera to transfer files
files to
to a service bureau
bureau or or between
between
produces a camera raw raw file
file of
ofabout
about 16 16 megabytes.
megabytes. home and school.
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 8GBSG Bcard
card will
will let
let you
you Transferring from aa card to
Transferring to aa computer
computer isis
take over 300 photographs as as 16MB
16MB rawraw files.
files. called downloading, or importing,importing, and and it it is
is the
the
If you are shooting underwater
underwater or or photo-
photo- best time to rename
rename your your files
fi les rather
rather thanthan leav-
leav-
graphing a wedding or sportingsporting event,
event, for
for exam-
exam- ing them
chem the
the way the rhe camera
camera named
named them t hem (like
(like
ple, you might want to to avoid interruptions
interruptions by by IMG_0237.CR2). At the the same
same timetime youyo u can
can add add
using the largest capacity
capacity card
card you
you can
can find.
find. If
Ifyou
you standard metadata
metadata (page(page 131)
13 1) like
like your
your copyright
copyright
work at a slower pace,
pace, having
having several
several smaller
smaller cards
cards and contact information,
information, and and convert
convert proprietary
proprietary
might
migh t be a better idea.
idea. Camera RawRaw files
files into
in to the
the more
more universal
un iversal DNG ONG
format (page 81).
8 1). Lightroom
Lightroom and and Bridge
Bridge (a (a utility
utility
Cards are rated by by their
their speed
speed too;
coo;the
the ratings
ratings program that
chat comes withwith Photoshop)
Photoshop) will will rename,
rename,
refer to how fast the
the card
card can
can read
read or
or write
write data.
data. write metadata, and convertconvert each
each file
fil e to
to DNG
ONG as as
The write speed usually
usually matters
n1atrers most,
most, because
because itit it is downloaded. If If you aren’t
aren't using
using oneone of ofthose,
t hose,
affects your ability to
to shoot
shoot several
several photographs
photographs get
ger Adobe’s
Adobe's free
free DNG
ONG converter
converter fromfrom theirtheir Web
Web
in rapid succession. AA card’s
card's speed
speed might
might be
be rated
rated site for the
the last step.
at 133x, which is
is a transfer
transfer rate
rate of
ofabout
about 20MB
20MB perper
second. The speed of of some
some cards
cards is
is stated
stated directly
directly
in MB/s
MB/ s (megabytes/second).
(megabytes/ second).

Don’t
Don't leave your pictures
pictures on
on aa card
card any
anylonger
longer
than you have to.to. Cards
Cards and
and cameras
cameras are are vulner-
vulner-
able to
co shock, heat,
heat, and magnetic
magnetic fields;
fields; they
they
are susceptible to damage and and theft.
theft. Once
Once your
your
photographs are transferred
transferred to
to aa computer
computer you you
can make backups
backu ps to
co protect
protect against
against loss.
loss. After
After
your files are duplicated and
and stored
stored inin at
at least
least two
two
places, you can reformat the
the card
card for
for further
further use.
use.
A card reader lets you transfer pictures into your computer.
into your computer. Most
Most
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 SD card
(Compact
(Compac t Flash) (Secure Digital) Memory Stick xD-Picture card

88
88 D IGITAL W
DIGITAL ORKPLACE B
WORKPLACE ASICS
BASICS
 S CANNING
SCANNING
SS canners are the link
link between
between film
film or
or print
print a Camera Raw
Raw file
fi le (page
(page 85).
85). Your
Your image-editing
image-editing
and your computer. When you use a digital software gives you manymany more
more tools
too ls for
for editing
editing
camera, it captures what
what you
you see
see directly
directly asas pixels
pixels than does scanning software
software and
and allows
allows more
more pre-
pre-
that can be edited on on the
the computer.
computer. But But photo-
photo- cise adjustments,
adjustmen ts, but
but you should
should make
make as as many
many
graphs that
that were made
made on film
film need
need toto be
be digitized
digitized color and tone corrections as as possible
possible inin the
the scan
scan
first. Scanning is
is the
the process
process that
t hat reads
reads color
color and
and as well as choosing a resolution
resolution based
based on on your
your
luminance values fromfrom aa negative,
negative, print,
print, oror object
object final use for
for the
the image.
image. Just asas making
making the the right
right
and converts it into
into a pixel
pixel grid
grid just
just as
as though
though thethe choices when exposing an an image
i1nage isis better
better than
than
picture had been taken
taken with
with aa digital
digital camera.
camera. trying to fix everything
everyth ing inin editing,
editing, making
making good
good
exposure, contrast, and colorcolor balance
balance decisions
decisions
Scanning software controls
controls the
the process,
process, and
and when you scan can improve
in1prove your
your results
results consider-
consider-
offers you choices about how
how your
your image
image will
will be
be ably. Most photographers
phorographers make make basic
basic corrections
corrections
scanned,
scan ned, in the
the same way
way that
that software
software interprets
interprets when scanning and refine
refine them
them later.
later.

Scanner Features That Affect

Features That Affect Quality
Quality
Optical resolution or hardware
hardware resolu-
resolu- Focusing may
may bebe automatic
automatic or or manual
manual
number of
tion refers to the number of pixels
pixels per
per and can be
be used,
used, for
for example,
example, toto adjust
adjust
inch (or centimeter) the the scanner
scanner isis capa-
capa- for warped or buckled
buckled film
film frames.
frames.
ble of
of capturing and is is often
often described
described
by two numbers,
numbers , such
such as as 3200
3200 ×x 9600
9600 Sharpening isis usually
usual ly anan option
option in in
ppi (pixels per
per inch),
inch), for
for flatbed
flatbed scan-
scan- Sharpening tools
scanning software. Sharpening too ls in
in
ners. The first number
number isis thethe resolution
resolution image editing software are are almost
almost always
always
across the width of of the
the scanning
scanning area;
area; better, so turn off
off sharpening
sharpening duringduring
the second isis along itsits length.
length. The
The scanning and leave
leave itit for
for later
later editing.
editing.
smaller number represents
represents the the scanner’s
scanner's
Flatbed scanners are primarily
Flatbed scanners primarily intended
intended for
for opaque, reflective
reflective
maximum optical resolution.
resolution. Scanning
Scanning Multiscanning allows scanning
scanning one one originals, like photographic prints. The The scanner’s
scanner 1s bed
bed isis aa rec-
rec-
film
fi lm at a higher
higher resolution
resolution thanthan 4000
4000 mu ltiple times (typically
frame multiple (typica lly 44 or
or
little benefit.
ppi may have little benefit. tangular sheet of glass—inexpensive
ofglass- inexpensive scanners are letter
letter (8(81½ x
⁄2 ×
16
16 times) as a noise-reduction tech-
noise-reduction tech-
11 legal (8 1½⁄2 ×
11 inches) or
orlegal x 14
14 inches) size; professional
professional models
m ultiscan isis
nique. Useful with slides, multiscan
Dynamic range
rang e is
is the
the brightness
brightness range
range may be tabloid (11(11 ×x 1717 inches) size or
or larger. A flatbed
flatbed
not an advantage for for scanning
scanning nega-
nega-
of
of an image,
image, the difference
difference between
between thethe tives because their
their dark tones
tones become
become
scanner will digitize anything
anything placed
placed on the
the glass: aa photograph,
darkest shadows and lighestlighest highlights.
highlights. highlights in
in which noise
noise is
is hard
hard toto see.
see. drawing, magazine page, or even your your hand
hand oror face.
face. Some
A scanner should capture aa dynamic
dynamic flatbed scanners can accept film by usingusing an illuminated
illuminated cover cover
of at least
range of least 3.5. Slides usually
usually have
have Dust removal isis provided
provided in in some
some or a separate drawer.
drawer.
a wider dynamic rangerange than
than negatives.
negatives. AA scanners byby an extra
extra infrared
infrared chan-
chan-
scanner with a dynamic range range of
of4.2
4.2 will
wil l be used
nel that can be used to
to detect
detect and
and
virtua lly anything on
gather virtually on film
film and
and will
will fingerprints, scratches,
remove dust, fingerprints, scratches,
get the most
most out of of difficult originals.
originals. and other surface damage from from the
the
scanned image.
image. This does
does not
not work
work
Bit depth measures how how many
many differ-
differ- black-and-white film
with conventional black-and-white film
ent tones can be be distinguished between
between Kodachrome, but
or Kodachrome, but itit does
does with
with most
most
black and white (see(see page
page 81).
81 ). At
At least
least color negatives,
dye-based slides, color negatives, and
and
24 bits per
per pixel
pixel (8 bits
bits each
each ofofred,
red, chromogenic black-and-white
black-and-white films.films.
blue ) are needed
green, and blue) needed for
for aa con-
con-
tinuous-tone print.
print. To maintain
maintain quality
quality Scanning software isis an an independent
independent
during
du ring later adjustments,
adjustme nts, 36 36 (12
(12 bits
bits per
per program that operates
o perates the
the scanner
scanner and
and Film scanners are made specifically for transparencies
Film scanners transparencies or or
pixel)
pixe l) or 48 (16 per
per pixel)
pixel) bits
bits are
are better.
better. file to
produces a TIFF file to be
be opened
opened inin an
an negatives and cannot scan anything
anything opaque. The The one shown
program. Some
image-editing program. Some exist
exist also
also above, left,
le~, will scan mounted slides or or strips of
of35mm or or 120
120
Interpolated resolution
resolution uses uses software
software as a Photoshop plug-in
plug-in that
that permits
permits film.
film. Others have a batch feeder that holds
holds aa stack of ofslides.
to guess what the pixels
pixels mightmight look
look like
like scanning
scan ning directly into
into Photoshop
Ph otoshop for
for fur-
fur- Film scanners that accept medium- and and large-format
large-format filmfilm are
are
in between the ones the the scanner
scanner can
can ther manipulation.
manipulatio n. Most
Most scanners
scanners come
come generally more expensive than those made only only for
for 35mm.
35mm.
actually measure.
measure. No
No realreal information
information Third-party
with dedicated software. Third-party
scanner's hardware
hardware resolu-
resolu- Professional-level film scanners (above,
(above, right)
right) offer
offer higher
higher
beyond the scanner’s like SilverFast and
vendors like and VueScan
VueScan sell
sell
so itit isis best
tion is captured, so best to
to scan
scan nono resolution, greater bit depth, and more dynamic range, and and pro-
pro-
scanning software thatthat may
may bebe more
more
resolution.
higher than the optical resolution. sophisticated provide more
more control.
contro l. duce less image noise. They are
are very expensive, butbut you may
may find
find
sophisticated and provide
access to one at a very well-equipped school
school oror service bureau.
bureau.

C HAPTER 4
CHAPTER 89
 D GONZÁLEZ
I O N I S I O GONZALEZ
DIONISIO
Paulistana Ajuntada, 2006.
2006. Invention
city. González
can alter or even create a city. Gonzdlez
photographed the irregular neighborhoods
and chaotic shantytowns of São Paulo,
of Siio
Brazil that are giving way to demolition
and rebuilding by the government.
government.
Through digital manipulation,
manipulation, he proposes
a recycling “intervention”
"intervention" that inserts
segments that appear to be modernist
structures into the threatened spaces.
Getting Started Editing
an Image.
Image ......................
. . . . . . . . . . . . . . . . . . . . 92
92
Adjusting an Image ............. . . . . . . . . . . . 94
94
Levels .........................
. . . . . . . . . . . . . . . . . . . . . . . 94
94
Curves ........................
. . . . . . . . . . . . . . . . . . . . . . 96
96
Adjusting Part
of
of an Image ...................
. . . . . . . . . . . . . . . . . 98
98
Selections ......................
. . . . . . . . . . . . . . . . . . . . 98
98
More Techniques .. .............. . . . . . . . . . . 100
100
Layers ........................
. . . . . . . . . . . . . . . . . . . . . . 100
100
Retouching . ...................
. . . . . . . . . . . . . . . . . 102
102
Sharpening ....................
. . . . . . . . . . . . . . . . . . 104
104
Compositing ...................
. . . . . . . . . . . . . . . . . 106
106
Color into black and and white ........ . . . . . . 108
108
Filters ........................
. . . . . . . . . . . . . . . . . . . . . . 109
109
An Editing Workflow ..........
. . . . . . . . 110
Ethics and Digital Imaging .....
. . . 112
112
 Image Editing Ill 5
In this chapter you’ll
•
take
yott 'll learn…
• to have a workflow—an
learn ...
workflow-an orderly series
cake you from a raw image
photograph.
series of
image or scan
scan to
of steps—to
steps-to
to aa finished
finished
W
W ith editing you can simply
change it. Saving
simply enhance

sions exactly and produces

enhance an

produces results
an image
Savi ng a digitally edited photo
resu lts of
image or
photo preserves
or radically
preserves all
of identical
radically
all your
your deci-
deci-
identical quality
qualiry fromfrom oneone
generation ofofan image
image toto another.
another. Regardless
Regardless of ofhow
howmuch
much youyou have
havemanipu-
manipu-
• to adjust the colors, tonal values, and
• and other
other
characteristics of
ofaa photographic
photographic image
image using
using the
the lated a digital image, once it it is
is finished
finished you
you can
can print
print itit now
nowororinin six
sixmonths,
months,
tools and procedures ofof Photoshop.
Photoshop. a year, or more and still get the
the same
same results
results from
from the
th eoriginal
originalfile.
file. In
Inaddition
addition
• the challenges
• chal lenges of
of keeping
keeping yourself
yourself and your images
images to performing standard picture-adjustment
picture-adjustment procedures
procedures suchsuch as as changing
changing
on the legal and ethical side
side of
of copyright protection.
protection. contrast or lightening and darkening
darkening an an image,
image, you
you can
can combine
combineimages,
images,add add
color, posterize, incorporate drawing
drawing or or text,
text, and
and otherwise
otherwisemanipulate
manipulateaapho- pho-
tograph.
tograp h . In effect, you can
can create
create aa new
new image
image with
wit h exactly
exactly the
the qualities
qualities youyou
want but, ifif you ever change
change your
your mind
mind about
about what
what youyou want,
want, you
you cancan 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 sev-
eral similar captures to narrow down your
your pick (your
(your
select),
select ), for further editing. Workflow
Workflow applications
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. OnceOnce you have cho-
cho-
sen the pick of
ofthe litter you can mark the
the best
best with
with
a flag or star and hide the rest “underneath”
"underneath" ain a
you see only the selects in your
stack so you your filmstrip
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 displayed can fill
fill the
the monitor’s
monitor's screen
screen oror be
be any
anysize
size
is running, or active, on your your computer.
con1puter. With With smaller, and you can display
display or
or hide
hide palettes,
palettes, pan-
pan-
Adobe Photoshop use use File>Open
File>Open to to call
call upup your
your els, and tools.
cools. It helps
helps to
to have
have aa large
large monitor
monitor (or (or
photograph; you will see aa screen
screen that
that looks
looks likelike two, as shown below) so you can can make
make your
your image
image
the one on the page
page opposite. You can can also
also start
start large enough to make make accurate adjustments
adjustments and and
by opening an image file file directly
directly (an
(an image
image is is aa not have part ofof itit covered with
with palettes
palettes and
and tools.
cools.
file; your software is
data file; is an
an application
application file ). The
file). The Workflow programs make make excellent
excellent useuse of of
computer will usually
usually recognize
recognize the
the file
file type
type (see
(see a dual-monitor setup. You can can display
display all
all the
the
page 81) and open the the appropriate
appropriate application
application images from a recent shoot or or project
project onon oneone
automatically. With workflow
workflow software,
software, open
open the the screen (small previews
previews called
called thumbnails
thumbnails in in aa
application, then navigate to to the
the photograph
photograph you you filmstrip or grid view) and
and a full-screen
fu ll-screen version
version ofofaa
want in its catalog or library.
library. The
The following
following pagespages selected image on the other.other. You
You cancan also
also display
display
refer more specifically
specifically to
to Photoshop
Phoroshop but but most
most of of larger versions of of two
two or
or more
more images
images on on the
the sec-
sec-
the adjustments and controls
controls they
they describe
describe are are ond screen in order to to compare
con1pare similar
similar shots,
shots, for
for
available in any image editor
editor oror photographer’s
photographer's example, ofof the same portrait
portrait subject
subject to to select
select the
the
workflow program. best expression.

Tools and commands are are used

used to to manipu-
manipu- Start by making the image
im age the
the right
right shape.
shape.
late your photograph in image-editing soft- Rotate the photograph and crop crop it
it ififneeded.
needed. YouYou
ware. Tools appear as small
small symbols
symbols called icons,,
called icons
icons, can usually undo
undo a command,
con1mand, or or several,
several, ifif you
you
displayed in a toolbox
toolbox (the
(the series
series ofof small
small boxes
boxes change your mind.
mind. Raw-format
Raw-format workflow
worktlow pro- pro-
shown at the
the left
left side
side of
of the
the screen,
screen, opposite)
opposite) or or grams let you go back
back one step
step at
at aa time,
time, all
all the
the
in an onscreen panel. WordWord commands,
commands, such such as as way to the unadjusted original
original file;
file; Photoshop
Phoroshop
Transform, Sharpen, and Print, Print, can
can be be reached
reached limits how many editing steps
steps you
you can
can undo,
undo, butbut
from pull-down menusmenus across
across the the toptop ofof thethe you can always start over
over from
from your
your backup
backup file.
fi le.
screen or as modules
modules within
within aa panel.
panel. Palettes,
Palettes, like
like Don’t
Don't hesitate to
to do so;
so; you can
can learn
learn byby simply
simply
the Layers palette or Info
Info palette
palette that
that appear
appear on on opening an image filefile and
and experimenting
experimenting with with
the screen in Photoshop, provide
provide information
information in in various tools and commands.
addition to more tools
tools and word
word commands.
comn1ands.
Photoshop’s
Photoshop's menu
menu commands
commands often often require
require
navigating through several nested nested levels.
levels. Click
Click
on a menu heading,
heading, then
then onon each
each level
level inin turn;
turn;
or hold the mouse down as as you
you drag
drag thethe screen
screen
cursor to
co the command
con11nand you you want.
want. The
The common
co1nmon
notation for such a sequence is, is, for
for example,
example,
Image>Adjustments>Curves.
Image>Adjustn1ents>Cun,es.

Back up your file before you you make

make anyany
changes to it, see page 133.
133. In Photoshop,
Photoshop, use
use
File>Save As and give the
the working
working file
file aa slightly
slightly
different name. Then you can
can experiment
experiment and
and still
still
have the original to
to go back
back to.
to.
monitors . You
More is better, when it comes to monitors. You don’t
don't have
have to
to be be working
working with with panoramic
panoramic
Learn
learn to navigate around
around the
the image.
image. You
You can
can 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
see the entire picture
picture at
at once or
or zoom
zoom in
in to
to any
any screens, or multiple displays, let you isolate an image and
and keep
keep itit separate
separate from
from menus,
menus, palettes,
palettes,
magnification. The window in
in which
which the
the picture
picture isis and other software displays.

92
92 IIMAGE
MAGE E DITING
EDITING
Tool Options Bar lets you define the the charac-
charac• Menu headings open to reveal commands. Palettes provide information as well as
teristics of
ofthe tool that is highlighted
highlighted in
in Here,
Here, the Window menu is open; it lets you various ways to modify
modifj images. Click on the
the
the Toolbox (see below). Here,
Here, the
the options fo
ffor
or display different palettes on the screen. Click
Click menu icon at the top right to reveal other
other
the Polygonal Lasso
Lasso tool are shown. on a checked (open) item to close itit ififyour
your commands and options.
screen seems cluttered.

m EdJ Im• • L, , T
\

Image file size

Toolbox,, where commonly used
Toolbox used editing
editing tools
tools Tools with arrows to the right provide Plug-ins offer more options. Plug-ins
Plug·ins are
reside on screen. Select a tool
tool by clicking
clicking on access to related tools. Click on the tool
tool add-on
add·on software modules that expand
expand editing
editing
it.
it. You can then define its characteristics in shown and hold the mouse button down capabilities—they
capabilities- they create borders, add special
the Tool Options Bar
Bar at the top
top of
ofthe
the screen. to see and select other versions. effects, operate scanners and cameras, and
more.
more. Plug-ins are available from several
several
software companies; you
you can download free,
free,
time-limited trial versions of
ofmost.

C H A P T E R 5S
CHAPTER ｾ＠ 93
93
Adjusting an Image
LLEVELS
EVELS

LL evels is a simple and rapid

rapid way
way to
to adjust
adjust
the tones in an image image using a histogram. histogra m.
Thee same
Th sam e control
co n t ro l is
is also
a lso incorporated
in co rpo ra t ed intointo
the
t he more
m o re complex
com p lex anda nd powerful
powerful CurvesCurves adjust-
adjust-
ment
m en t (pages 96–97).
96- 97) . Sliders
Slid ers letlet you
yo u adjust
adjust the the
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 thatth a t will
will become
becom e
black
blac k and
a nd white
whi te (while preserving
preserving shadow shad ow and an d
highlight
hi ghlig h t detail),
d etail), you
yo u can
can lighten
li gh te n or
o r darken
d a rken thet he
middle
n1id dle tones
co n es without
wi th o ut changing
cha n ging the t he extreme
ex trem e
highlights
hi ghlig h ts or
o r deepest
d eepest shadows.
sh ad ows. ThisThi s page
page shows
sh ows
images in black blac k anda nd white,
wh ite, but bur youyo u cancan set set
Levels separately
sepa rately forfo r each
each channel
cha nnel to to make
m a ke rapid
rapid
color
colo r balance adjustments
adjustm ents in in color
color photographs.
pho tograp hs.
Moving
Movin g the the red
red channel’s
ch an nel's midtone
mid to ne slider
slider toto the
t he
left, for
fo r example, will make m a ke theth e image
im age more
more red.red .
Choose
Ch oose Layer>New
Laye r >New Adjustment
Adjus tm ent Layer> Laye r >
Levels tot o generate
gen erate aa histogram
histogra m that th a t guides
guides youryo ur
The photographer wanted more contrast in this this scanned
scanned image
image
Levels adjustments;
adj ust m ents; theyt hey can
can later
late r be
be altered
altered or or of
ofa road through a forest.
forest. He
He used Levels
Levels to
to adjust the
the dynamic
dynamic
discarded
discard ed (see
(see Adjustment
Adjustm en t Layers,
Laye rs, page
page 100).
100). range exactly by setting
setting white and black points (see
(see opposite
opposite page)
that were just right for the printer he used.
used.

Setting and
Settin and Usin
Using the Eyedroppers
ers Seeing the White and Black Points
Photoshop lets you define specific
specific Once these values are set, you you can
can Photoshop lets you
white and black points
points so you can can keep
keep quickly adjust highlight
high light and shadow
shadow see your white and
detail easily in highlights
highlights and shadows.
shadows. values (and simultaneously
simultaneously neutralize
neutral ize black points so you
The settings remain
remain in
in place
place as
as the
the their color) in
in any image.
image. Open
Open Levels,
Levels, can choose where to to
default setting for
for any file
file you
you open
open select the shadow eyedropper, and and click
click use the eyedroppers.
until you change them; thesethese values
values it on the spot inin your image
image you
you want
want to to Open the image image and
should apply to most
most ink-jet
ink-jet printers,
printers, be the darkest black
black with detail (see
(see box,
box, then the Levels
Levels dialog
but test first and set your ownown values.
va lues. right). Repeat
Repeat for the highlights
highlights using
using the
the box. Hold
Hold the
t he Option
Option
highlight eyedropper. This three-eyedrop-
three-eyedrop- key and move the t he high-
high-
per icon is
is repeated
repeated forfor setting
setting values
values inin light slider (opposite,
Open the Levels
Leve ls dialog box
box (shown
( shown
several other Photoshop
Photoshop dialog
dialog boxes.
boxes. top). The lightest
lightest pixels
pixels

0 ;' I;,' I
opposite, top) for anyany image.
image. Double-
Double-
are the first to co appear.
click on the black-
black-
At any position,
position , thethe
point eyedropper at
pixels to the right of of the
the
the bottom right nght ofof
slider will bebe displayed
the dialog box.
box. This will
wi ll open thethe Color
Color
as white, the others
Picker box (right). Set thethe Red,
Red, Green,
Green,
black (left, center).
and Blue values at 10 10 to
to define
define the
the dark-
dark-
Holding
Holding the Option key key
est black
black with some detail.
detail. (Zero
(Zero in in each
each
and moving the shadow
color would produce
produce a blackblack with
with no
no
~ - - - - - - - - ~ slider reveals
revea ls the black
black
detail.) Click OK.
point (left, bottom).
bottom).
At each slider
sl id er
Double-click
Double -click on the
the white-point
white -point eye-
eye- position,, you can see
position

IJ' I/ L exactly which pixels

ｾ＠ dropper to reopen
reopen pixels will
the Color Picker
Picker box.
box. be set to white or black black
Set the Red,
Red, Green, ifif you leave the slider in in
and Blue values at 244
244 to
to define
define the
the that position.
position. See oppo-oppo-
Black point
point White point
brightest white with detail.
detail. Click
Cli ck OK.
OK. site, top center.

94 IIMAGE
MAGE E DITING
EDITING
 Preset:I Custom =IP. ｾ＠ Pruet:I Custom ｾ＠ PrHtt: ! o.tault
""''' .:J .. ｾ＠
Channti: I Cray •:j- ｾ＠ Channel: I Cray ｾ＠ Channel: ( Cray : ) ｾ＠
Input UW!s: ｾ＠ Input Lewis: ｾ＠ Input lrltls: ｾ＠

ｾ＠ ｾ＠
( Option, ... ) ( Option, ... ) ( Option, ... )
,,, ,,, ,,,
I elPrev!tw el Prev!tw elPrtvltw

El ｾ＠ @D f.=J ｾ＠ Im]
.
Output lewis:

[OJ
6
L2!Ll [o°"""J
.
Output lAYtls:

[o°"""J
6
liliJ

The histogram from this photograph’s

photograph's scanned
scanned
negative shows that the tones ofofthe 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.
The Levels dialog box shows the histogram A histogram of of the final image (below),
(below), after
after
but also gives you tools to adjust the the image.
image. pressing OK to apply the change, shows a broader
broader
The left-hand slider
slider (black triangle) sets the
the black
black distribution of
ofpixels between the pure white andand
point, the right-hand slider
slider the white point. Moving
Moving pure black endpoints. With a color
color image you can
can
them to the ends ofofthe captured
captured information sets separately set the black, white, and
and middle points
the shadow and highlight areas of ofthe image
image closer
closer for each component channel. Separate adjustment
adjustment
to white and black. The middle slider
slider changes thethe of the middle sliders alters overall
of overall color
color balance.
balance.
gamma making the middle tones tones darker or
or lighter.
lighter.

Tom Tarnowski.
Cumberland Island,
Georgia, 2001.
2001 .

C H A P T E R 5S
CHAPTER igJ 95
95
Adjusting an Image
C URVES
CURVES

C
C urves
urves is
is aa graphic
graphic way
way to
to view
view and
and make
make
tone
tone andand colorcolor changes,
changes, aa kind kind ofof 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
lightness and and darkness,
darkness, in in an
an image.
image. Photoshop’s
Phocoshop's
control
control of of the
the same
same namename allows
allows youyou to co adjust—
adjusc-
independently
independencly and and with
with greatgreat precision—the
precision- the
Move
Move the
the curve
curve up up to
to
image
image tones
tones andand contrast
contrast of ofeach
each primary
primarycolor coloras as lighten
lighten all
all the tones in
the tones in
well
well asas its
its black
black and
a nd white
white points.
points. the
the image. Middle tones are
image. Middle tones are
Layer>New
Layer> New Adjustment
AdjustmentLayer>Curves
Layer>Curvesopens opensaa displaced
displaced the
the most.
most.
dialog
dialog boxbox 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 withwith aacorner-to-
corner-ro-
corner
corner diagonal
diagonal line line and
and aa histogram
histogram overlay
overlay of of
the
the image.
image. The The graph
graph plots input(existing
plots input (existing bright-
bright-
ness
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
aftertheth eadjust-
adjust-
ment)
ment) onon thethe vertical
vertical axis.
axis. Shadows
Shadows are areat atthe
thebot-
bot-
tom
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
Move
Move thethe curve
curve down
down to to
input,
input, middle
middle graygray output.
o utput. AA 45º 45° diagonal
diagonal line line darken allall the tones in
the tones in the
the
means
means thatchat the
the output
output values
values willwill be
be the
the same
same as as image.
image. Very
Very dark
dark areas
areas don’t
don't
the
the input
input values,
values, no no tones
tones change.
change. 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 thatchat point.
point. IfIf
you click
click on
o n the
the middle
middle (128/128)
( 128/ 128) andand move
move that
cliac
point
point straight
straight upup to
co 128/140,
128/ 140, the the “after”
"after" (output)
(outp ut)
value ofofanything
anything that
chat was
was aa middle
middle value
valueincreas-
increas-
es (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. This
This S-curve makes
makes light
light
The middle
middle values have have moved
moved the the farthest
farthest from
from tones lighter
lighter and
and dark
the
the original
original diagonal;
diago nal;darker
darker and and lighter
lightertones
coneswill
will tones darker, raising
tones darker, raising the
the
contrast.
contrast.
change
ch ange proportionately
proportionately less.
less.

The shape of
of the
the curve
curve (or
(or of
of any
any section)
section)
indicates contrast. AA steeper slope
slope is
is higher
higher
contrast; more
more horizontal
horizontal meansmeans 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. UpUp to
co sixteen
sixteen points
points can
can
determine howhow the
the tones
tones areare altered.
altered. If
Ifyou
you want
wanttoco
remove a point,
point, just
just pull
pull iticoffche
off the side
side of
ofthe
the graph.
graph.
Like Levels,
Levels, Curves
Curves can can bebe applied
applied directly
direccly This S-curve makes light
light
rather than as an Adjustment
Adjustment Layer Layer (see
(see page
page 100)
100) tones darker and dark
but the
the changes areare permanent.
permanent. A A similar
similar adjust-
adjust- tones lighter, lowering
lowering the
contrast.
ment can be be found
found in in any
any workflow
work fl ow program.
program .
96
96 IIMAGE
MAGE E DITING
EDITING
 ffl
Several points can be
added to the curve to ad-
just the tones very precisely.
just

Chi.nntl llut Jl

[ffl]
The curves for each
Pure Black
0
Middle Gray
128
Black-point, white-point, and neutral
Pure White
255
neutral eyedroppers
are available to make important settings rapidly
rapidly that
can be adjusted with more precision afterward.
a~erward.
that

Exact Input and Output numbers are

channel can be adjusted
adjusted you add or move points on the
shown as you the curve.
independently. Here the
blue channel is lightened
in the highlights—visible
highlights-visible
in the road—and
road- and dark-
ened in the shadows; the
red and green channels
remain unchanged.
Reducing blue (dark-
( dark-
ening) is the same as add-
ing its complement, yellow.
yellow.
In the shadow areas this
is most noticeable in the
green of
ofthe trees.
In practice, very small
adjustments ofofthis sort
are the most useful.

Lawrence McFarland.
Farm entrance near Assisi,
Italy, 2002.

C H A P T E R 5S
CHAPTER igJ 97
Adjusting Part of
of an Image
S ELECTIONS
SELECTIONS

S
S electing an area lets
lets you
you edit
edit oror adjust
adjust part
part Selecting the object
makes it possible to
of
of an image instead of
of all of
of it.
ic. All the
the pixels
pixels in
in
adjust its tones separately
a subject may be be selected oror just
just one.
one. You
You may may from the background. Once
choose to select pixels
pixels in
in aa geometric
geometric shape
shape like like the overall colors and values
a square or to follow
follow an
an outline
outl ine to
to select
select allall the
the look good in the photograph
at left,
le~, the glass butter dish
pixels that form
form a particular
particular image,
image, forfor example,
example,
in the middle of
ofthe scene is
of
of a bird. Your selection may
may encircle
encircle oneone shape
shape or or too dark and has a color cast.
be formed ofof several separate pieces.
pieces. And
And impor-
impor-
tantly, pixels can be partially
partially selected,
selected, inin addition
addition
to entirely or not
not at all selected.
selected. Workflow
Workflow pro- pro-
grams allow basic adjustments of of aa selected
selected areaarea
(calling
(calling the selection a masked
masked area
area that
chat is
is chosen
chosen
by brushing or painting)
painting) and
and can
can automatically
automatically Following its outline with
identify edges to
to help
help you create
create aa precise
precise mask.
mask. the Lasso tool (see opposite
page) turns the object into a
A selected area is
is like
like aa separate
separate picture.
picture. selection and lets a separate
Curves adjustment make it
It can be made
made darker or or lighter—called
lighter- called burning
burning an eyecatching centerpiece.
or dodging, as in in a conventional
conventional darkroom.
darkroom. In In
addition,
add ition, its color,
color, contrast,
contrast, oror saturation
saturation can
can be
be
changed. With Photoshop,
Photoshop, aa selected
selected area
area can
can be
be
made larger or smaller,
smaller, it
it can
can be
be rotated
rotated or
or dis-
dis-
torted, or it can be moved
moved to to another
another part
part of
ofthe
the
picture or to another picture
picture entirely.
entirely. Selecting
Selecting isis
the first step toward
coward compositing—assembling
compositing-assembling an an
image from separate pieces
pieces (see
(see pages
pages 106–107).
106- 107).
The selection of of an
object can be inverted
The selection itself
itself can be be edited.
edited. You You can
can
to select the back-
add to and subtract fromfrom aa selection,
selection, expand
expand or or round. Once the
gground.
shrink it, or feather its
its edges. Inverting aa selection
edges. Inverting selection background is selected,
changes the selected pixels
pixels to
to unselected
unselected and and vice
vice any of
ofits characteristics,
including its color, can
versa. Selections can bebe saved
saved with
with the
the document,
document,
be changed, below. It is
to
ro be brought back,
back, or loaded
loaded,, later.
loaded, lacer. Photoshop
Photoshop also possible—and
possible- and very
provides many different tools tools for
for making
making and and frequently useful—to
useful- to
altering selections (opposite)
(opposite) because
because itit is
is such
such an
an eliminate the background
entirely, right.
right.
important part ofof the
the digital
digital editing
editing process.
process.

Adjustments will be
be made
made onlyonly to
to the
the select-
select-
ed area. For example, ifif you select
select an
an area,
area, then
then
apply a Levels adjustment,
adjustment, itit will
will only
only affect
affect the
the
selected pixels. Partially
Partially selected pixels
pixels (such
(such as
as
those
chose made byby feathering
feathering anan edge)
edge) will
will be
be partially
partially
adjusted. Making an adjustment layer layer (see
(see page
page
100) when pixels are selected
selected makes
makes changes
changes onlyonly
to
ro those
chose selected pixels
pixels and lets
lees you
you later
lacer adjust
adjust
those changes. The selection,
selection, saved
saved as as aa mask
mask
(opposite, bottom),
bottom), may
may also
also be
be later
later adjusted.
adjusted.

98 IIMAGE
MAGE E DITING
EDITING
The toolbar
too/bar displays
selection tools and
variations.
their variations.

Selecting with the Options:

Lasso Tool Options:
Lasso tool is like Make a new
drawing with a selection.
pencil. A computer

ｾ＠
mouse makes a some-
what clumsy pencil;
drawing tablets are
Tool variations show in Add to an existing Subtract from an ' Select an area that is the in-
if you
available if you do a tersection of selections.
of two selections.
a submenu accessed by selection.
selection. existing selection.
selection.
clicking on the tool’s
tool's icon.
icon.
lot of
of direct selecting.
Use the Lasso tool to outline the area area you
you want want to
to unconnected areas,
unconnected areas, or
or smooth
smooth anyany unwa nted jiggles
unwanted jiggles
select. You
You must go
go entirely
entirely around
around the
thearea
areawhilewhileyou
you using the
the add to or subtract
to or from buttons
subtract from buttons((above)
above) or orby
by
hold the mouse
ho ld the mouse button
button down.
down. IfIfyou
you release
releaseititbefore
before switching to
to Quick
Quick Mask
Mask mode
mode (bottom)
(bottom)to
tocorrect
correctitit
Ｋ＠ reaching the
the point
point of
of origin,
origin, aa straight
straightline
linewi ll auto-
will auto- with drawing tools.
with tools.
matically complete
complete the
the circu
circuit. Youcan
it. You canfixfixit,it,add
addother
other
Lasso Tool ~·:-;.,
Magic Wand ~-
~- ｾ＠
•. 7', [SJ
' · IJ, Magic Wand selects pixels by color. ltIt is
6 .__ most useful where a background is relatively
uniform or where foreground and background
background
e. colors or values are strongly contrasting.
~. Ｎ＠ Add, subtract,
intersect (see
Determines how
close in value selected
Allows pixels
to be partially
e. ｾ＠ above). pixels will be.
be. selected.

Quick Mask
!J The Magic Wand tool is much
Sl.mple Sbe:

much faster
faster in
j S by S Avtt•

in some
some situ- in the Tool
Tool Options
Options bar
bar shown
shown here,
here, isisan
anessential
essential
ations than
than drawing.
drawing. AA click
click of
of the
theWand
Wandat atone
onespot
spot variable. It sets
variable. sets the
the range
range (how
(how far
far from
fromthe thesample's
sample’s
selects all
all the pixels
pixels of
of the
the same
same color
colorthat
thatarearecon-
con- color or value)
value) of the
the pixels
pixels that
thatwill
will be
beselected.
selected.The
The
tiguous to
to (touching)
(touching) that
that spot.
spot.The
The Tolerance setting,
Tolerancesetting, size of the sample
sample cancan also
also be
be adjusted.
adjusted.

Marquee Tool selects

geometric shapes. Its op-
tions include square and
[Q) a
rectangle, circle and oval.
Quick Mask mode
lets you
you use draw-
ing tools to make and
Pen Tool makes smooth modify a selection.
and precise outlines called
Bfzier curves that are the
Bézier Quick Mask changes a selection to to aa mask,
mask, like
like aa selection. ItIt is
to a selection. is most
most usefu
usefull to
to im prove aaselection
improve selection
mainstay ofof drawing and sheet of glass
glass covering
covering you
yourr photograph
photographon onwhwhich
ich youyou made with
with another
another tool.tool. Drawing
Drawingwith withwhite
whiteextends
extends
illustration software. Its can
can brush opaque paint
brush opaque paint (the
(the mask
mask isisusually
usuallydisplayed
displayed (adds to)
to) the selection;
selection; blackblack subtracts.
subtracts. Partially
Partially
use is less intuitive than red). You
in red). You can
can use
use drawing
drawing tools- pencil , brush,
tools—pencil, brush,aiair-
r- selected pixels wi
selected pixels will result from
ll result from painting
paintingwith
withgray
grayor
or
other selection tools and brush—to reshape the
brush- to reshape the mask
mask andand then
thenchange
changeititback
back using aa feather-edge
feather-edge tool.tool.
takes a bit longer to learn.
learn.

C HAPTER 5
CHAPTER igJ 99
 Two layers make all the
adjustments this photo-
photo-
graph needs. The first layer

More Techniques (shown below left) makes

some areas lighter and others
darker,
darker, the same way you
might apply burning and
LLAYERS
AYERS dodging ififyou
you were printing
in a darkroom.
darkroom.
To make it, Layer>New>
Layer was opened. In the
dialog box Mode: Overlay
Llayers
ayers may be Photoshop’s
Photoshop's greatest
g reatest feature
feature was selected, then Fill with
Overlay-neutral color was
and one that most m ost clearly
clearly sets
sets its
its abilities
abilit ies apart
a part checked.
checked. The Overlay layer
from photographer’s
p hotographer's workflow
wo rk fl ow programs.
program s. Adding
Addi ng fills with middle gray but
a layer
laye r to
co your image is is like
like putting
p utting aa sheet
sheet of of nothing but its effect is vis-
clear glass over a print.
prin t. You
You cancan draw
d raw on
o n the
the layer
layer ible unless you
you turn off
offthe
background layer’s
layer's display by
or make
m ake alterations
al terations that
that change
ch ange thethe image
image belowbelow clicking its eye icon. Making
the layer,
laye r, but you
yo u can still
still take
take itit away
away to to reveal
reveal the Overlay layer’s
layer's neutral
the unchanged
unch anged picture.
picture. And
An d you
yo u can
can add
add another
a n other gray lighter
fighter or darker with
layer and another
a nother (Photoshop
(Photosh op lets lets you
yo u add
ad d thou-
t ho u- any tool—even
tool- even ififyou don’t
don 't
see it—lightens
it-lightens or darkens
sands)
sand s) that
th at are individually
ind ividually editable,
editable, removable,
rem ovable, the underlying image. The
and—except
and-except for for what you yo u putput on on them—com-
ch em-com - foreground roofroofis lightened.
pletely transparent.
transparen t. A gradient darkens the sky
Layers
Laye rs make it easier to to composite
composite aa picture,
pictu re, gradually toward the upperupper
left
le~ corner.
assembling
asse mbling elements
elemen ts from
fro m more
mo re than
t ha n one
one image.
image.
Each part of your picture
picture cancan sit
sit on
o n an
a n individual
in dividual
layer, which you can then th en move
m ove and
and change
chan ge and and
move
m ove anda nd change again, until u ntil your
yo u r final
fi nal image
im age
looks the way you yo u want (see
(see pages
pages 106–107).
106- 107).
The second layer, a Curves
adjustment layer shown at
Adjustment layers
layers let
let you
you make
make tonal
tonal chang-
chang - right, adds contrast. Each
es,
es , using
usin g Curves,
Cu rves, Levels, or
or other
other tools,
tools, with-
with- additional layer affects only
out permanently
perm anently altering
al tering thethe original,
original, underlying
underlyi ng those that appear below
below it in
the Layers Palette, far right.
image. Use Layers>New
Layers>New Adjustment
Adjustmen t Layer; Layer; thenthen
you can revisit your yo ur changes
ch anges and and modify
m odify them th em at at
any time,
ti m e, the way you yo u can
can in in aa workflow
wo rkflow applica-
ap plica-
tion.
tio n. When you yo u need
need to to finalize
fi nalize your
yo u r decisions,
d ecisions, to to
print
p ri nt for
fo r example, you yo u can flatten the th e file
file to
to make
make
the adjustments
adjustme n ts permanent,
perm anent, but bu t you
yo u can—and
can- and
should—keep
sho uld- keep a copy copy of of the
the unflattened
un flatten ed file.
fi le.
The
T h e direct
di rect use
u se ofof Levels,
Levels, Curves,
Cun,es, or o r almost
aln1osr
anything else that char alters
alte rs aa picture,
pictu re, causes
causes the t he soft-
soft-
ware
wa re to discard
d iscard some
som e information
in fo rma tion when wh en itit applies
ap plies
the change.
cha nge. If you darken a picture, p icture, forfor example,
exam ple,
and later you yo u decide
decid e it it should
sh ould be be even
even darker,
d arker,
more
mo re information is is discarded. Each Each time,ti me, the
t he
image is further
fu rth er degraded.
d egraded.
Using an adjustment layer layer forfo r such
su ch changes
changes
avoids this problem;
problem ; thethe settings
settings you you choose
ch oose affect
affect
the image that th at is displayed
displayed or or printed
p ri nted butbut they
they
don’t
do n't change
ch ange the pixelpixel values
val ues in in the
the original
original file fil e
until you choose
ch oose to to flatten
flatten it.it. All
All settings
settings can can bebe
changed—or
changed - o r discarded—without
discarded- with ou t loss. loss. Photoshop’s
Photosh op's
“smart”
"smart" filters are also also onon the
the list
list of
o f non-destruc-
no n-dest ruc-
tive adjustments.
adj ustme n ts. The most most important
importan t of of these
these
filters is sharpening; you can ca n change
ch ange the the amount
am o unt
you apply
ap ply to an image for for each
each different
di fferent output.
o u tput.
Vanderwa rker. Peter B.
Peter Vanderwarker. B. Lewis
Lewis Building,
Building, Case
Case Weather-
Weather-
head School
Schoof of
ofManagement, Cleveland, Ohio,
Ohio, 2003.
2003.
100
100 IIMAGE
MAGE E DITING
EDITING
Mark Klett.
Klett. View from the tent at
Pyramid Lake, 7:45 AM, Nevada,
9/16/00.
9/ 16/ 00. Adjustment layers control control ｾ＠ !ill () T O Ill
individual areas when they are appliedapplied l~uv :l0cwi"'hOOK l· I
through a mask. A selection (made with -- --
the tools on pages 98–99)
98- 99) creates a
- !JI ./ + II ,.,1,,..l· I
layer mask so so an
only the area you
an adjustment can affect
you choose. Layer masks
• I:;'! ｧ ＬＮ＼ｷ｟＠
are shown as a small image in the layers
palette, left, with an icon for the type ofof • Im i [ l Sl-,MclCtoutld
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
• Im 8
-
the tent floor (the selected layer at right),
made the sides of ofthe tent appear to be
• Im
ｩＭ ｾ＠
the same brightness, and deepened blues
in the sky and water to accentuate the
• Im sll] ,,.,..,.
early morning sunlight.
• 8•U9•
..
Each layer—and
layer-and its mask—can
mask-can be Im
changed or deleted at any time without
ｩ＠
The original scan from Mark Klett’s
Klett's large-format
large-format color
color negative
negative looks
looks
affecting settings of
ofany other layers.
After building a final image like this, one
• Im ·•=· 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 thethe overall
overall
layer at a time, Klett makes a small proof
print to see ififany of
proof
ofthe layers need to
to be • ,.,.,,...,., ｾ＠ color balance. A luminosity layer makes small
small adjustments to to the
the tones
tones and
and
further modified before making
making a final contrast without affecting the color. Other layers
layers are added
added for
for further,
further,
<>> "'· a c . c, .i Q more subtle, adjustments.
print at full size.
C hapter 5 5
CHAPTER 1~1101101
More Techniques
R ETOUCHING
RETOUCHING

D
D igital capture avoids almost
almost all
all unwant-
unwant- Sourc1 Q Duun.uion U Trunp,attJ
To retouch using Photo-
shop's patch tool, select it
shop’s
ed specks generated by the
the process.
process. Only
Only ifif you
you
from the Toolbox (it may be
get dust
d ust or a scratch on on the
the sensor
sensor should
should you you behind the Healing Brush or
need to cover up up such flaws
flaws through retouching,,
through retouching
retouching, He.al1ng lnlsh Tool
Spot Healing Brush Tool).
Tool).
essentially painting over
over part
part ofof an
an image.
in1age. Scans
Scans ＠ 0 !'.Itch Tool Select Source in the Tool
require this kind of of attention; it it is
is nearly
nearly impos-
im pos- Options Bar.
Bar. With the cur-
sor, draw around the area
sible to keep a negative
negative oror print
print (and
(and the the scanner
scanner needing repair (A).
(A). Drag
Drag the
itself) perfectly clean during
“Improving”
during scanning.
"Im provi n g" someone’s
scanning.
someone's complexion
complexion in in aa por-
por-
• selection onto an undamaged
area similar in value, color,
trait is also called retouching.
rerouching. Regardless
Regardless of of the
the and texture (B).
(8 ). The pixels
reason for retouching,
retouching, you make
make changes
changes onceonce andand GJ from the undamaged area
will combine with those in the
save them. For
For minor
minor (but
(b ut careful)
careful) retouching
retouching of of selection to make a natural-
small areas in Photoshop,
Photoshop, youyo u can
can alter
alter your
your back-
back- looking repair (C).
(C).
ground layer directly—assuming
directly- assuming you you havehave saved
saved aa
copy. For major alterations, such such as as those
those on on the
the
photograph below,
below, make
make aa new
new duplicate
duplicate layerlayer toto
retouch. Go to Layers>Duplicate
Layers >Duplicate Layer, Layer, and
and then
then
perform your corrections on on the
the new
new layer.
layer.

To repair damaged photographs

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

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
same location. Within any catalog
catalog of
of images
images you
you
can instantly apply one picture’s
picture's retouching
retouchin g toto aa
selected group of
of others.

For best results, build up a repair

repair slowly. the image. Adjustment with Curves brought
brought the
the
Work in layers to protect the original image. tones back to an approximation ofofits unfaded
unfaded
Found at a flea market, this torn and faded
faded old
old state. Some drawing skill can help in replacing
replacing
photograph was scanned, then retouched justjust a large damaged area; the key is to borrow
borrow bits
bits
enough to restore the original appearance ofof from other, similar areas in the picture.

102
102 IIMAGE
MAGE E DITING
EDITING
 Schafe r. Aufzug
Michael Schäfer. 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 journey-
journey—up up or
or down—into
down- into the existential.
existential.

C HAPTER 5
CHAPTERS jgj 103
103
More Techniques
SSHARPENING
HARPENING

SS harpening improves most

most digital
digital images
images
but won’t
won't save a photograph
photograph that that was
was made
made out outof of
focus. It is an important
important adjustment
adjustment that that should
should
be applied to all scans and and digitally
digitally captured
captured
photographs, usually just just before
before printing
printing or or other
other
export. Generally, moremore sharpening
sharpening is is needed
needed for for
digital capture thanth an for
for scans from from film.
film. JPEG
All scans and digital captures need sharp- The right amount of ofsharpening makes
files are sharpened by by the
the camera
camera butbut you
yo u should
should ening. The Unsharp Mask filter
filter increases tone
tone details and edges crisp without sacrificing
sacrificing
sharpen all captured TIFF and and Camera
Camera Raw Raw files.
files. differences between adjacent pixels to
to make
make the smooth tones. Different pictures and
and different
The
T he amount of of sharpening
sharpening for for best
best results
results image appear sharper. uses need different amounts.
depends on a numbernumber of of factors,
factors, one
one of of which
which
is the resolution
reso lution used
used for for aa particular
particular output.
output.
Because you may n1ay want
want to to put
put it
it on
on your
your WebWeb sitesite
as well as making
making aa print
pri n t (or
(or make
make different-sized
different-sized
prints from the the same image)
image) sharpening
sharpening shouldshould
probably not be a permanent
permanent alteration
alteration to to your
your
file. If
If you are using
usi n g a workflow
workflow application
appl ication or or
Photoshop CS3 (or (or later),
later), sharpening
sharpening can can be be Too much sharpening is as bad as not
changed each time time you sendsend anan image
image to to aa differ-
differ- enough. When you you see obvious halos around
ent output.
outpu t. With earlier
earlier versions of of Photoshop,
Photosh op, fine details in your
your image, you have gone too
far.
far. Use the preview option on screen to
to com-
save an unsharpened version of ofyour
your file.
file. pare before and after,
a~er, viewing
viewing at 100%.
100%.
S elect Filter>Sharpen>
Select Filter>Sharpen>
Unsharp masking (USM)
(USM) means
means sharpening.
sharpening. onscreen image at 100%I 00%(also
(also called
called 1:1);
I I); even
even bet-
bet- Unsharp Mask…Mask .•. in Photo-
Photo-
The seemingly contradictory
contradictory name name is is aa legacy
legacy ter, make a proof
proofonon the
th e printer
printer and
and paper
paperyouyou will
will shop.
shop. Its dialog box lets you
from darkroom photography,
photography, aa way way ofof improv-
improv- be using for your final
final print.
print. set the filter’s
filter's three variables,
Amount, Radius, and
ing sharpness by placing
p lacing a slightly
slightly out-of-focus
out-of-focus Some photographers prefer prefer to
to use
use aa two-step
two-step Threshold, and to view a pre-
negative in contact with aa film fi lm positive,
positive, oror slide,
slide, sharpening process
process for
for digitally-captured
digitally-captured files:
fi les: view to see how your your choice of
of
during enlarging.
en larging. The result
resu lt ofof this
this film
film sand-
sand - input sharpening based based on on the
t he specific
specific camera
camera values affects the image.
wich is increased contrast at at the
the edges
edges ofofobjects,
objects, and output
ou tput sharpening
sharpening based
based onon the
the subject
subject and
and Radius controls how how close
to an edge the sharpening
sharpening
the
t he same
san1e effect you introduce
introduce to to an
an image
irnage using
using the file’s
file's destination. occurs; use values from 0.5 to to
digital sharpening. 3, higher numbers for higher
The
T he sharpening tooltool or filter
filter identifies
identifies areas
areas Sharpen for image
image content.
content. AA landscape
landscape may
may resolution files.
files. Amount
Amount
of
of transition, for example from from dark dark to to light
light or
or require different treatment
treatment than than aa cityscape.
cityscape. affects the contrast of ofsharp-
ened pixels, values between
from red to yellow, which wh ich ourour eyeseyes tell
tell us
us are
are Sharpening for a portrait
portrait willwill need
need aa different
d ifferent 50
SO and 200 are common for for
edges. Then
T hen it exaggerates thethe transition.
transition. Making
Making approach than for for a forest
forest scene.
scene. Facial
Facial skinskin isis photographs. Threshold de-
dark pixels darker only
only when
wh en theythey are
are near
near light
ligh t a special concern because
because sharpening
sh arpening enhances
enhances termines how different a pixel
pixels, and vice versa, creates
creates aa subtle
subtle halo
halo around
around texture and blemishes,
blem ishes, usually
usually undesirably.
undesirab ly. For For must be from its neighbors to
comprise an edge pixel. Low Low
edges that we perceive
perceive asas enhanced
enhanced sharpness.
sharpness. portraits, you
yo u may
may have
h ave success
success using
using an an increased
increased values sharpen more of ofan
radius and lower amount, or or by
by sharpening
sharpening only only image.
image. Start with 3–5. 3-5.
Sharpen for the output. Higher Higher output
output reso-
reso- the
t he red channel in in RGB
RGB or or the
the black
black channel
channel in in Similar controls are
lution, usually forfor a larger
larger print,
print, requires
requires more
more CMYK. Photoshop’s High-Pass filter
Photoshop's High-Pass filter is
is useful
usefu l for
for given in workflow programs;
Aperture has Intensity and
sharpening. A A file
fi le printed
printed on
on anan inkjet
inkjet printer
printer confining
con fining sharpening
sharpeni ng to to prominent
prominent edges. edges. YouYou Radius, with a separate
needs different sharpening
sharpening than
than you
you would
would apply
apply may want
wan t to
to apply sharpening
sharpening through
thro u gh aa mask,
mask, asas control for edge sharpen-
to
ro the same file sent to to an offset
offset press.
press. Even
Even thet he was done in thethe photograph
p h otograph opposite.
opposite. And And there
there ing.
ing. Lightroom uses sliders
paper matters;
matters; uncoated
uncoated papers
papers and
and matte
matte surfac-
surfac- are several ways to to apply
apply sharpening
sharpening by by hand,
hand, for Amount, Radius, and
Detail, with a fourth slider
slider
es need a little less
less sharpening
sharpening than
than glossy
glossy paper.
paper. brushing it in around eyes eyes and
and hair,
h air, for
for example,
exan1ple, for Masking—the
Masking-the equivalent
Always judge thethe sharpening
sharpening byby displaying
displaying your
your while leaving the
the rest
rest of
of aa face
face unsharpened.
uns harpened. of
ofedge sharpening.
104
104 IIMAGE
MAGE E DITING
EDITING
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 soft-
so~-
edged selection as a mask to
sharpen only the two pepper
slices in the center. Sharpen-
ing out-of-focus areas in digi-
tally
tolly captured photographs
like this one risks enhancing
enhancing
granularity and noise.

C HAPTER 5
CHAPTERS gj 105
105
More Techniques
C OMPOSITING
COMPOSITING

D
D igital editing was invented
invented for
for composit-
composit- Consistent illumination is
is most
most important
importantto
co
ing, or so it might seem. The kinds
kinds of
ofimages
images that
chat make everything in in your image
image believable.
believable. IfIf you
yo u
have become most
most closely
closely associated
associated with
with digital
digital take people from a photograph
photograph made made onon aa sunny
sunny
photography are thethe invented
invented spaces
spaces and
and impos-
impos- day and drop them into into anan overcast
overcast landscape,
landscape,
sible situations that we see everywhere
everywhere in in adver-
adve r- it won’t
won 't look right no
no matter
matter what
what you
you do.
do. Few
Few
tising. It is not that
chat such composited (combined
such composited (combined viewers will be able to
co tell
cell exactly
exaccly what
what the
the prob-
prob-
from several sources) images
in1ages weren’t
weren' t possible
possible with
with lem is, but everyone will
wi ll find
find viewing
viewing the
the image
image aa
conventional photographic
photographic techniques
techniques (see
(see photos
photos little
litcle uncomfortable.
u ncomfortable.
below and on page
page 112),
112), but
but it
it was
was always
always very
very dif-
dif-
ficult and often prohibitively
prohibitively time
time consuming
consumi ng to to Display several images at
at once
once when
when you
you com-
com-
do so. Assembling an imageimage from
from parts
parts requires
req uires bine elements from
from multiple
multiple pictures.
pictures. A A large
large (or
(or
complex and extensive editing
editing tools;
cools; workflow
workflow second) monitor helps
helps when
when you
you want
want toco have
have sev-
sev-
programs do not
not provide
provide features
features for
for compositing.
compositing. eral files open and still see
see your
yo ur tools
tools and
and palettes.
palettes.
The Info palette provides
provides useful
useful measurements
measurements to to
Mastering the composite takes
takes some
some effort
effort maintain consistency among different
different elements,
elements, asas
even with a computer to to help.
help. Learning
Learning the
the tools
tools do the rulers that appear on on two
two borders
borders of of each
each
takes some time, but is is not
not the
the real
real challenge.
challenge. window. KeepKeep each element on on aa separate
separate layer.
layer.
Learning to think
think ahead and
and to
to create
create and
and assem-
asse1n- You can make an adjustment layer layer (see
(see page
page 100)
100)
ble parts that fit together
together visually—that
visually- chat requires
requires that is linked (attached)
(attached) to
to each
each and
and won’t
won't affect
affect
practice, clear thinking, and attention
attention toto detail.
detail. any other
ocher layers.

Francis Frith. Hascombe, Surrey, c.1880.

c. 1880. The
The composite
photograph is not new. To “improve”
"improve" this
this nineteenth-
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.

106
106 IIMAGE
MAGE E DITING
EDITING
Julieanne Kost. Isostacy,
Julieanne lsostacy, 2007. To
To create this
this surreal
surreal mon-
mon-
tage, Kost combined a scanned painting
painting with digitally captured
captured
photographs ofofunrelated 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 inin
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 adjust-
ments 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,
' I• I
I I
I'
I

,_ I
tl'-, l
J '

The final touches are textures

textures
added from pictures ofofrust (above
(above
right) and bubbles of
ofsea foam (right).
The clouds come from this Both were incorporated as layers with
with
photograph, with the barn and
and reduced opacity so they don’t
don't over-
its foreground and background whelm the image of ofclouds on aa layer
masked out. The trees (right) beneath. The finished composite image
were also masked to fit.
fit. has twelve layers.

C HAPTER 5
CHAPTERS jgj 107
More Techniques
C O L O R IINTO
COLOR NTO B LACK A
BLACK ND W
AND HITE
WHITE

C
C olor channels can be
be blended
blended together
together in
in
image-editing software. Aperture’s
Aperture's Monochrome
Monochrome
Mixer and Lightroom’s
Lightroom's Grayscale Mix give
Gray scale Mix give you
you
sliders like those
those you cancan call
call up
up in
in Photoshop
Photoshop
by choosing Black & White,, an
& White an adjustment
adjustment under
under
the Image menu.
men u . In
In each
each ofof the
the programs
programs you you
can control the proportion
proportion of of each
each primary
primary color
color
channel that will bebe incorporated intointo the
the result-
result
result--
ing black-and-white
black-and-wh ite image
image while
while you
you watch
watch thethe
on-screen preview change.

You can set many

many digital cameras
cameras to
to capture
capture
in black and white.
white. The
T he camera will produce
produce aa
grayscale JPEG or TIFF image,
image, and and the
the camera’s
camera's
monitor
mon itor will show a black-and-white
black-and-white preview.
preview. IfIf
your camera is set to
to capture
capture aa Camera
Camera RawRaw file,
file,
however, a black-and-white imageimage will
will show
show on on
the camera’s
camera's monitor
monitor but
but all
all the
the color
color informa-
informa
informa-- Very
Ve,y different black-and-white renderings from the three channels. The center image
tion will still be
be present
present inin the
the saved
saved file.
file. You
You can be made from the same color photo- above, for example, incorporates aa high pro-
pro-
can then control the
the conversion
conversion to to grayscale,
grayscale, as as graph leading to different interpretations of
of portion of
ofred and green but little blue from
from
described above,
above, with image-editing
image-editing software.
software. their content. Image-editing software
soft.ware gives you the left-hand image, and leads to a brighter
brighter
the opportunity to make a controlled blend
blend image than the one on the far right.

Infrared
Infrared Black and
and White
White
Digital
Dig ital camera sensors are covered with with aa fil fil-
fil--
ter that blocks infrared radiation
radiation but
but itit isis still
still
possible to make black-and-white
black-and-white photographs
photographs
using
us ing that invisible
invisible energy just beyond
beyond the
the
spectrum ofof visible light.
light.

The effectiveness of of infrared

infrared blocking
blocking filters
filters
varies from one camera model model to to another,
another, but but
fortunately
fort u nate ly none
none blocks
blocks infrared
infrared completely.
comp letely.
Cover your lens with aa filterfilter that
that blocks
b locks visible
visible
light and passes
passes infrared,
in frared, like
like a Wratten No. No.
87, Hoya R72,R72 , or Heliopan
Heliopan RG715.
RG715 . WithWith vis-
vis
vis--
ible
ib le light removed, whatever the the sensor
senso r receives
receives
will
wi ll be infrared.
infrared . But
But itit will be
be very
very little
little radia-
radia
radia--
tion,
tio n, and you will
wil l need
need a longlong exposure—usual-
exposure—usual
exposure- usual--
ly more than a second in in daylight
d ayl ight even
even at at your
your
widest aperture. Trial and error error should
shou Id lead
lead toto
satisfactory results.

IfIf you are very serious about shooting

shooting infrared
infrared
black
b lack and white with aa digital camera,camera, you you
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.
A little online searching will wi ll turn
turn upup (some-
(some
(some--
what complex)
comp lex) instructions
instructions forfor those
those whowho Jingbo Wu. Indian Ruin, 2007. Foliage looks white
Jingbo white in infrared
infrared and
and skies go
go nearly
nearly black,
black, making
making
are technically
technical ly inclined.
incli ned. Some
So me camera-repair
camera- repair possible very dramatic landscapes. Wu
Wu bought an inexpensive DSLR
DSLR onon eBay
eBay and
and followed
followed instructions
instructions
shops will be be able toto modify
modify your
your camera.
ca mera . 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.

108 IIMAGE
m a g e eEDITING
dItIng
 FFILTERS
ILTERS

FF ilters
are automatic—and
automatic-and often
often exotic—
exotic-
image manipulations.
manipulations. In Photoshop they
they go by
by
self-descriptive names
names like
like Colored
Colored Pencil,
Pencil, Twirl,
Twirl,
and Glowing Edges. If If the
the ones
ones that
that come
come with with
your image-editing program
program aren’t
aren't enough
enough forfor you,
you,
independent developers offer offer hundreds
hundreds more more for for
sale as plug-ins (see
(see page
page 93).
93). You
You can
can add
add plug-in
plug-in
filters to workflow software, too. too. But
But Filter
Filter isis also
also
Filters are playful and
can lead to the strange
the name such programs
progran1s usually
usually give
give to
to search
search cri-cri-
and unexpected. The teria when you want to to find,
find, for
for example,
example, allall your
your
photograph at right was one- and two-star pictures
pictures ofoftrees.
trees.
subjected to a sampling of
of
filters,
filters, as shown below.
Look under Photoshop’s
Photoshop's Filter
Filter menu
menu for
for
many different options, or or choose
choose Filter>Filter
Filter> Filter
Gallery to browse through
through themthem atat random.
random. EachEach
A gives control over several variables. For For example,
example,
the Stained Glass filter
filter lets
lets you
you set
set different
different values
values
,:/: ;".>-{.\~
for cell size, border thickness,
thickness, and and light
light inten-
inten-

,,1-•f;'i'.·.·: sity. The

T he variations are endless and,
“Convert
"Convert for Smart Filters,”
and, ifif you
Filters," re-editable.
re-editable.
you select
select

~~-.-'-~--~_..?.t'.7':,_-.:·-.
..,4.,
Be careful, filters are like
like candy;
candy; restraint
restraint isis
advised. They are appealing confections
confections but but itit isis
.,~, :.~ easy to overindulge. Remember
Remember also also that
that exactly
exactly
the same zoomy special
special effects
effects are
are available
available toto the
the

1. millions of of other users

users of
arbitrary use can easily
of Photoshop,
easily appear
Photoshop, and
appear to
filters belong in your toolbox,
to be
and their
be aa cliché.
toolbox, especially
their
cliche. Many
Many
especially ifif your
your
.
task is illustration,
illustration, but
but don’t
don't assume
assume thatthat because
because
you’ve never seen the results
you've results of
of the
the Craquelure
Craquelure
Chrome filter Glass filter filter, no one else has
has either.

Craquelure filterr
Craque lu re filte filterr
Stamp filte Watercolor filter 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
printed digital
digitalphotograph
photograph using
using Photoshop.
Photoshop.

11 Open
Open the
File>Save
the file
File>Save As
version
version with
file and
As and
and save
a nd give
wit h which
give aa new
which you’ll
duplicate. Use
save aa duplicate.
new name
yo u' ll be
name to
be working.
Use
to the
wo rk ing. Make
t he
Make
tion
tio n in

the
in place
place (page
(automatically
the adjustment
(page 98).
(au to m a tically saved
adjustmen t can can be
98). Both
saved as
Both the
as aa layer
be later
the selection

la ter edited.
selectio n
laye r mask)
m ask) and
edited. Add
and
Ad d as as
sure
su re your
your original,
original, raw
raw file
file isis archived
archived prop-
p rop- many
m any individual
individual adjustments
adjus tments as as you
yo u need,
need ,
erly
erly (see
(see page
page 133.)
133.) but
but keep
keep inin mind
m in d each
each one
o ne adds
ad ds to
to the
t he file
file
size,
size, makes
makes each
each successive
successive stepstep take
rake aa little
little

22 Rotate
Rotate and
frame
frame are
cropping
and crop
crop the
are exactly
cropping you
exactly where
yo u can
imageso
the image
where you
can choose
choose an
sothe
th eedges
yo u want
edgesof
wan t them.
an aspect
aspectratio
ofthe
th e
them . By
ra tiomore
By
mo re
longer,
lo nger, and
Save
Save the
ing
ing on
o n to
an d fills
fills your
the full-size,
to resize,
resize, the
yo ur storage
full-size,layered
t he next
storage space
laye red file
next step.
seep.
space faster.
fil ebefore
faster.
beforecontinu-
continu-

suited
sui ted to
to your
yo ur vision
visio n than
than the
theone
on edictated
dictated byby
your
yo u r camera’s
cam era's sensor

Retouch (page
Retouch
senso r or

(page 102)
102) to
or the
thefilm’s

to remove
film 's frame.

rem ovedust,
frame.

dust,scratches,
scratches,
77 Resize
you’ll
yo u' ll be
page,
page, in
necessary. ItIt helps
Resize ifif necessary.
be using
using aa picture—on
in aa Web
h elps toto know
know how
picture- o n aa magazine
Web display,
display, or o r making
h ow
magazine
making itit into
in to
3 or
o r spots.
spots. Scans
photographs
Scans generally
generally require
p hotographs captured
captured with
requi re retouching;
re to uch ing;
with aa digital
d igital camera
camera
aa poster—to
poster- to know
much
much resolution
know how
resolution you
how big
you need.
big aa file
need. Some
fi le and
and how
Some printers
how
prin ters
may
may not.
no t. make
m ake theth e best
best print
p ri nt ifif the
the file
fil e matches
ma tches their
t heir
native resolution,
native reso lution, often
often 300 300 or or 360ppi.
360ppi.

44 Add a Levels
Use
Use it
and
a nd the
Levels or
it to
to set
the overall
or Curves
set the
overall color
Curves adjustment
t he black
adjustment layer.
black and
and white
colo r balance
layer.
whi te points
balan ce (pages
points
(pages 94–97).
94- 97). 88 Sharpen the
to
to use
use the
the background
background layer.
the photograph
photograph for
layer. IfIf you
fo r aa different
you need
n eed
diffe rent appli-
ap pli-
Remember
Re m ember that
tha t with
with adjustment
adjustm en t layers
layers you
yo u cation oro r print
print itit at
at aa different
di ffere n t size,
size, go
go back
back
can make
ma ke more
mo re changes
cha nges later.
later. Make
Make general
general to
to the
the unsharpened
unsharpened full-size
full -size file
fil e with
with all
all its
its
adjustments
adjustmen ts first,
first, then
then fine-tune
fin e-rune them
chem after
afte r layers,
layers, resize
resize and
and sharpen
sharpen aa copy
copyfor fo reach
each use.
use.
your
yo ur other
o ther adjustments
adjustments have h ave been
been made.
m ade. See pages
pages 104–105.
104- 105.

5 Make other overall

adjustment layerlayer in
adjustments. AA Curves
overall adjustments.
in the
the Luminosity
Luminosity mode
Curves
mode
9 Soft proof
page
proof and print
page 118).
118). Flatten
print your
Fla tten the
the layers
photograph (see
your photograph
layers before
(see
before printing,
printing,
lets you adjust
adjust tones
to nes and
a n d contrast
contras t without
without emailing,
em ai ling, or
or exporting
expo rting toto the
t he Web.
Web. Think
T hink of
of
affecting
affec ting color.
colo r. A A Hue/Saturation
Hue/ Satu ration adjust-
adj ust- your
yo ur first
first print
print as
as aa test.
test. Are
Are there
t here changes
changes
ment
m en t layer
layer is
is often
often useful
useful toto reduce
red uce the
the color
color to
to make?
m ake? If If so,
so, use
use the
the History
History palette
palette to
to go
go
bias of
ofsome scanners
scanners and
and digital
d igital cameras
cameras oror back
back toto the
the sharpened,
sha rpened, layered
laye red version.
ve rsion.
to increase the
t he vibrancy
vib rancy of
ofselected
selected colors.
colors.

10
10 Make any necessary
necessary final
fi nal adjustments,
adjustments,

66 Make local
image has
adjustments. When
local adjustments.
h as been
been improved,
need individual
When thethe overall
improved , ifif certain
ind ivid ual attention,
a ttentio n, make
overal l
certai n areas
areas
m ake aa selection
selection sion
make
ma ke a final
with the
sio n of
of the
fin al print.
t he print,
the file
file if
p rint. Once
print, go back
if you
O nce you
back to
to the
yo u resized
yo u are
are satisfied

resized itit for

satisfi ed
the full-sized
fu ll-sized ver-
ve r-
for printing,
print ing,
and
a nd add an adjustment
adjustment layer
laye r with
wit h the
the selec-
selec- make
ma ke the
the same final
final changes,
changes, anda nd save
save it.
it.

110 IIMAGE
MAGE E DITING
EDITING
Miwa Yanagi. Eternal City
1998.. Digital tools let
1998
Cif:Y II,, Y
Y our editing workflow may may be be more
more efficient
efficient applied in stages, some during
during import,
import, somesome to to
if
if you use a workflow
workflow application.
application. Adobe the image you see and manipulate
manipulate on on the
the moni-
moni-
Yanagi invent a space for for
her narratives. This image Photoshop is used
used by
by professionals
professionals in in many
many areas
areas tor, and more
more later for output. Size,
Size, shape,
shape, and
and
is from a series that drew its besides photography; it it serves
serves the
the graphic
graphic arts,arts, the
the resolution decisions are
are applied only
only toto the
the fin-
fin-
inspiration from the young
young printing industry, and video,
video, asas well
well as
as fields
fields such
such ished product, not
not to
to the
the original
original file.
file.
women who work as “eleva-"eleva-
as medicine and science. As aa result,
result, itit has
has numer-
numer-
tor girls
girls”" in large Japanese
Japanese
department stores, and ous features that you probably
probably won’t
won't need.
need. ItIt was
was Adjustments and settings may may be be saved
saved as as
was intended to challenge constructed to let
let images
images become
become whatever
whatever anyone
anyone a preset and applied simultaneously
simultaneously to to aa group
group
traditional perceptions of of can imagine,
in1agine, one at a time.
time. of
of images. These presets
presets may
may bebe applied
applied when when
women. Yanagi hired models you download your images
images or
or later,
later, to
to aa selected
selected
who fit her conception of ofthe
archetype and dressed them Workflow software has has been
been tailored
tailored to to the
the group. With only a couple commands,
commands, aa wedding
wedding
in identical uniforms for the basic tasks of of photographers, so one of of these
these photographer
p h otographer may
may turn
turn hundreds
hundreds ofofpictures
pictures from
from
photograph. programs may do everything
everything your
your work
work requires.
requires. one memory card into sepia-toned blackblack andand white
wh ite
A workflow for this kind as they are imported, and print
print them
them as as aa sequence
Using either program, all editing
editi ng decisions
decisions listed
listed sequence
of imagemaking may start
of
with workflow software for on the opposite page
page can
can be
be applied
applied inin any
any order
order of
of two-by-three-inch proofs,
proofs, twelve
twelve to ro aa sheet
sheet of
of
importing and organizing
organizing and re-adjusted at any time
time before
before you
you print
print or
or letter-size paper, with a number
number under
under each
each small
small
the elements, but the final
final export a file. Changes in
in such
such qualities
qualities as
as color,
color, image and the photographer’s
photographer's copyright
copyright and and con-
con-
assembly depends on the lightness, and saturation may may be be brushed
brushed on on tact information
inforn1ation at the
the bottom
bottom ofofeach
each sheet.
sheet. Your
Your
layers and compositing tools
available in Photoshop. or applied
appl ied through
through a mask.
mask. Sharpening
Sharpening may may bebe own workflow can be be customized
customized andand saved.
saved.

C HAPTER 5
CHAPTER igj 111
111
Ethics and Digital Imaging

J
J ust because you can can alter
alter anan image,
image, should should uses
u ses what
wh at youyo u have
have made m ad e without
with o u t asking.
as king. HowH ow One ofof these photojour-
photoj our-
nalists is not really there.
you? DigitalD igita l methods
m eth ods haven’t
have n 't substantially
substantia ll y can you
yo u protect
p rotec t your
yo ur rights
ri ghts when
wh en images
images are are eas-
eas-
This photograph of ofall the
changed the the laws or ot ethics of ofphotography,
p hotography, itit has h as ily accessible electronically? How H ow cancan you
yo u collect
co llect
members of ofthe photo agency
simply
sin1ply become much n1uch easier
easier to to violate
violate them.
rhe1n. Now Now fees for
fo r use
u se of
of your
yo u r work
wo rk whenwh en images,
images, after
a fter they
they VII was originally commis-
that
t hat almost anyone
a nyo ne can make m ake extensive
extensive changes
ch an ges leave your
yo u r hands,
h a n ds, can be be downloaded
downl oad ed or or scanned,
scanned , sioned for a magazine. By
in a photograph
p ho tograph that t hat are
are sometimes
sometin1es impossible
impossible altered, and
a nd then
t h en incorporated
inco rpora ted in in aa publication?
publication? the time it was selected for
the camera company’s
company's ad,
to detect, the limits of ofacceptability
accep tability are a re constantly
con stantly When,
Wh en , if ever, is it acceptable
acce p tab le for fo r someone
som eon e to to take
take
one of
of the members had been
tested and debated.
d ebated . your
yo ur image and use u se it it without
wit h o u t permission
permissio n or o r pay-
pay- replaced. The new member,
Has
H as photography
p h otograp hy lost
lost any
any claim
clai m on
o n accurate
accurate ment?
me nt? The
T h e law is is continually
conti n u a lly redefined
redefi n ed by by court
court at the far right, was shot in
representation
re p resen tatio n of of reality?
reali ty? For
For aa 1982
1982 National
National cases. Each
Eac h new copyright
copyri gh t infringement
infri n ge m en t lawsuit
lawsu it the same New York café cafe in
the same position as the man
Geographic cover, digitaldigital image
image editing
editin g waswas usedu sed makes
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
he replaced, then added to
to move
m ove oneon e ofof the
the Pyramids
Pyramids of o f Giza
G iza aa little
lit tle for
fo r more
mo re questions
q ues tio n s than
t h an answers.
a n swers. the picture digitally.
the
t he cover photograph so so itit would
wo ul d better
better fit fit the
t he
magazine’s
m agazine's vertical format.fo rm at. When
When somesom e readers
read ers
objected,
objected , the
t he change
ch an ge was defended
defe n ded asas being
being merely
m erely
“retroactive
"retroactive repositioning,”
repositio ni ng," thet he same
sam e as
as ififthe
t h epho-
p ho-
tographer
togra pher had simply changed ch anged position
position before before
taking the t he shot.
sh ot. Was it it different? The T he magazine
m agazi ne
eliminated this this practice.
practice.

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

Advertisers often take considerable

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

Working photographers
photog raphers are are concerned
concerned Matthew Brady. Sherman and his staff, 1865.1865. Altering the
the guest
guest list
list is
is not new. This
not new. This widely
widely
distributed photograph ofofWilliam
William Tecumseh Sherman and and all
all his
his generals
generals (above
(above left),
lefr), taken
taken
about financial
finan cial matters,
matters , and reasonably
reasonab ly so. just after
just afrer the Civil War ended, includes General
General Francis
Francis P.
P. Blair
Blair at
at the
the far
far right.
right. Blair,
Blair, however,
however,
When
Wh en your
yo ur efforts result
res ult in
in something
so m ethin g youyo u can
can missed the sitting, so Brady photographed
photographed him separately
separately later, pasted
pasted aa cutout
cutout into
into aa print
print of
ofthe
the
sell, you probably
p ro bab ly think
t hin k it
it is
is stealing
stealin g ifif someone
som eone group (above right), and rephotographed the composite to to make
make aa new
new negative.
negative.

112 IIMAGE
MAGE E DITING
EDITING
 /r«,.f.t., "? H.:.i<}L, t!lo,o/- Digital editing
editing raises
raises ethical
ethical questions
questions in in the
the
/Jarl 'l,.fr<tl 1u4.,.,H; ,µ,1,.,7-'qh
fine arts as well. It is easy to to scan
scan aa photograph
pho tograph
''""<1-"'t"' ..Ut#•J A•,-•M't·lo•
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 youyo u intend
intend toto criticize
criticize oror com-
com-
ment on consumerism by by “quoting”
"quoting" recognizable
recognizable
pieces
pieces of
of advertising
advertising inin aa montage.
montage. Artists’
Artists' appro-
appro-
priation of
of copyrighted material—incorporating
material-incorporating
an image as aa form
fo rm of
ofcritique—has
critique-has been been aa widely
widely
debated topic
to pic and
and continues
continues to to be
be the
t he subject
subject of of
legal battles.
battles.

Copyright
Copyright laws
laws have
have certain
certain built-in
built-in excep-
excep-
tions called use;; among
called fair use;
use among them
them isis educational
educatio nal
work.
wo rk. What
What youyo u make
make for for aa class
class project
project byby “bor-
"bo r-
rowing”
rowing" someone
someone else’selse's work
wo rk mayn1ay be
be protected,
pro tected,
but
but if
if you
yo u try
try to
to sell
sell itit in
in aa gallery
gallery or
o r distribute
distributeitit
on
o n your
yo u r Web
Web site
site you
yo u may
may be be infringing
infringing on on some-
some-
one’s
o ne's copyright.
copyright.

Remember
Remember that
that any
any photographs
photographs you
you post
post
online are
are available
available to
to be
be copied
copied by
by anyone.
anyone.
Copyright
Copyright protection
protectio n isis broad
broad and and not no t terribly
te rribly
complex,
co mpl ex, but bu t what
what isis and
and what
what isis not
not protected
protec ted
may
may not no t be
be obvious.
obvio us. In In the
the United
United States,
States, your
yo ur
photographs
photograph s are are protected
protected by by copyright
copyri gh t as as soon
soon
as
as you’ve
yo u've made
made them,
them, butbut the
t heprotection
protection isisstron-
stro n-
ger
ger ififyou
yo u register
register your
yo ur copyright
copyrightwith with thethegovern-
govern-
ment.
ment. To To useuse your
yo ur photograph
pho tograph legally,
legally, someone
someone
must
must have have your
yo ur permission,
permission, and and generally
generally you yo u
can
can expect
expect to co negotiate
negotiate and and bebe paid
paid aa royalty
royalty for
fo r
any
any commercial
commercial use. use. Be
Be careful
careful what
what you yo u agree
ag ree
to
to when
when you yo u upload
u pload your
yo ur pictures
pictures on o n aa photo-
photo-
sharing
sharing Web We b site
si te like
like Facebook
Facebook or o r Flickr.
Flickr.
Many
Many images
images posted
posted online
online areare defined
defin ed asas
“royalty-free,”
" royalty-free," whichwhi ch does
does not no t necessarily
necessarily mean mean
that
th at they
t hey can
can bebe used
used without
wit ho ut permission,
permissio n, but bu t
that
that one
o ne agreement
agreement or o r fee
fee will
will cover
cover allall cur-
cur-
rent
rent and
and future
future uses.uses. The
The alternate
alternate isis “rights
"rights
managed,”
managed," which which meansmeans the the copyright
copyri ght holder
ho lder
graph only
o nly releases
releases aa very
very specific
specific useuse of
ofan an image,
image, forfor
Joan Fontcuberta. From
Joan Fontcuberta. Sputnik,, 1997.
FromSputnik 1997. graph (bottom),
(bottom), the theartist
artistadded
addedthe
theastronaut
astronaut
Many
Many of ofFontcuberta’s
Fontcuberta's worksworks tamper
tamper with
with (actually
(actuallyFontcuberta
Fontcuberta himself)
himself) into
intothe
theimage
image example
example on on the
th e cover
cover of of one
o ne paperback
paperback edition
editi o n
reality . In
reality. Sputni k,, he
InSputnik he fabricated
fabricated aa gallery
gallery (top).
(top). InInhis
his story,
story, he
heredefines
redefinesthe
thetop
topphoto
photo of
of aa novel
novel in in English
English soldsold only
onlyin in North
N o rth America.
America.
installation
installation and
andinvented
inventedaabook-length
book-lengthstory
storyinin as
as the
the original
originaloneone and
andthe
thebottom
bottom photo
photoas asthe
the Any
Any photographs
ph orographs made made forfo r the
the government
gove rnment
which
which the
the existence
existence of
ofaaSoviet
Sovietcosmonaut
cosmonautlost lost one
one altered
alteredbybythethe government.
government. The The“evidence”
"evidence,,
in are
are said
said toto be
be in
in the
t he public domain,, along
publicdomain alo ngwith,
with ,inin
in space
space during
duringaashuttle
shuttlemission
missionisiscovered
coveredup up appeared
appearedso so real
realthat
thatthe
theexhibit
exhibitdrew
drewprotests
protests
by
byembarrassed
embarrassedofficials.
officials. from
from aaRussian
Russian ambassador.
ambassador. Reality
Rea/if:)'isiswhat-
what- general,
general, anything
anything made made before
befo re1923,
1923,and and may
maybe be
Here,
Here, using
usingaareal
realSoviet
Sovietgovernment
governmentphoto-
photo- ever
everyou
you can
can Photoshop
Photoshopitittotobe.
be. used
used for
fo r any
any purpose
purpose without
wit ho utpermission.
permissio n .
CCHAPTER
H A P T E R 55 ｾ＠ 113
113
 TEUN H
TEUN OCKS
HOCKS Printers and Drivers ...........
. . . . . . . . . 116
116 Mounting a Print . .............
. . . . . . . . . . . 122
122
Untitled, 2000. Dutch artist Hocks makes
Untitled, 2000. Equipment and materials
materials
sketches first,
first, then creates theatrical Papers and Inks ...............
. . . . . . . . . . . . . 117
117
you’ll need ...................
you'll . . . . . . . . . . . . . . . . . 122
122
sets in which he plays the central role.
role. Soft Proofing .................
. . . . . . . . . . . . . . . 118
118
After the moment is captured, he makes very
Panoramic Photographs .......
. . . . . 119
119 Dry Mounting a Print
large black-and-white prints and then paints
them with transparent oils.
Step by Step.
Step . .... .....
. . . .. .... .... .. .. ....
. . 124
124
oils. Presenting Your Work ......... . . . . . . . 120
120
Framing ......................
. . . . . . . . . . . . . . . . . . . . 120
120 Bleed Mounting/
print..... ...............
Matting a print . . . . . . . . . . . . . 121
121 Overmatting .................
. . . . . . . . . . . . . . . 126
126
 Printing
Printin and Display
Dis 6
In
l n this chapter you’ll
you 'IL learn…
learn ...
•• the choices you need to make
materials—printer,
materials-printer, paper,
make about hardware
paper, and ink—before
prints from your digital files.
hardware and
ink-before you
and
you make
make
M
M uch pleasure lies in
them onscreen but
the results.
res ults. Yet
images; they shoot a lot
in taking pictures
bur the
Yee some
lot but
pictures and
rhe big reward
reward lies
some photographers
bur have
and skimming
lies in
photograp hers never
have few
few pictures
pictures that
skimming through
in printing
printing and
never seem
that they
through
and viewing
viewing
seem to
they carry
carryto
co finish
fin ish their
to completion.
their
co mpletion .
•• how to use output profiles
profiles and soft proofing
proofing to
to
make sure your prints
prints have
have the colors and
and tones
tones you
you Printing
Prin ting translates
tran slates your
you r vision into
in to an
a n object
object that
that can
can be
be displayed
displayed ono n aawall,
wall,
expect after seeing the image
image on a monitor.
monitor. in a gallery, or in other locations,
locations, inin addition
additio n toco being
beinganan image
imageyou
yo ucan
canemail
email
•• some of
of the methods
methods and styles for matting
matting and
and or upload to a Web
We b page.
page. Finishing
Finis hing and
and mounting
mountingaa photograph
photographisisimportant
important
framing your photographs
photographs forfor presentation.
presentation.
because
becau se it tells
cells viewers your
yo ur vision is is worth
wort h their
their attention.
atten tio n.You
Yo u will
will see
see new
new
aspects in your
yo ur photographs
photographs ifif you
yo u take
cake the
the time
time to
co complete
complete them.
chem .

work’s impact
Your work's impact is
is influenced
influenced by
by its
its display
display
The impression a viewer gets from a photograph those below) on public display as fine art in
in a gal-
gal- more complex and nuanced than aa single image. A A
comes from a combination of ofthe image content lery or museum? The understanding
understanding we come away photograph can be accompanied by by words: aa news
news
and the context in which it is experienced. Do
Do you with after
a~er viewing a photograph is affected
affected by what
by what article below it, an artist’s
artist's statement next
next to
to itit on
on
see the photograph on the front page ofofa daily else we see with it; an ornate frame carries aa dif-
dif
dif- the gallery wall, or the story you
you tell
tell friends
friends when
when
newspaper, mounted in a family album, or or (like ferent message than a pushpin, a sequence can be be you pass around your recent prints.
you

Rolf Peterson. Installation view of

Rolf ofthe Family exhibition, Museum
Man exhibition,
Fam ily of Man Museum ofof Jude. Installation view of
Ron Jude. ofhis solo exhibition Backstory
Backstory.. Museum
Museum of of Con-
Modern Art, New York,1955.
York, 1955. Curator Edward
Edward Steichen distilled
distilled this
this show
show temporary Photography, Chicago, 2013. The The artist
artist planned
planned andand laid
laid out
out this
this
from over two million submitted photographs “covering "covering the
the gamut
gamut of
ofhuman
human exhibition with the curator. In the the same way
way hehe sequences
sequences his
his photographs
photographs for for
relations.”
relations. " Photographers represented in the enormously
enormously popular
popular exhibition, once
onc
oncee publication, Jude made a computer
publication,Jude computer model
model of
ofeach wall
wall and
and placed
placed each
each framed
framed
selected, relinquished control. They loaned their
their negatives; prints
prints were
were made
made to
to piece in exact scale. Months before the show
show was
was hung,
hung, he
he could
could view
view the
the space
space asas
Steichen’s
Steichen's specifications, in sizes from snapshot
snapshot to
to mural, then
then displayed
displayed according
accordin
accordingg it would appear on its opening day. The
The calm and
and ordered
ordered presentation gives
gives the
the
to architect Paul Rudolph’s
Rudolph's design.
design. viewer in this space a completely different feeling
feeling than
than the
the one
one shown
shown above,
above, left.
left
le~..

115
Printers and Drivers

H
H olding a newly printed
printed photograph
photograph isis aa
Project, 2005.
Jones. The Veil
Peggy Ann Jones.
2005. Jones
Veil
Jones used a
rewarding moment.
moment. Even though you
yo u view your
wide-format inkjet printer
images through every stepstep ofof preparing
preparing them,
them, to print directly on cloth for
seeing the image
in1age on paper
paper remains
ren1ains aa high
high point.
point. this gallery installation. Each
The quality ofof your results
results depends
depends not
not only
on ly on
on image was sewn to a fabric
panel that was hung from the
your abilities but also on your
your choice
choice of
ofprinters,
printers,
ceiling and tied at the bottom
papers, and inks. to a rock.
rock. Panels—and
Panels- and the
shadows they cast—move
cast- move
Printers affect the way
way your
your prints
prints look
look and
and with the air motion created
as viewers walk past, seeming
how large you can make
make them.
them. AA printer
printer limits
limits the
the
almost alive.
size of
of a print by
by the
the maximum
maximum width
width of
ofthe
the paper
paper
it will accept. Photo-quality
Photo-quality desktop
desktop printers
printers typi-
typi- an extremely high-quality digital print
print with
with the
the
cally print a maximum
maximum width
width of 8½ or
ofS½ or 13
13 inches.
inches. smooth tones and predictable
predictable archival
archival qualities
qualities
of
of a traditional color photograph.
photograph. Large
Large and
and very
very
expensive, these machines
machines (LightJet
(LightJet and
and Lambda
Lambda
are the best known) can bebe found
found only
only in
in profes-
profes-
sional color labs and service bureaus.
bureaus.

Printers need a driver (the

(the software
software that
that reads
reads
pixels in your image and tellstells the
the printer
printer howhow to
to
spray ink, vaporize dye, or or emit
en1it light
light to to make
make aa
picture from those pixels). A A driver
driver is is supplied
supplied
with the printer and must must be be installed
installed on on the
the
computer that is connected to co it.
it. Drivers
Drivers areare occa-
occa-
sionally updated; check the the printer
printer manufactur-
manufactur-
er’s
er's Web site to be sure that
char your
yo ur driver
driver isis current.
current.
Desktop Inkjet Printer Some labs use a RIP (raster
(raster image
image processor)
processor)
instead of
ofa driver. A RIP
RJP is
is software
software or or aa computer/
computer/
Inkjet printers are universal and and inexpensive;
inexpensive; software combination that that must
must be be purchased
purchased
they can print on aa wide variety variety ofof surfaces.
surfaces. separately. RIPs
RJPs add control over over individual
individual ink ink
Models intended for for photographs
photographs make make sharp,
sharp, colors and have the
the ability
ability to
to group
group smaller
smaller images
images
colorful, long-lasting prints
prints at
at aa reasonable
reasonable price.
price. together onto a larger sheet or or roll
roll of
ofpaper.
paper.
Wide-format inkjet printers
printers that
that print
print on on
two-, four-, or six-foot-wide paper paper are
are available
available Pixels per inch (ppi) vs Dots per inch (dpi)
er inch d i
but are fairly expensive.
expen sive. You may may bebe able
able to
to use
use Pixels per inch (ppi), measure the reso-
reso- size, like a print or a monitor display.
one in your school or or have
have large
large prints
prints made
made for for lution of an image that has a physical
ofan physical See page 55.
you at a service bureau.
bureau.
Dots per inch (dpi), measure
measure aa print-
print- You may not needneed to print
print at the
Dye-sublimation printers produce
produce smooth
smooth tones
tones
er’s
er's resolution. ItIt is used
used for machines
machines highest possible dpi. The quality we can
and subtle colors butbut the
the prints
prints do
do not
not resist
resist fad-
fad- that convert pixels intointo tiny dots
dots of
of ink,
ink, see in a print is limited by
by our eyesight,
eyesight,
ing, and your choices of of printers,
printers, paper,
paper, and
and inkink a desktop inkjet printer
printer or an offset the viewing distance, and paper
paper texture,
are limited. press, for example. as well as by the output method—the
method- the
Theoretically, the greater the the dpi,
dpi , size of
of the dots produced
produced byby the printer.
printer.
Photographic laser printers make
make digital
digital prints
prints
the better the quality
qua lity of
of your image.
image. As a practical matter, try printing
printing an
an
on traditional photographic
photographic paper.
paper. Laser
Laser or
or LED
LED But more isn’t
isn 't always better:
better: the great- image at different resolutions (dpi)
(dpi) to
light exposes photo
photo paper
paper (often
(often 50-inch-wide
SO-inch-wide er the dpi, the more
more time a printer
printer will
wil l find
find out what gives the best
best visible qual-
color paper) that isis then
then fed
fed directly
directly into
into aa roller-
roller- take to make a print and the more more ink
ink ity with your printer. Then you can start
your printer will
wi ll use.
use. with that dpi setting for future prints.
prints.
transport chemical
ch emical color processor.
processor. The
The result
result isis

116 P RINTING A
PRINTING ND D
AND ISPLAY
DISPLAY
 Papers and Inks

PP aper makers offer

offer choices.
choices. Manufacturers
Manufacturers of
of Ink cartridges for
for inkjet
inkjet printers
printers can
can contain
contain pig-
pig-
inkjet printers, the
the kind
kind you
yo u are
are most
most likely
likely toto use
u se ments or dye; usually
usually aa printer
printer is is made
m ade to to use
use one
one
at home or school, supply
supply their
their own
own OEMOEM brand
brand or the other, rarely
rarely both. Dye-based
Dye-based inks inks have
have aa wide
wide
(Original
(O riginal Equipment
Eq uipment Manufacturer) of of papers
papers color gamut and can can produce
produce vivid
vivid colors
colors but
but are
are
that are convenient and
and work
wo rk well
well with
with their
theirprint-
print- very prone to fading. ForFor that
that reason,
reason, mostmost serious
serious
ers. You can also experiment
experiment with
with aa wide
wide variety
varietyof
of photographers choose printers
printers that
that useu se pigment
pigment
papers that may
m ay better suit your
your vision
vision oror budget.
budget. (sometimes called pigmented)
pigmented) inks.
inks.
Most non-OEM papermakers
papermakers provide
provide profiles
profiles youyo u Pigment inks can make make aa print
print that
that resists
resists
can download from
from their
their Web
Web sites
sites for
for using
u sing each
each noticeable fading for manym any times
times longer
longer than
t han the
the
of
of their papers
papers with most
m ost popular
popular printers.
printers. best dye-ink prints.
prints. The permanence
permanence of of any
a ny print
print
depends
d epend s on thethe specific ink-paper
ink-paper combination
combination
Papers vary in brightness
brightness or
or whiteness,
whiteness, usu-
usu- as well as the storage or or display
display conditions.
conditio n s. (See
(See
ally measured
m easured on a scale of
of reflectance
reflectance from
from oneone wilhelm-research.com for for the
the results
resu lts of oflab
lab tests.)
tests.)
to
to one hundred. Whiteness
Whiten ess cancan be
be enhanced
enhanced Pigment inks display more metamerism-—when
m ore metamerism when col-
col-
with
wit h optical brighteners, chemical
chemical agents
age nts that
that ors appear toco shift under
under different
different lighting
lighting condi-
condi-
are very effective in
in making
n1aking your
yo ur prints
prints sparkle.
sparkle. tions—although
tions-altho u gh recent
recent advances in in printer
p ri nter design
design
But
But optical brighteners areare likely
li kely to
to fade
fade with
with have nearly
nea rly eliminated thethe problem.
problem.
time; if
if you want archival prints,
prints, look
look for
for aa paper
paper
without them.
rhen1. OEM inks are the most
most trouble-free
trouble-free option
option
but can be a major expense. For For some
son1e printers,
printers,
Photo papers for inkjet
inkjet printing
printing resemble
resemble off-brand cartridges are are available,
available, or
or you
yo u can
can pur-
pur-
traditional darkroom papers.
papers. They can be chase ink in larger
larger quantities and and refill
refill depleted
depleted
fiber based or resin coated
coated.. The best
best fiber
fiber papers
papers are
a re cartridges, although the the practice
practice can
can be
be tedious
tedious
made from cotton rag rag and
and are
are more
more likely
likely to
to be
be and messy.
m essy. Using
Using alternate ink ink sets
sets will
will definitely
definitely
chemically
ch emically neutral
n eutral (and
(and therefore
therefore longer
lo n ger lasting)
lasting) require youyo u to make
m ake your own own output
output profiles
profiles
than those
th ose made
mad e from
from wood
wood pulp.
pulp. A A coating
coating that
that (pages 82, 84, and 118).118).
is receptive toto ink
ink is
is applied
applied directly
directly toto the
the paper
paper If
If you area re interested in in printing
printing only
only black
black
fibers. Resin-coated papers
papers have
h ave aa layer
layer ofof plastic
plastic and white,
whi te, you
yo u can replace
re place the
the color
color inks
inks in
in some
som e
bonded
bo nded to to paper. Some inkjet
inkjet “papers”
"papers" may m ay be
be all
a ll printers with a special set set that
that includes
includes aa black
black
plastic. Most specialty
sp ecial ty paper
paper retailers
retailers offer
offer sample
sample and several grays. These may tnay result
result in
in smoother,
sm ooth er,
packs containing an assortmentassortment of o f letter-size
letter-size more neutral,
n eutra l, and
a nd more
more permanent
permanent images
images than
than
sheets.
sh eets. It is worth making
making somesome tests
tests before
before com-
com- you
yo u would
wo uld get by by printing
printing black-and-white
black-and-white pho- pho-
mitting to to a quantity
qua nti ty of
of one
one kind.
kind. tographs with
wi th color inks.
inks.

Paper is available in an
incredibly wide variety
of
of sizes, surfaces, colors,
textures, and weights. ---- I
Papers made for inkjet print-
ing will take and hold the ink
without smearing or blotting.
Many other papers can be
used, but test your
your choices
for suitability. You can also
print on a variety of
ofother Printers that use inks packaged
packaged in individual
individual colors
surfaces—cloth,
surfaces- cloth, self-stick are usually more economical than those those that combine, for
for
labels, iron-on transfers, example, cyan, magenta, and yellow
yellow in one cartridge. When
When one
one
metallic paper, and even color in a multi-color cartridge runs out, you have toto replace
replace the
the
refrigerator magnets. whole cartridge.

C HAPTER 6
CHAPTER 117
 -am
Soft Proofing ·--
•===-====--
----u-

IIdeally
deally your print
print will look
look like
like what
what you
you
see on the computer’s
computer's monitor,
monitor, but often it
won’t
won' t unless you soft proof while
soft proof
Monitors have a wider gamut
while you
gamut (range
you are
are editing.
(range of
editing.
of colors)
colors)
-- -.
than a printer, so what you see see on
on the
the monitor
monitor
isn’t
isn' t necessarily
necessari ly what you’ll
you' ll get
get in
in aa print.
print. With
With
soft proofing, you display
display on on screen
screen what
what the the
print will look like. This is
combination of of printer,
is useful
printer, paper,
useful because
paper, and
somewhat different version of
and ink
ofthe
because every
ink will
th e same
willmake
same file.
every
make aa
fi le.
33 Edit your image as needed.
printer and load the
needed. Turn
the paper
Turn on
paper selected
selected in
on the
in step
the
step 2.
2.

Soft proofing and printing

printing use
use profiles
profiles (page
(page 44 Choose File>Print, then
settings. The
then select
Document (or
T he Document
select your
yo u r output
output
Source)) Profile,
(or Source
Source) Profile,
82) that take
rake into
into account
account the th e characteristics
ch aracteristics of
of such as Adobe RGB
RGB (1998),
(1998), is
is your
your working
working
printer, ink, and paper.
paper. Standard
Stan dard profiles
profiles are
are sup-
sup- space (page 82). In Printer Profile and
Printer Profile and Intent
Intent
plied with desktop printers
printers oror can
can be
be downloaded
downloaded make the same selections you you used
used for
for your
your
from the paper manufacturers’
manufacturers' Web Web site.
site. Special
Special Proof
Proof Setup (step 2).
hardware and software (page (page 8484 bottom)
bottom) makes
makes
custom profiles
profi les or you can can have
have them
them made
made ff) I•)
through an online service.
se1vice. AA calibrated
calibrated monitor
monitor ,,..-,u. rs--, WMtaYIMC= =:n
and consistent ambient light light atat your
you r worksta-
worksta- CopltiG::::J~ColLlt.d

tion are also helpful

helpful for
for predictable
predictable andand accurate
accurate ,.,., Sut ~ =:!)
CShtw u o ｾ＠ 11.00 -

,ri;;; 5-tl~
results. - t-- ...._..ColorSctmivt ~
l>•geS.u.,p; Shttt

Following are some basic

ple checkbox for

basic steps
steps to
and print in Photoshop. Lightroom
to proof
Lightroom has
for soft proofing
proof
has aa sim-
proofing in
sim-
in its
its Develop
Develop
==
MedlaT'/111 Ir-..,--~ ~-- -
-,..,,==--=#:
:,e:,,,-...
Oi.Kp111~sol11dcw,; ~ - 1 4 4 0 d p l
Q SuperMlaoWe-
::::ID

module. In Aperture,
Apertu re, enter
enter your
yo u r output
output profile
profile 0 Hl!lh5"cd
Q n,..Hort-.s
(View>Proofing
(View> Proofing Profile),
Profile), select
select View>Onscreen
View>Onscreen Q nne~Otull
Proofing, then
then you can do do all
all your
your editing
editing while
whi le
in the soft proof
proofmode.
mode. Both
Both let
let you
you make
make most
most of
of
these same output choices forfor printing.
printing.

11 In Photoshop, open the file you

work on.
you want
want to
to 55 Choose Print Settings to

icons to help
to select

h elp you choose an

select the
paper size, and orientation. Photoshop
the printer,
printer,
Photoshop uses
an orientation;
uses
orientation;
sometimes words describe the the orientation—
orientation-

22 View>Proof Setup>Custom and

Choose View>Proof
select a profile for
for your printer
printer and
and
and paper
paper
Landscape for horizontal, Portrait for
ho rizon tal, Portrait for vertical.
vertical.

from the displayed list. Set

and check “Use
(( Use Black
Set Intent:
Black Point
Intent: Perceptual
Perceptual
Point Compensation.”
Compensation." 66 Choose Print. Set No Color
Color Management, and Photoshop
under Color Handling.
Adjustment under
Color Adjustment
Photoshop Manages
Handling. These
T hese tell
under
Manages Colors
tell the
Colors
the printer
printer
ｾ＠
to accept your profile
profi le and
and output
output settings
settings
"' ｾ＠ without alteration. Otherwise,
Otherwise, your your printer
pri n ter
""... ｾ＠
ｾ＠
will make color and contrast
contrast changes
on an average. Choose aa printer
changes based
based
printer resolution;
resolution;
"'- higher
h igher resolutions yield finer-looking
fi ner-looking prints
pri n ts
but longer printing times.
times. When
When everything
everything isis
set, select Print again,
again, and enjoy.
enjoy.
118
11 8 P RINTING A
PRINTING ND D
AND ISPLAY
DISPLAY
 Panoramic Photographs

D
D igital photography has
has made
made panoramic
panoramic of
of that picture on its
its left
left edge
edge (or
(or vice
vice versa),
versa), mak-
mak-
photography more
more popular.
popular. In the recent past,
past, ing it easy to align objects and
and to
to create
create overlap
overlap for
for
if
if you
yo u wanted to
to make
make photographs
photographs in in panoramic
panoramic stitching
stitchi ng software toto work effectively.
effectively. Some
Some cam-
cam-
shapes you
yo u had only
only aa few
few options.
options. You
You could
could eras use a “sweep”
"sweep" mode
mode to to capture
capture aa panoramic
panoramic
crop away part of of aa picture
picture and
and then
then enlarge
enlarge the
the photo
ph oto from thethe arc of
of a moving
moving camera.
camera.
rest, reducing its quality. You couldcould invest
invest in
in aa
xRez Studios, Inc. Night specialized, and usually
usually expensive,
expensive, camera.
camera. Or Or The way inkjet printers printers work work has has also also
View of
ofChicago from the
Penthouse ofofHotel 71,
71 ,
you could take
take several pictures
pictures and
an d display
display them
them contributed to the popularity popularity of of wide pic-
2007. Panoramic photo-
2007. side-by-side—either
side-by-side- either trying
trying toto hide
hide the
the edges
edges or
or tures. Paper
Paper is transported
transported along
along aa straight
straight pathpath
graphs can be assembled making the joining appear intentional.
intentional. Now
Now there
there through the printer
printer and
and receives
receives aa line
line at
at aa time
tin1e of
of
from smaller elements. is another option. ink dots deposited by by a print
print head
head moving
moving back back
This one—to
one- to greatly increase
resolution—was
resolution - was made from
and forth across the path. path. The width
width of of that
that line
lin e
several hundred separate Software makes itit easy easy toto piece
piece together
together of
of dots limits one dimension
dimension of of the
the image,
image, and and
exposures made around individual exposures to make a single larger larger it is fixed by the
the design of of the
the printer.
printer. To To make
make aa
a 360º
360° field. Because it image. Called stitching
stitching,, the
the procedure
procedure cancan bebe left
left wider print means using using aa different
different (and
(and usually
usually
is pieced together from
images made in a circle, to Photoshop (File>Automate>Photomerge)
(File> Automate> Photomerge) or or to
to more expensive) printer.
printer.
the endpoints are arbitrary one ofof several aftermarket programs
programs or or plug-ins
plug-ins But the length ofof your image
image can
can bebe as
as long
long asas
and parts of
ofthe scene may (see the photo
ph oto on page
page 80). This way
way of
ofcombining
combini n g the paper and the the printer
p ri nter driver
driver will
will allow.
allow. SomeSome
appear more than once. pictures is so effective, you needneed only
only provide
provide aa setset desktop printers will print print continuously
continuously on on roll
ro ll
The original file can make
a highly detailed print more
of
of adjoining frames and then then decide
decide how
h ow toto crop
crop paper (sometimes called banner banner mode).
mode). The T he one
one
than five meters wide. It is the usually-irregular edges
edges of ofthe
the result.
result. shown
sh own on page 116 116 will print
print 13
13 inches
inches widewide andand
displayed with other extreme Some compact
con1pact digital cameras
can1eras have
have aa panora-
panora- as much as 44 inches long. Many Many photographers,
photographers,
resolution photographs on a ma mode to help help you makemake thethe needed
needed overlap-
overlap- with only one available
available printer
printer and
and looking
looking for for
Web site that allows zooming
in to see a close-up of
ofany ping images. After the the first
first exposure,
exposure, the
the camera’s
camera's the visual impact
im pact that
that comes from from larger
larger prints,
prints,
part of
ofthe frame: xRez.com. monitor displays a thin thin slice from
from the
the right
right edge
edge choose
ch oose to make
make panoramas.
panoramas.

C HAPTER 6
CHAPTER 119
119
Presenting Your Work
FFRAMING
RAMING

FF raming a print
print for the wall sets
sets itit apart
apart Also available are reflection-control
reflection-control glass
glass and
and
as a special object. Whether you’ve
you've made
made it
it for
for acrylic, both with and without UV-absorbing
UV-absorbing
a family member’s
member's birthday
birthday oror aa gallery
gallery exhibit,
exhibit, coatings. Standard non-glare
non-glare glass
glass should
should not
not be
be
matting (sometimes called called mounting)
mounting) and and fram-
fram- used for fine-art
fine-arr glazing because
because it
it can
can produce
produce
ing asserts that
that this
this photograph
photograph is is to
to be
be viewed
viewed asas optical distortion.
distortio n .
a piece ofof art. Although your uses
uses may
may not
not require
require
it, once you have made made aa print
print you
you are
are proud
proud of,
of, Frames are commonly
commonly wood or or metal.
metal. IfIfyou
you
you may want to to consider processes
processes andand materials
materials use wood frames, make
make sure
su re there
there is
is aa vapor
vapor barri-
barri-
for presentation that that are
are attractive and
and also
also archi-
archi- er (usually aluminum or plastic
plastic tape)
tape) between
between the
the
val,, a term for anything used
val used or
or done
done forfor the
the sake
sake mat package and thethe wood. WoodWood is is acidic;
acidic; direct
direct
of
of long-term preservation. contact will
wi ll shorten the
t he life
life of
of anything
anything made made ofof Frames are available in
paper. Avoid pressure-sensitive tapes tapes unless
unless you
you precut kits ififyou
you want
Matting and framing have
have several
several goals— to
goals-to know them to be acid-free. to do your
your own framing.
framing.
call attention to your photographs,
p hotographs, to to create
create an
an Professional preparation
may make a more polished
elegant environment, to to isolate
isolate them
them from
from dis-
dis- Frame moldings come in in aa wide
wide variety
variety presentation but will cer-
tracting elements, and to to protect
protect them.
them. There
There of
of cross-sections, finishes, and
and colors.
colors . tainly cost more.
are almost as many
many display
display options
options asas there
there are
are Aluminum
Alum inum section frames come come in in standard
standard Modular,
Modular, or section,
photographs, but aa few few generalities
generalities do do apply.
apply. length pairs; for a 16
16 ×X 20-inch
20-inch frame
frame you
you need
need aa frames are available in a
wide variety of
of cross-sec-
Keep in mind that framing
framing is is aa specialty
specialty and
and many
many pair of
of 16-inch
16-inch pieces,
pieces, aa pair
pair of 20-inch pieces,
of20-inch pieces,and
and tions, finishes, and colors.
photographers leave
leave it
it to
to aa professional,
professional, but—on
but- on aa a 16 X 20-inch sheet of
16 × of glass
glass or
or acrylic.
acryl ic. Hardware
Hardware Each comes with two height
modest scale—you
scale- you can do it it all
all yourself.
yourself. to connect the pieces
pieces comes
comes withwith the
the frame
frame pairs;
pairs; and two width segments
you can easily assemble it it all
all with
with aa screwdriver.
screwdriver. and four corner connecters.
They can be disassembled,
Mat your photograph before
before itit is
is framed.
framed. stored, and reused, and
A mat is a sheet or sheets of of specially-made
specially-made stiffstiff New presentation methods
methods appear
appearas as technol-
technol- those in solid colors may be
paper board. A A thin
t h in sheet might
might be be the
the thick-
t h ick- ogy changes. Lightweight
Ligh tweight rigid plastic
plastic and
and honey-
honey- refinished easily with a can
ness of
of three or four playing
playing cards,
cards, heavy
heavy matmat combed aluminum sheets have have been
been developed
developed to to of
ofspray paint.
The back ofof a connected
board (called 8-ply) is is 11/s-inch
⁄8-inch thick. Most mat- mat- hold large prints extremely flat.
flat. Special
Special optically-
optically- corner is shown above.
above.You’ll
You’ll
You 'll
ted prints are a sandwich with with the
the print
print held
held in in clear laminations can adhere
adhere aa print
print toto the
the back
back of
of need a screwdriver, the glass
place between a backing
backing sheet sheet and
and an an overmat
overmat an acrylic sheet with nono bubbles
bubbles oror flaws,
flaws, bonding
bonding or acrylic, and a backing
backing
(see page 126).
126). Matting separates
separates the
t h e print
print from
from the two
rwo so the face of
ofthe
the acrylic sheet
sheet becomes
becomes the the board.
board. The curved pieces
shown below are spring clips
the glazing. surface of
of the photograph. There
There are
are no
no rules;
rules; just
just that press the backing and
make sure, whatever presentation
presentation youyou choose,
choose, that
that mat against the glazing from
Framed photographs are
are usually
usually glazed,
glazed, cov-
cov- you think
chink it’s
it's the
the best
best choice.
choice. the back.
back.
ered with a sheet of of clear
clear glass
glass oror plastic.
plastic. Small
Small
works can be glazed with plain plain glass,
glass, but
but clear
clear
plastic is lighter and lessless likely
likely toto break
break and
and dam-
dam-
age the work if if mishandled.
m ishandled. A Aframed
framed photograph
photograph
can be displayed unglazed,
unglazed, but but glazing
glazing protects
protects
it from physical
physical damage and and also
also from
from harmful
harmful
ultraviolet
u ltraviolet (UV) rays
rays that
that accelerate
accelerate fading.
fad ing.
Daylight
Dayligh t and fluorescent
fluorescent lightligh t contain
contain aa high
high
percentage of of damaging UV. UV. Plain
Plain glass
glass absorbs
absorbs
about half
half of
of it, while plain
plain acrylic
acrylic absorbs
absorbs about
about
two-thirds. Coatings can can extend
extend that;
ch ar; conserva-
conserva-
tion
tio n glass absorbs 97% 97% of of UV,
UV, while
while UV-filtering
UV-filtering
acrylic absorbs 99%.
99%.

120
1 20 P RINTING A
PRINTING ND D
AND ISPLAY
DISPLAY
 M ATTING A P
MATTING RINT
PRINT

There are several ways to

to mat
mat aa print.
print. An overmatted print
print held
held inin place
place with
with cor-
cor-
Overmatting (pages 126–127)
126- 127) provides
provides aa raised
raised ners is most often your best
best presentation
presentation choice
choice
border that helps protect
protect the
the surface
surface of
ofthe
the print.
print. because the
the print
print can
can be
be safely
safely removed
removed at at any
any
If
If you frame a print,
print, the
the overmat
overmat will
will keep
keep the
the time. If
If a mat becomes soiled
soi led or
or damaged,
damaged, itit can
can
print surface from touching
touching and
and possibly
possibly sticking
sticking be replaced.
rep laced. Museums
M useurns often
often overmat
overmat andand frame
frame aa
to
ro the glazing. Direct
Direct contact
contact with
with glass
glass can
can even-
even- print one way for
for one
one exhibition
exhibition then,
then, later,
later, mat
mat
tually damage a print’s
print's surface.
surface. and frame it a different way way for
for another
another show.
show.
An overmat allows forfor the
the normal
norn1al expansion
expansion andand
contraction ofof paper
paper with changing
changing temperature
temperature
and humidity.

Dry mounting is aa common wayway toto mount

mount
traditional photographic
photographic materials
materials because it
holds a print
print very flat
flat and prevents
prevents curling
curling from
from
hum idity. A
changes in humidity. A sheet
sheet of ofdry-mount
dry-mount tissuetissue
bonds the print firmly
firm ly to
to aa piece
piece of of mount
mount boardboard
when the sandwich of of board,
board, tissue,
tissue, and
and print
print isis
heated in a mounting press.press.
Dry-mounted printsprints look
look veryvery presentable
presentable
when mounted
n1ounted toto the
th e front
front ofofaa mat,
n1at, with
with no
no over-
over•
mat.
mar. But without
wit hout thethe airspace
airspace an an overmat
overmat pro- pro•
vides, they should be be in
in aa shadow-box
shadow-box style style frame,
frame,
in which the frame
frame separates the the glazing
glazing from
from thethe
backing, instead ofof pressing
pressing themthem together.
together.
Prints from digital output
ou tput areare often
often overmat-
overmat·
ted. Heat mounting will damagedamage dye-sublimation
dye-sublimation
or thermal-wax prints.
prints. High
High temperatures
temperatures will will not
not
physically damage an an inkjet
inkjet print,
print, butbut the
the heat
heat
may shorten thethe display life
life of
ofitsits colors.
colors.

You have quality

quality choices
choices in
in the
the materials
materials you
you
use. Archival mounting
mounting stock
stock (also
(also called
called museum
museum
board)) is the most
board most expensive.
expensive. It
It is
is made
made ofof rag
rag
(cotton) fiber, instead
instead of of wood
wood pulp.
pulp. Free
Free of
of the
the
acids that in time
time can cause
cause paper
paper toto deteriorate,
deteriorate,
it is preferred by museums,
museums, collectors,
collectors, and
and oth-
oth·
ers concerned with long-term
long-tern1 preservation.
preseivation. Most
Most
prints, however, can be be mounted
moun ted on on less
less expensive
expensive
but good-quality conservation board board available
available in in
most art supply
supply stores. If If you
you want
want aa print
print to
to last
last
for even a few years,
years, avoid
avoid long-term
long•term contact
contact with
with
John Gossage. Stallschreiberstrasse, West
John West and the Wall’s
Wall's demolition in 1989,
1989, are pur- materials such as brown brown paper,
paper, ordinary
ordinary card-
card-
Berlin, 1989.
1989. The Berlin Wall
Wall was a glar- posefully dark
dork and foreboding.
foreboding. His large prints board, most cheap
ch eap papers,
papers, andand glassine.
glassine. Don’t
Don't use
use
ing symbol ofof post-World War
War II political
political are so dark that covering
covering them with
with ordinary
brown paper tape,
tape, rubber
rubber cement,
cement, animal
animal glues,
glues,
tension. It divided Germany’s
Germany's major
major city
city with
with glass all but turns them into mirrors. For
For aa
a concrete-and-razor-wire barrier
barrier between
between the New York gallery exhibition, Gossage
Gossage framed
framed spray adhesives,
ad hesives, or (unless
(unless marked
marked asas archival)
archival) any
any
“free
"free world”
world" west and the communist
communist east. them using nonreflective museum glass-
glass—the the kind of
of pressure-sensitive tape, cape, such
such asas masking
masking
Gossage’s
Gossage's photographs, made between 1982 1982 only way the images could readily be seen. tape or cellophane tape.
tape.
C HAPTER 6
CHAPTER 121
 Mounting a Print
E QUIPMENT A
EQUIPMENT ND M
AND ATERIALS Y
MATERIALS OU’LL N
YOU'LL EED
NEED

..
MOUNTING
MOUNTING less expensive versions
expensive versions the front of the
the mount-
mount- matte, not
nor overly tex-
rex- A cover sheet protects
EQUIPMENT for the home studio.
h ome studio. ing board to keep the
to keep the tured
cured surface is neutral
neutral the
t h e print or mount
print in a fixed
fixed position
position and unobtrusive.
unobtrusive. from ssurface dam-
urface dam-

.,. _ Metal ruler measures the

print and board and
acts
ac ts as a guide
and
guide for
for tthe
he
until it is put in
press. Again, yo
in the
you
the
can
u can
use a household iron,
iron,
Size. Full sh
Size. sheets mat
eets of mar
board are usually 32 32 x×
age. Use a lightweight
piece of
lightweight
of paper as
cover sheet between
as aa
between
knife or mat cutter.
mar cu tter. A but the tacking iron
racking iron 40 inches. Boards are are each print in aa stack
p rint in stack of
Utility knife with sharp
s harp wooden or plastic ru ruler
ler works better.
better. also availab
available precut
le precut mounted prints to to pre-
pre-
blade trims the mount- is not good because
n or as good because in standard in art
stand ard sizes in vent surface abras
abrasionion if
ing stock and and other the knife can
can cut into
into it.
it. supply stores oorr online.
online. one
o n e print slides
slides across
across
materials to size.
size. A MOUNTING
MOUNTING A store can cut them
them another during stor-
durin g stor-
paper cutter can can be
be Miscellaneous: pencil, soft MATERIALS for you, but it is ooften
ften age. Use a heavy piece
h eavy piece
used for lightweight eraser. Optional: fine
Optional: fine less expensive to buy aa of
of paper or piece
piece of
materials, but makemake sandpaper or an an emery full
fu ll sheet of board
board and
and mount board as as aa cover
sure the is
t h e blade is smoothing
board for smoothi ng cut it down
down yourself
yourself. sheet over surface
ove r the surface
aligned squarely and and inside edges
edges of over- of
of the print wh when in
en in
cuts smoothly.
smoothly. mat window, T-square
T-square Quality. information
Quality. See information the mounting press. press.
to make it easier toto on page 121
121 about
get sq
square corners.
u are corners. quality ch
choices in
oices in Release paper can be
For archival
archival or oth
other
er mounting materials.
materials. useful, for
fo r example,
purposes where ex extra
tra Archival quali
quality is best
ty is between thet h e cover
care is required, cotton
cotton Mount board (also(also called but not a necessity forr
n ecessity fo sheet
sh eet and a print in in aa
.,,,,,,.,,,,,,.,,,,,, gloves protect mat or or board) is available
mat board) available most prints. dry-mounting press. press. It
print during hhandling.
andli ng. in numerous colo colors,
rs, will
wi ll not bond
bo nd to to hot
Mat cutter holds
h olds a knife
kni fe thicknesses, and surfacesurface Dry-mount tissue is is a thin
th in dry-mount
d ry-mou n t tissue in
tissue in
blade that can
can be
be finishes.
finishes. sheet of
of paper coated
coated case a bit of tissue pro-
tissue pro-
rotated to cut either aa on both sides withwith aa trudes beyond the the edge
edge
perpendicular edge
edge or Color. The most frequent
m ost frequent waxy ad
adhesive
h esive that of
of the print.
print.
a beveled (angled)
(angled) one.
one. choice is a nneutral
eu tral becomes sticky wh whenen
It can be easier to use
to use white because heated. Placed between
Placed between
than an ordinary knife, it does not distract the print and
and tthe
he
especially for cutting
cutting Mounting press heats
h eats and attention away from from mount board, tthe tissue
h e tissue
windows inin overmats.
overmats. applies pressure
pressure toto the
the the print.
p rint. However,
However, bonds the print firmly
firmly
print,
pri nt, dry-mount tissue, some photographers
p hotograph ers to the board.
board.
and mounting board
m o unting board prefer an off-white,
p refer an Some
Som e are removable,

ｾ＠
to bond the th e print to
to gray, oorr black mount.
mount. which you readjust Tape hinges
wh ich lets you hin ges a print or an an
the board. You You can
can use
use the position of a print;
print; overmat to a backing
backing
an oordinary
rdi nary hhousehold
ouseh o ld Thickness. The thickness
Thickness. thickness others make a perma-
perma- board. Gummed
Gummed linen linen
iron to mount printsprints or weight
weig h t of the board
board nent bond. tape and other archi-
archi-
if
if no press is available, is stated as its pply: 2-ply
ly: 2-ply Cold-mount tissues
Cold-m ount tissues val tapes are avai
available
lab le
If
If you
yo u expect to
to dodo aa but the
t h e press does
does aa (single weight) boardboard isis do not require
req uire a hheated
eated from specialty sh
from specialry shops
o ps
lot of
of matting, consider much better job. job. lightweight and and good
good mounting press. Some
press. Some and online retailers.
o nli ne retai lers.
a larger mat cutting
cutting for smaller prinprints; more
ts; more adhere
adh ere on cocontact; oth--
n tac t; oth Archival tape sho should
uld
system that incorpo-
incorpo- expensive, 4-ply (double
(double ers do not adhadhere until
ere until always be used for for
rates a straightedge
straightedge weight) board
board is better pressure is applied, so so hinge mounting aa
and cutter, like tthe one
h e one for larger prints.
prints. that, if
if necessary, they print. Ideally, use
use linen
linen
above. The mat cutters
cutters Tacking iron bonds a can be repositioned.
repositioned. tape to hinge an over-
h inge an over-
used in frame shops
shops small area of the th e dry- Surface finish. Finishes
finish. Finishes Mounting
Mo untin g this
this way is is mat
m at to a backing board,
can be qquite
uite expensive, mount tissue to to the-
the- range from
from glossy to to usually used for prints
used for prints but less expensive tape tape
but there are smaller, back of the print and and highly
hi ghly textured.
textured. A that don’t
don't lie flat.
flat. is also usable.
usable.

122 P RINTING A
PRINTING ND D
AND ISPLAY
DISPLAY
Jo Whaley. Cerambycidae, Selected
Jo Selected Writings,
Writings, 2003. WhatWhat should
should
you photograph? The answer
you answer is—anything
is- anythingyou you like.
like. Photographs
Photographs can can
be made rather than found, so don’t
don't limit your
your pictures toto landscapes,
landscapes,
portraits, or other existing
existing subject
subject matter. Here,
Here, aa dried
dried bug
bug isis com-
com-
bined 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
Mounting board
board Dry mounting
mounti ng provides
provides a good-looking, stable stable support
support forfor aa print.
print.
Dry-mount Shown here is a mount
mount with with aa wide
wide border
border around
around the the print.
print. Bleed
Bleed
tissue mounting, a borderless mounting,
mounting, is is shown
shown on on page
page 126.
126. The
The mounting
mounting
materials, the print,
print, and
and thethe inner
inner surfaces
surfaces ofofthe
the press
press should
should be be clean;
clean;
Print
even a small particle of
of dirt
dirt can
can create
create aa bump
bump or or dent
dent when
when thethe print
print isis
put under pressure inin the
the press.
press.
Wearing cotton gloves when handlinghand ling the
the print
print will
will keep
keep smudges
smudges
and fingerprints off
off the
the surface.
surface. When
When cutting,
cutting, use
use aa piece
piece of
ofcardboard
cardboard
underneath to protect
protect the
the work
work surface.
surface. Several
Several light
light cuts
cuts often
often work
work
better than just one cut,
cut, especially
especially with
with thick
thick mounting
mounting board.
board. The
Theblade
blade
must be sharp, so be
be careful
careful ofofyour
your fingers.
fingers.

11 Cut the mounting board

A T-square can help

AT-square
board to
metal ruler as a guide. Press
help you get
size using
to size
Press firmly
using the
firm ly on
get corners
on the
the knife
knife or
the ruler
corners square.
square.
ruler to
or mat
to keep
mat cutter
cutter and
keep itit from
and the
the
from slipping.
slipping.

Standardizing the
the size of
ofyour
your mount
mount boards
boards makes
makes aastack
stack ofofmount-
mount-
ed prints somewhat neater
neater toto handle,
handle, and
and makes
makes itit easier
easier to
to switch
switch prints
prints
in a frame. Often 88½ ½ ×x 11-inch prints are mountedmounted on on 1111 ×x 14-inch
14-inch oror
14
14 ×x 17-inch boards. Generally, thethe board
board isis positioned
positioned vertically
verticallyfor foraaverti-
verti-
cal print, horizontally for
for aa horizontal
horizontal print.
print. Some
Some photographers
photographerslike likethe
the
same size border all
all around; others
others prefer
prefer the
the same
same size
sizeborder
borderon onsides
sidesand
and
top, with a slightly larger
larger border
border onon the
the bottom.
bottom.

22 Heat the press and dry the

made fiber-base print,
99°C)
99 0C) or to
to the
print, heat
the temperature
materials. If
the materials.
heat the
the dry-mount
temperature recommended
recommended by
If you
you are
dry-mount press
bythe
are mounting
mounting aa darkroom-
press to
to 180°–210°F
180°
the dry-mount
–210°F
180 °-
dty-mounttissue
darkroom-
2l0 ° F (82°–
(82°
(82°-
tissuemanu-
manu-
–

facturer. Put the board,

board, with
with aa protective
protective cover
cover sheet
sheer on
on top,
top, in
in the
the heated
heated
press for a minute to co drive
drive out
out any
any moisture.
moisture. Repeat
Repeat with
with the
the print.
print. The
The
heating will also take
take any
any curl
curl out
out of
ofthe
the print,
print,making
making itit easier
easiertoto handle.
handle.
For a resin-coated (RC)
(RC) darkroom
darkroom paper
paper oror inkjet
inkjet prints
prints on on any
anymate-
mate-
rial, use low-temperature dry-mount
dry-mount tissue.
tissue. The
The press
press must
must be be no
no hotter
hotter
than 210°F
210 ° F (99°C) or an RC RC print
print may
may melt.
melt. Temperature
Temperature control
controlisisinac-
inac-
curate on many presses,
presses, so
so aa setting
setting of 200°F
of200 °F (93°C)
(93°C) isis safer.
safer. There
Thereisis no
no
need to preheat
preheat an RC RC print,
print, just the
the board
board andand cover
cover sheet.
sheet.

33 Tack the dry-mounting tissue

to use a low setting for
on a clean smooth
tissue to

sn1ooth surface,
to the

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

124
124 P RINTING A
PRINTING ND D
AND ISPLAY
DISPLAY
4
4 the knife or
or mat
mat cutter
Turn the
tissue. Turn
Trim the print and dry-mount tissue.
face up. Use the cutter toto trim
the print
trim off
printand
off the
and dry-mount
dry-mounttissue
the white
white print
tissue
print borders,
borders,
along with the tissue underneath
underneath them.
them. CutCur straight
straight down
down on on top
top of
ofaa
piece of
of scrap cardboard soso that
that the
the edges
edges ofofthe
the print
print and
and tissue
tissue are
areeven.
even.
Press firmly on the
the ruler
ruler when
when making
making thethe cut,
cut, and
and watch
watch your
your fingers.
fingers.

55 Position the print on the mount

the
t he side margins of
of the
bottom. Finally, remeasure
retneasure the
the side
board. First,
mount board.
the board
board areare equal.
side margins
First, position
equal. Then
position the
Then adjust
n1argins to
the print
adjust the
to make
make sure
print so
the print
so that
print top
sure they
they are
that
top to
to
are even.
even.
Measure each side two
two times,
rin1es, from
from each
each corner
corner ofofthe
the print
print to
to the
theedge
edgeofof
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 ofof paper
paper on on the
the print
print and
and aa weight
weight
on top of
of that.

66 Tack the dry-mount tissue and print

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

77 Mount the print. Put

heated press with the
Put the

paper, put it between the

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

CHAPTER 6 125
Bleed Mounting/Overmatting
A bleed-mounted print is
bleed-mounte d print is even
even with
with the
the edges
edges of
ofthe
the mount.
mount.

Mounting board Dry-mount

tissue 11 Prepare the

124).
t he print and mount
rials, and tack
rack the
124). In step 1,1, the
the board can
board . Cut
mount board.
the mounting
mounting tissue
tissue to
can be
be the
Cut the
to the
the same
the mount
mount board,
the print
print (steps
same size
size or
board,dry
(steps 1,1,2,
or slightly
drythe
2, and
themate-
and33on
slightly larger
mate-
on page
largerthan
page
than thethe
Print 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
are even with the
the edges
edges of
of the
the print.
print. Then
Then tack
tack the
the dry-mount
dry-mount tissue
tissue and
and
print to the board,
board, and heat
heat in
in the
the press
press (steps
(steps 66 and
and 7,7, page
page 125).
125).

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

Overmat Window
An overmatted print has has aa raised
raised border
border around
around thethe print.
print. ItIt consists
consists
of
of an overmat
overmar (a piece
piece of
of mount
mount board
board withwith aa hole
hole cut
cur in
in it)
it) placed
placed over
over
a print that is attached to to another
another piece
piece of of mount
mount board
board (the
(the backing
backing
Tape hinge Photo board). The overmat helpshelps protect
protect the
the print
print andand can
can bebe easily
easily replaced
replaced ifif
corner it becomes soiled or damaged. AfterAfter overmatting,
overmatting, the the print
printcan
canbe beframed
framed
or displayed as is.
is.
Overmatting is is the
the preferred
preferred means
means of of mounting
mounting aa print
print ififyou
you are
are
interested in archival preservation
preservation oror ifif aa print
print will
will be
be framed
framed behind
behind
glass. A photograph pressed
pressed directly
directly against
against glass
glass can
can in
in time
time stick
stick per-
per-
manently to the
the glass.
Backing board

11 Mark the window

w indow on the

sizes: 11 ×x 14,
14, 14
14 ×x 17,
the mount
For easier shopping, framing,
17, 16
16 ×x 20.
board. Cut
mount board.
framing, andand storage,
20. Subtract
Subtract the
Cut two
storage, stick
two pieces
stick to
the width
pieces ofofmount
to standard
width of
mountboard.
standard graphic
ofyour
board.
graphic arts
your print
print from
arts
from the
the
width ofof 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
board, the board is is 4 inches
inches wider
wider than
than thethe print.
print. Divide
Divide that
that by
by two
two to
to
find the width of of the
the border
border onon each
each side:
side: two
two inches.
inches. Do Do the
the same
same for
for
the height toto find the
the top
top and
and bottom
bottom border.
border. Most
Most artists
artists prefer
preferaa print
print
mounted slightly higherhigher than
than center,
center, so subtract 1¼⁄4 inch from the top
so subtract top
border and add it it to
to the
the bottom
bottom one.one.
Mark the back of of the
the board
board lightly
lightly inin pencil
pencil for
for the
the window
window cut.
cut. Be
Be
sure the window aligns
aligns squarely
squarely to to the
the edges
edges of
ofthe
the board.
board. AAT-square,
T-square, ifif
you have one, will help.
help.
126
126 P RINTING A
PRINTING ND D
AND ISPLAY
DISPLAY
22 Cut the window. Don’t
mat knife. A
inexpensive way to
Don't even

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

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

Position and attach the print. Slip

Slip the
the print
print between
between the
the backing
backing board
board
and the overmat. Align the
the print
print with
with the
the window.
window. The
The print
print can
can be
be dry-
dry-
mounted to the backing board
board or
or attached
attached with
with photo
photo corners
corners ororhinges
hinges
(see below).

4
4 Photo corners, like the
the ones used
an easy way to attach a print
used to
print to
to mount
mount pictures
to aa backing
pictures in
backing board.
board. The
in photo
photoalbums,
The print
albums,are
print can
can be
are
be taken
taken Fold
out of
of the corners and off
off the
the mount
n1ount atat any
any time.
time. The
The corners
corners are
are hidden
hidden
by the overmat.
overmac. You can
can buy
buy corners
corners oror make
make your
your own
own from
from archival
archival oror
acid-free paper (right) and
and attach
attach them
them toto the
the board
board with
with aa piece
piece of
oftape.
tape.

or…
or ...

Hing es hold the

Hinges the print
print in
in place
place with
with strips
strips ofoftape
tape attached
attached to to the
the upper
upper
back edge of
of the
the print
print and toco the
the backing
backing board.
board. Print
A folded hinge (at right,
right, left
left side)
side) is
is hidden
hidden when
when the
the print
printisis in
in place.
place.
Use a piece of
of tape
tape to
co reinforce
reinforce the
the part
pare ofofthe
the hinge
hinge that
chat attaches
attaches to to the
the
mounting board.
Folded ,_J
A pendant hinge (at (at right,
right, right
right side)
side) is
is hidden
hidden by
by the
the overmat.
overmac.
hinge Pendant
hinge

Backing board

C HAPTER 6
CHAPTER 127
 S STREMBICKI
T A N STREMB1cK1
STAN I Image Storage .................
. . . . . . . . . . . . . . . 130
130 Software for Organizing .......
. . . . . 132
132
Untitled,
Untitled, from
from the series Memory Loss, .
aa 9th
9th Ward Photo Album,
Ward Photo Album, 2005.
2005. Using
Usmg Metadata
Metadata .· .· .· .· .· .· .· .· .· .· .•.•.• .•131
131 Archiving Images and Prints.
Prints
Prints.. .... 133
133
 • •
Organizing
Or anizin and Storing
Storin 7
In
ln this chapter you’ll
you'll learn…
learn ...
•• to have a strategy for naming
images that
chat will
wi ll help
naming and labeling
labeling your
help you find the ones
now, among your most recent captures,
ones you
you need—
captures, and
need-
and years
G
G etting your photos organized is
can accumulate
accum ulate quickly
you know it. But the
quickly andand you
the computer
computer is
is easier
you can
easier than
can have
is aa great
than you
have thousands
you think.
thousands of
great oganizing
think.Pictures
ofthem
oganizing tool
Pictures
th em before
tool and
before
and itit isis
easy—when
easy- when you shoot digitald igital pictures—to
pictures- co let let itit help.
help. One
One of ofthe
the best
best things
t hings
from
from now when you have have thousands.
•• to make a plan for duplicating
dup licating and
and backing
backing upup your
your
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
files so you never risk losing
losing any, and to
to familiarize
familiarize the extra information you might n1ighr want
want to to save
save about
about thethe image.
itnage.And
Andthis
thissaved
saved
yourself
yourself with hardware
hardware and software to to help
help you
you information travels with wit h the
the file;
file; itit can
can help
help youyou find
find that
that particular
particular picture
picture
execute that plan.
plan. quickly—even
quickly- even ifif it
it is
is stored
scored with
with tens
tens of ofthousands
thousands of ofothers.
others.
•• to choose the materials and conditions that chat are
are best
best
for keeping your prints to avoid fading and and damage.
damage. Traditional photographic materials
materials needed
needed toto 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 oror 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 toco your
your great-grandchildren
great-grandchildren or or selling
selling aa portfolio
portfolio toco
a museum, it is good toco know
know that
that your
your prints
prints will
wi ll be
be as
as perfect
perfect as
as the
the day
day
you made them.
them.

Stan Strembicki. Untitled, 2006

2006.. Our
Our Family photo albums were often among
among
own saved memories are fugitive, as we the debris bulldozed into piles in front
front of
of
are reminded by these flood-damaged photos houses after they had been under waterwater
(at right and opposite) left in the wake ofofao for weeks. Strembicki was careful not to to
natural disaster.
disaster. A non-resident, Strembicki enter houses, and took nothing awayaway but
but
had been photographing New Orleans several the images captured by his DSLR.
DSLR. There
There
times a year
year for over twenty
twenry years before
before Hur-
Hur- is a caution for all of
of us in this work; our
our
ricane Katrina landed, decimating the the city. own photographs, digital or analog, are
In the aftermath, he made monthly trips to vulnerable, too.
too. After
After each day ofoflocation
record the damage and efforts to rebuild. “As "As shooting, Strembicki takes care not to put
an artist, I felt compelled to do something, his at avoidable risk; he downloads all thethe
anything,”" he says. Trying to avoid an excess
anything, files onto a laptop, duplicates them onto a
of pathos, he “looked
of "looked for symbols of
ofloss, and portable hard drive, and then writes them
gravitated toward found photo albums.”
albums.,, to a DVD.

129
Image Storage
A
A s soon as you create aa digital
digital image,
image, you
you 50,000 raw files from an 18MP 18MP camera,
camera, but but that
that
have to think about
about storing
storing it.
it. The amount of
of number is considerably
con siderably reduced
considerably reduced ififthethe drive
drive isis also
also
storage space that
that image files
files occupy
occupy isis aa consid-
consid- used to hold the the computer’s
computer's operating
operating system,
system,
eration whenever you are
are using
using aa digital
digital camera,
camera, applications, and all your other other data.
data. External
External
scanning prints or negatives,
negatives, editing
editing files,
files, or
or hard drives are available that
that can
can bebe plugged
plugged in in to
to
archiving them.
them. any
a ny computer to to add to
to its
its storage
storage capacity.
capacity. You You
can add one just for for picture
picture files.
files. Some
Some drives,
drives,
Save your files in
in their
their original
original form.
form. The
The file
file called portable, are smaller and and better
better protected
protected
as it is captured by your camera
catnera oror scanner
scanner is is often
often against
agai nst being bumped and jostled jostled than
than aa full-
full-
referred to as a raw
ra,v file,
fil e, as
as opposed
opposed to to aa derivative
derivative Pocket drives
sized external drive. Pocket drives are
a re even
even smaller,
smaller,
file—one
file- one that
that has
h as been
been processed,
processed, altered,
altered, edited,
edited, very light, and—like
and- like most
most portable
portable drives—draw
drives- draw
or changed in some way. way. A A Camera
Camera Raw Raw file
file (see
(see their power directly from the the computer
computer ratherrather
page 85) is a specific kind kind ofof raw
raw file
file that
that holds
holds than
t han needing a separate voltage adapteradapter (called
(called aa
all the information captured
captured by by aa digital
digital camera’s
camera's brick). Even
power brick). Even though
though they
they are
are well
well protected
protected
sensor, in a completely unprocessed
unprocessed form.form. If If you
you against
agai nst the stresses of
of being
being carried,
carried, no no hard
hard drive
drive
have instead set your camera camera to to capture
capture images
images should be dropped.
and save them as TIFF files files or
or JPEGs, those
those origi-
origi- External hard drives are
easy to add whenever you
nal files can be considered raw raw files
files as
as well.
well. Digital files can be lost
lost instantly.
instantly. Hard
Hard drives
drives
need more storage.
are susceptible to to stray dust,
dust, spikes
spikes of of electricity,
electricity,
Post-processing, or
or image
image editing,
editing, produces
produces and
a nd magnetic fields, in in addition to to theft
theft oror physi-
physi-
more files. Saving them becomes another
another step
step cal damage. External
External media,
media, including
including optical
optical
in your workflow and,and, unless
unless you
you useuse aa photogra-
photogra- disks and magnetic
magnetic tapes,
tapes, are
are sensitive
sensitive to to storage
storage
pher’s
pher's workflow program
progran1 with with Camera
Camera Raw Raw files, files, conditions and can become corrupted (unread-
becon1e corrupted (unread-
they take up more storage space. Derivative Derivative files files able) over time, as can individual
individual files.
files. Losing
Losing files
files
are changed
ch anged somehow from from their
their original
original raw raw can also be your
yo ur own doing; you you cancan accidentally
accide ntally
state. They maymay consist simply
simply of of your
your raw
raw files fi les delete a file
fi le or write over oneone unintentionally
unintentionally by by
with a few color and tone rone adjustments, resized resized saving
savin g something else with the the same
sam e name.
na1ne.
to print, or may
may be complex,
complex, layered
layered composite
composite Fortunately, with digital photographsphotographs you you
images. You may may also save save intermediate
interm ediate editingediting can have several originals. Keeping
Keeping aa set set ofofidenti-
identi-
steps as additional derivative files, files, in
in case
case you you cal copies ofof each picture
picture file
file is
is essential
essential to to protect
protect
want to return
return an image
image easily
easily toto aa previous
previous state.state. you
yo u against loss. You will will want
want to to have
have aa backup
backup
Photo
Phoro files can be stored on on different
different devices.
devices. strategy that you can both both follow
fo llow and a nd afford
afford (see
(see
The easiest, fastest,
fastest, and mostmost accessible
accessible form form of of more on page 133).133).
storage is to keep
keep image
image files
files onon your
you r computer’s
computer's In addition
additio n toto having copies of of everything,
everything,
internal hard drive. IfIfyou
yo u scan
scan anan image,
image, the
the scan-scan- you will also want to to make
make sure
sure thatthat you
yo u can
can find
find
ner sends the
the image directly to to the
the drive.
drive. After
After you yo u something
somethi ng among all the the copies.
copies. The T he following
following Portable hard drives
use a digital camera, you must must transfer
transfer your
your pho- pho- page describes ways to to name
name and a nd label
label your
yo ur work
work (above)
(above) and pocket drives
(above top) let you
you move
tos from the memory card card toto the
the hard
hard drive
drive before
before so you can quickly search for for and
a nd find
find anything.
anythi n g. your files easily to another
your
editing them. Memory cards cards areare not
not intended
intended for for computer or download from
long-term storage.
srorage. You will
will probably
probably want want to to erase
erase your camera on location.
your location.
(or reformat)
refonnat) a card for for reuse
reuse anyway,
anyway, so so itit isis best
best
to download your files fil es onto aa hard hard drive
drive (and (and
Optical disk storage is less likely to be
back them up) up) promptly.
damaged by magnetism, electrical storms,
Your computer’s
con1puter's internal hard hard drive
drive may
may run run or water.
water. Gold DVDs (shown here) are
out of
of room, especially
especially if if you keepkeep making
making and and said to have a longer storage life than
storing photographs.
p hotographs. A A 1TB
1TB drive
drive cancan hold
hold aboutabout other kinds.
kinds. Larger capacity Blu-ray (BO)
(BD)
disks can hold up to 3000 15MB
15MB files.
files.

130 O RGANIZING A
ORGANIZING N D SSTORING
AND TORING
 Using Metadata
C
C omputers are good at at keeping
keeping tracktrack of of model, and serial number,
number, andand even
even aa GPS
G PS location
location
things, but you have have toto help.
help. Before digital for each exposure.
exposu re. This camera-related
camera-related metadata
metadataisis
photography, there
there was only
only one
one original—a
original- a nega-
nega- kept in a standard form
form called
called Exif (Exchangeable
E.xif(Exchangeable
tive or slide. Most photographers
photographers had had toto devise
devise aa image file
fi le format), and each
each different
d ifferent category
category
system, not only to to store and
and find
find aa piece
piece of
offilm,
fi lm, (like shutter speed) is called
called aa tag
tag or field..
or field
but also to keep
keep track
rrack of
of any
any information
information relating
relating
to it. A digital image
image consists ofofdata;
data; information
information Metadata can be
be added later.
later. AA file’s
file's IPTC
IPTC
about it—data
it- data about data—is
data- is called metadata..
called metadata
metadata. (International Press Press Telecommunications
Telecomm u nications
Council)
Cou ncil) fields are intended to to hold
hold metadata
metadata
Metadata comes in
in several
several forms.
forms . You
You are
are about the photographer and and the
the picture’s
picture's subject,
subject,
probably already using using simple metadata metadata that t h at ownership,
ownersh ip, and use.use. Image
Image editors,
editors, browsers,
browsers, and and
includes the name of of a file,file, its
its size,
size, and
and its its for-
for- cataloging applications (page ((page
page 132)
132) letlet you
you view
view the
the
mat: a 22MB JPEG file fi le called
called RailStation.jpg,
Rai !Station.jpg, for for information in these
these fields,
fields, add
add toto it,
it, or
or change
change it. it.
example. This information is is part
part ofofthe
rhe file
fi le itself,
irself, If you keep your
you r files inin their
their original
original Camera
Camera Raw Raw
so it is not lost if
if the
the file
file is
is moved
moved or or copied,
copied, and and format, these
th ese applications will will save
save IPTC
IPTC datadata inin
it is displayed by the
the computer in in any
any list
list or
or direc-
direc- a separate sidecar
sidecar file
fi le that
that has
has the
the same
same name
name and and
tory of
of files. A
A date is
is also
also part
part ofofthat
that kind
kind of offile
file a .xmp file extension. TIFF, JPEG, and and DNG
ONG filesfiles
metadata, although it it isis usually
usually thethe date
date thet he file
file can hold
h old IPTC data within
within thethe file
file itself.
itself IPTC
IPTC data
data
was added to the computer. is saved in several panels
panels.. The Contact
Contact panel,panel, forfor
example, has fields for for the
the name
name and and contact
contactinfor-
infor-
Digital cameras save capture
capture information.
information. mation ofof the
the file’s
file's creator: you,you, the
the photographer.
p hotographer.
Each file
fi le format that
that your camera
camera can
can useuse has
has Metadata in any field field can bebe added
added to to aa group
group
an internal data block, separate from from the
the image
i1nage of
of images at once. You Yo u may
may want,
want, asas you
you download
download
pixels, for the camera toto store the
the capture
capture informa-
informa- your shoot from a memory memory card, card, toto tag
tag each
each pho-
pho-
tion for each frame.
frame. Cameras
Cameras cancan save
save the
the aperture
aperture tograph with your email address address and and copyright,
copyright, or or
and shutter speed, time time and
and date,
date, ISO
ISO setting,
setting, the name
na1ne of
of a location, client,
client, or
or assignment.
assignn1enr.
lens focal length, metering
metering mode,
mode, camera
camera brand,
brand,
Metadata stays with the
the image.
image. Except
Except for
for
Camera Raw files
files that
t hat need
need aa sidecar,
sidecar, ififyou
you make
make
a copy or a derivative version of of your
your file,
file, all
all
metadata is automatically
automatically transferred
transferred to to the
the new
new
file. This can be useful. For For example,
example, ifif youyou post
post
one ofof your photographs
p hotographs on on aa Web
Web site
site or
or send
send
it to a stock agency, your copyright
copyright and and contact
contact
information
inforn1ation stays withwit h it;
it; anyone
anyone whowho downloads
downloads
it also receives fair
fair warning
warn ing that
that the
t he image
image can’t
can't be
be
reused without permission
pern1ission andand has
has aa way
way toto reach
reach
you to negotiate forfor permission
pern1ission to to use
use it.
it.

Keywords and ratings are

are metadata.
metadata. Files
Files can
can
be tagged with descriptive words
words thatthat make
make find-
find-
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 toto add
add thisthis kind
kind ofof
W ebb. Port-au-Prince, Haiti, 1979.
Alex Webb. 1979. that meet their needs. Keywords for
for this
this
Photographs have many uses. Webb Webb is a photograph include Afro-Caribbean, Bunch
Afro-Caribbean, Bunch metadata. Page 132 132 discusses programs
programs that that let
let
member of of the photo agency Magnum; pro- of
of flowers, Column, Door,
flowers, Column, Door, Ha
Haitian, Hat,
itian, Hat, you search by keyword and rating.
rating.
spective clients can search magnumphotos.com Port-au-Prince, Red,
Man, Port-au-Prince, Red, Shadow,
Shadow, Streak
Streak
by entering keywords to find his photographs of Sunshine.
of light, and Sunsh ine.
C HAPTER 7
CHAPTER 131
13 1
Software for
for Organizing

PP hotographer’s
hotogra pher's applications—computer
a pplications-computer in Montana). It Ir can quickly assemble
assemble groupsgroups of of
software programs—can
prog rams-ca n help
help with
w ith many
many ofof selected pictures to co present
present to to aa client
client onon screen,
screen,
your tasks. Image editing is the
the centerpiece
centerpiece of
of to print, or to to post on a Web Web site.
site. But
But anan image
image
post-processing, getting the
the photograph
photograph you you took
took database program does does notnot usually
usually provide
provide anyany
to
ro look exactly the
the way
way you
you want.
want. Along
Along with
with edit-
edit- editing tools.
ing, Photoshop
Photoshop also lets
lets you
you read
read existing
existing meta-
meta- A cataloging application keeps keeps information
information
data and embed your own own into
into aa file
file (File>File
(File> File about a file and its its location
location in in its
its own
own separate
separate
Info…
Info ... opens Exif
Exif and IPTC
IPTC metadata
metadata panels).
panels). But
But database file, so you can can useuse itit to
to find
find files
files that
that
Photoshop alone won’t
won't help
help you
you get
get organized
organized or or have been stored offlineojfiine,, which means means thatthat the
the
find anything. storage medium
n1edium or volume is is not
nor connected
connected to co
the computer. This helps helps youyou find
find backup
backup copies
copies
File browsers like like Bridge,
Bridge, aa freestanding
freestanding appli-
appli- saved on, for example, the the backup
backup DVD DVD disks
disks you
you
cation supplied with Photoshop
Photoshop (File>Browse
(File> Browse in in keep in your safe-deposit box. box. Be cause its
Because its data-
data-
Bridge…),
Bridge ... ), help you organize
organize and
and locate
locate images.
images. base is separate from
from thethe image
image files,
fi les, you
you can
can add
add
Bridge can download photos photos from
from aa memory
memory some metadata to an entry entry that
that is is not
not embedded
embedded
card, rename them,them, display thumbnails
thumbnails (small
(small ver-
ver- in the file; if
if you distribute the the file,
file, some
some keywords
keywords
sions of
of the files) of of an entire folder
folder oror aa full-
full- can remain private.
screen preview of of a selected
selected image,
image, andand apply
apply
metadata,
metadara, keywords,
keywords, and ratings
ratings toto all
all or
or aa select-
select- These applications
a pplications alla ll let
let you
you display
display your
your
ed group of of files.
files. work as a “slide
"slide show.”
show." You can select a group
of
of photographs to to be
be seen
seen on on the
the monitor
monitor or or aa
Photographer’s
Photog rapher's workflow
workflow applications
applications like
like digital projector one at aa time,
time, filling
filling the
the screen.
screen.
Lightroom and Aperture (page ((page
page 87)
87) do
do everything
everything You can automate a presentation
presentation and and choose
choose the
the
many photographers need. need. Like
Like Bridge,
Bridge, they
they will
will timing and the transitions
transitions (like
(like aa fade
fade or
or dissolve)
dissolve)
download raw filesfiles from
from aa memory
memory cardcard into
into aa between images. With some workflow workflow programs
programs
location you specify, and let let you
you rename,
rename, rate,
rate, you can also superimpose selectedselected text
text and
and play
play
and tag them with keywords.
keywords. You You can
can make
make your choice of
of music
music along with with the
the show.
show.
image adjustments, resize,
resize, and
and print
print the
the images,
in1ages, eoe
or upload them to
include most of
to a Web
of the
application, one that
Web site.
site. In
the functions
functions of
that can help
In addition,

help you
addition, they
they
of aa cataloging
you find
cataloging
find specific
specific
---
© @O •• ,.!.~ .!.. ~
!c.--
ｾ＠
=I~ ·

files across all your storage folders

folders with
with aa search
search
for specific metadata.
n1etadata.

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

132 O RGANIZING A
ORGANIZING N D SSTORING
AND TORING
 Archiving Images and Prints
AN
AN ARCHIVING
WORKFLOW
FOR RAW FILES
1.
1 . DOWNLOAD
DOWNLOAD FILES
FI LES
directly from the camera or W
W ith digital photographs youyou can
can have
have before youyo u have erased them chem fromfro m the
the memory
memory
through
t hrough a card reader. more than one original. And, because they
t hey take
rake card) and, shortly
shortly thereafter,
t hereafter, make
make two two more
more cop-
cop-
up little actual space,
space, it
it makes
m akes sense
sense toto have
have sev-
sev- ies on external hardh ard drives
d rives oror on
on removable
rem ovable media
media
2. FILES . Use
2 . RENAME FILES. Use aa
logical system that will still eral copies of
of everything. Prints,
Prints, slides,
slides, and
and nega-
nega- like optical—CD,
o ptical- CD, DVD,DVD, or or BD
BO (Blu-ray)—disks.
(Blu-ray)- disks. AA
be useful after you have tives have always been vulnerable
vulnerabl e to to catastrophic
catastrophic second copycopy of everything
everything on on aa local
local hard
hard drive
drive
50,000 photographs.
loss or damage, as well as as to
to degradation
degradation over over (one that’s
that's in
in the
the same
sam e location
location as as your
yo ur main
main
3.
3. ADD BULK
BULK META-
META• time.
ti me. Image files
fi les that
chat are digital
digital can can bebe stored
stored computer)
compute r) lets you yo u restore
resto re files
files quickly
quickly inin case
case
OATA. Bulk
DATA. Bu lk metadata
(for example, your name,
unchanged forfo r the
the foreseeable
foreseeab le future
fu tu re and—impor-
and-im por- of a primary drive failurefailu re oror other
other data
data loss;
loss; the
the
contact information, and tantly—they
tantly-they can be duplicated
dupli cated exactly.
exactly. You
You can
can copies on removable
removable or portable
portable disksdisks can
can be
be kept
kept
copyright) is what goes on dramatically
dramatically reduce
reduce your
yo ur chances
chances of of loss
loss by
by keep-
keep- in two different
differen t locations
locatio ns to to protect
pro tect you
yo u in
in case
case
all
a ll your
you r photographs.
ing copies of
of all your
yo ur image
image files.
fi les. of a disaster like
li ke fire
fire or
or theft.
theft. Cloud-based
Cloud-based stor-stor-
4.
4 . CONVERT
C ONVERT CAMERA
CAMERA age, remote
rem ote storage that t ha t is
is accessed
accessed through
t hro ugh the
the
RAW FILESF IL ES TO
TO DNG
ONG
ifif you choose (page
(page 85). Have a backup strategy
strategy that
that you
you can
can stay
stay Internet, is also useful
usefu l for
fo r keeping
keeping off-site
off-sire back-
back-
Some applications
app lications let you with. Don’t
Don't wait until
un til you
yo u have
have lost
lost some
som e impor-
im por- ups.
u ps. You
Yo u will also want
wan t toto have
have aa naming,
naming, organiz-
o rgan iz-
do it all—convert,
all - convert, rename,
and append metadata—as
metadata- as
tant images before
before you make make andand stick
stick toto aa plan
plan ing, and backup
bac kup strategy for fo r finished
fi nished derivative
de rivative
you download. for archiving your
yo u r work. files and for those
those in progress.
progress.
5.
5 . ADD INDIVIDUAL
IND IV IDUAL
It is most convenient
conveni ent to to have
have all
all your
yo ur files
fil es
KEYWORDS. With most
KEYWORDS. online,
o nline, which means
m eans theythey areare saved
saved onon oneo ne oror A RAID array can help help makemake local
local storage
storage safer.
safer.
applications you can display more hard drives that char are
are powered
powered up up and
and con-
con- RAID is an acronym for fo r redundant
redu n d an t array
array of
ofinex-
inex-
a large number of
of image
thumbnails and apply a key- nected toto the
t he computer
com puter whenever
whenever youyo u work.
work. But But pensive (or independent)
independent) disks.disks. YouYou cancan use
use your
yo ur
word to a selected group. hard drives can fail;fail; to
to be be safe
safe you
yo u should
should alsoalso computer’s
compu te r's operating
o perating system
system to to format,
fo rma t, or
or initial-
initial-
6.
6 . APPLY
APP LY RATINGS.
RATIN GS. have at least two additional
additio nal copies
copies of
of everything,
everything, ize, two disk drives forfor RAID
RAID level
level 1,1, called
called mirror-
mirror-
Decide which image, of of and preferably three
three or more.
more. ing.. Once formatted this
ing this way, the t he two
two drives
dri ves act
act
several similar ones, is the
one worth returning to.
The best system,
systen1, ata t aa minimum,
minim um, is is to
to make
make aa like one—you
o ne-you see only
only one
one icon
icon forfor the
the drive,
drive, and
and
Give a higher rating to the second copy of of all your raw raw files
files on
on another
another hardhard you
yo u write
wri te to and
a nd read
read from
fro m itit normally.
no rmally. But,But,invis-
invis-
best
best of
of the shoot. drive
dri ve as soon as they
t hey are
are renamed
renamed and and tagged
tagged (and
(and ibly, all data is is written simultaneously
simultaneously to to both.
both .
7.
7 . SAVE TO A
A SECOND
SE COND This kind of system is is called fault-to lerant because
fault-tolerant because
HARD DRIVE . IfIfyou
HARO DRIVE. you have
have it creates redundant
redunda n t data;
d a ta; if
if one
o ne drive
d rive fails,
fails, all
all its
its
a mirror RAID (text, right),
this happens automatically. data
d ata exists, identically,
iden tically, on
o n the
the other
oth er drive.
d rive.
After saving a second copy
of
of everything, you can refor-
mat your camera’s
camera's memory
Prints (and film) are more
more challenging
challeng ing to
to
card to use again. store than digital image
image files
files because
because they
they are
are
8.
8 . BACK UP
UP ON
O N TWO
TWO
physical objects and,
and, most
most often,
often, unique.
unique. AA stable
stable
OPTICAL D ISKS or
OPTICA L DISKS or aa environment,
environm en t, especially
especially one
o ne with
wit h cool
cool tempera-
te mpera-
third
th ird hard drive. Store tures and lowlow humidity,
humidi ry, will
will prolong
prolong thethe life
life of
of
disks in a cool, dry, dark
place for maximum
maximum life. digital prints as well as traditional
tradi tional photographic
photographic
Don’t
Don't store your backups materials.
material s. Paper
Paper must
must be be protected
protected from
fro m acid-
acid-
in the same place as youryou r
computer. Give each disk ity.
iry. Unfortunately, most most paper
paper made
made from
fro m wood
wood
a unique name so you can
Prints should be kept in archival
archival boxes.
pulp is left acidic after manufacture;
manufactu re; look
look instead
instead
file and find it easily, for
example Photos 2014-045
2014-045.. Elegant archival portfolio boxes like the for
fo r acid-free inkjet paper
paper and
and mat
mat board
board (usually
(usually
clamshell design on the left make a beautiful
beautiful made from cottoncotto n rag)
rag) that
char are
are available
available fromfrom
9.
9 . ADD TO YOUR
YOUR presentation but may be too expensive forfor specialty
specialry retailers.
retailers. Those same
same retailers
retailers (search
(search for
fo r
IMAGE CATALOGING
CATA LOG IN G regular storage. Simple, acid-free, card-
DATABASE as as soon
soon as
as archival supplies) can alsoalso provide
provide stable,
stable, chemi-
chemi-
board storage boxes, shown on thethe right, are
you write the files to opti- cally neutral
ne utral plastic
plastic bags,
bags, sleeves,
sleeves, and
and boxes
boxes sized
sized
as safe. Larger sizes are made from acid-free
cal disks, so it can keep
track of
of the copies in
in your corrugated cardboard to to be more rigid. for prints, disks,
d isks, slides, or
or negatives.
n egatives.
offline storage system.

C HAPTER 7
CHAPTER 133
133
 G WINOGRAND
A R R Y WINOGRAND
GARRY
Los Angeles, 1969.
1969. Look at the light on
your subject. Garry Winogrand often pho-
your
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
said, "I photograph to see what the
photograph will look like.”
like."
Qualities of
of Light.
Light ..............
. . . . . . . . . . . . 136
136 Simple Portrait
From direct to diffused ...........
. . . . . . . . . 136
136 Lighting .....................
. . . . . . . . . . . . . . . . . . . 144
144
Existing Light
Light.. ................
. . . . . . . . . . . . . . 138
138 Using Artificial Light ..........
. . . . . . . . 146
146
what's available .• ..••.••.••.•
Use what’s . . . . . . . . . . 138
138 Photolamp or flash ..............
Photo/amp . . . . . . . . . . . . 146
146
The Main Light.
Light................
. . . . . . . . . . . . . . 140
140
The strongest source of light .......
oflight . . . . . 140
140 More about Flash . ............
. . . . . . . . . . . . 148
148
How to position it ...............
. . . . . . . . . . . . . 148
148
Fill Light .....................
. . . . . . . . . . . . . . . . . . . 142
142
To lighten shadows ..•.•.........
. . . . . . . . . . . . 142
142 Using Flash . ..................
. . . . . . . . . . . . . . . . 150
150
 Using Light 8
In this chapter you’ll
you'll learn…
•• the qualities of
lea rn ...
of natural light—the
light-the size of
its direction, color, and intensity—and
that
intensity-and the
chat changing these qualities will wil l have
ofthe
the source,
source,
the effect
have on
effect
on your
your
C hanges in lighting will change
darken the
behind, or
t he sky, or you
o r you move
will change as a result.
move from
result. Light
change your
yo u change
change position
fro m aa bright
Ligh t changes
bright area
changes indoors,
picture. Outdoors,
your picture.
position so
area to
indoors, too:
so your
to the
Outdoors, ifif clouds
yo ur subject
subject isis lit
the shade,
too: your
shade, your
yo ur subject
clouds
li e from
yourpictures
subject may
from
pictures
may movemove
photographs.
•• to duplicate the qualities
qua lities of
of natural
natural light
light with
with
closer
closer to a sunny window, or o ryou
you may
may turn
turn on
o n overhead
overheadlights lightsorordecide
decideto rouse
use
artifical light that
chat you can control. a flash
fl as h to
co light your
yo ur photograph.
photograph .
•• to understand
understa nd the differences between
between electronic
electronic flash
flas h Light can affect the the feeling
feeling ofof the
the photograph
photograp h so so that
chat aa subject
subject appears,
appears,
and continuous
conti nuous light,
light, and to use
use aa camera-mounted
camera-mounted for
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
flash unit to make correctly exposed images. images.
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
Kenneth Josephson.. Chicago, 1961.
Kennethjosephson 1961 . how it will look in in your
yo u r photographs,
photograp hs, and and you
you will
will find
find ititeasier
easierto
couse
useexisting
existing
Light itself
itself can sometimes be the light or to arrange the the lighting
li ghting yourself
yo urself to
co get
gee just
just the
theeffect
effect you
yo u want.
wane.
subject of
ofthe picture. Here, a bright
pattern of
oflight pierces the darkness under
under
Chicago’s
Chicago's elevated transit tracks.

135
Qualities of
of Light
FFROM
ROM D I R E C T TO
DIRECT TO D IFFUSED
DIFFUSED
Direct Light

L
L ight can range from direct direct andand contrasty
contrasty
to diffused and soft, whether indoors or out.
And whether you control
control the
the light
light on
on your
your subject
subject
or accept what is there,
th ere, you should
sh ould recognize
recognize thethe
differences. Here’s
Here's how
how to to identify
identify these
these different
different
qualities of
of light and predict
pred ict how
how they
they will
wi ll look
look in
in
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,
or sharp, edges. Photographic
Photograph ic materials,
materials, bothboth
digital and film, fi lm, have
have limited
lim ited dynamic
dynam ic range
range
(latitude)
(latitu de) and cannot record record details
details in in very
very
light
ligh t and very dark areas at the t he same
same time.
time.
Directly lit areas may may appear brilliantbrilliant and
and bold,
bold,
with shadowed ones almost entirely entirely black.
black. If
If you
you
are photographing in in direct
direct light,
light, you
you may
may want
want
to add fill
fi ll light (pages
((pages
pages 142–143)
142 - 143) to to lighten
lighten shad-
shad-
ows. Because direct light is is often
often quite
quite bright,
bright,
you can use a small aperture to to give
give plenty
plenty
of
of depth
dept h of of field,
fie ld, a fast
fast shutter
shutter speed
speed to to stop
stop
motion, or both, if if the
t he light
light is is bright
brigh t enough.
enough. ｾ＠ - . _.,..,
The sun on a clear day is is a common
common source
source ofof
direct light. Indoors,
Indoors, a flash
ed directly at your
flash or
you r subject (that
or photo
photo lamp
(that is,
lamp point-
is, not
point-
not bounced
bounced
..,
,. ....... . .
'
.
..
..
off
off another surface) also provides provides direct
direct light.
ligh t.
Dorothea Lange. Woman of
ofthe High
High Plains,
Plains, Childress County,Texas,
County, Texas, 1938.
1938.

Compare the qualities of oflight in these pic- Directional/diffused

Directional/ diffused light—definite
light- definite shadows,
tures and the effect it has on the subjects. Direct
Direct but softer edged than in direct light. Diffused
Diffused
light—contrasty,
light- contrasty, with hard-edged shadows. light—indirect
light- indirect and soft.
so~.

Project:
Pro.iect: THE sAME
SAME suBJEcT
SUBJECT 1N
IN 01FFERENT
DIFFERENT uGHT
LIGHT
PROCEDURE Photograph Photograph the the same
same person
person in in several
several different
different As a comparison to sunlight
sun light in in the
the morning
morning or or afternoon,
afternoon, you
you
lighting situations. For For example,
examp le, on on aa sunny
sunny day day begin
begin by by photo-
photo- could also make
make some photographs
photographs at at noon
noon with
with the
the subject
subject lit
lit by
by
graphing
grap hing outdoors in in the
the sun. Try not not to
to work
work at at noon
noon when
when thethe the sun overhead to see why itit isis not
not recommended.
recommended.
sun is directly overhead. Light Light usually
usually appears
appears more more interesting
interesting in in Select the best
best portrait
portrait in
in each typetype of
of light.
light.
the morning or afternoon when the the sun
sun isis at
at an an angle
angle toto the
the subject.
subject.
Make several
seve ral exposures in in each situation.
situation. HOW DID YOU DO? What do do you
you seesee that
that isis different
different
head-and-shou lders rather
Work relatively close: head-and-shoulders rather thanthan full-length views.
full-length views. among the various photographs?
photographs? Is Is there
there more
more texture
texture visible
visible in
in
First,
Fi rst, have
have the sun behind
behind youryour back,
back, so so itit shines
shines directly
directly into
into the
the some shots? Do Do the shadows seem seem tootoo dark
dark in
in some?
some? (Pages
(Pages 142–
142 -
person’s
person's face. Then move move youryour subject
subject soso the
the sunsun isis shining
shining onon him
him oror 143 tell how to use
use fill
fil l light
light to
to make
make shadows
shadows lighter.)
lighter.)
her from the side. Then have have the
the sun
sun behind
behind the the person,
person, so so he
he or
or she
she How does the light
light affect the the modeling
modeling (the(the appearance
appearance of of
is backlit. (Page
(Page 7272 tells
te lls how
how toto meter
meter backlit
backlit scenes.)
scenes.) volume) ofof the face? Light
Light notnot only
only changes
changes the
the wayway subjects
subjects
Make several photographs
photographs in in diffused
diffused natural
natural light,light, for
for example,
example, appear in a photograph, itit can change change thethe way
way we we perceive
perceive or
or feel
fee l
under a tree or in in the shade
shade of of aa building.
building. MakeMake some some indoors,
indoors, with
with them . Do
about them. Do some of of the
the portraits
portra its appear
appear softer?
softer? Harsher?
Harsher?
the person illuminated
il luminated by by light
light coming
coming fromfrom aa window.
window. More dramatic?

136 U S I N G LLIGHT
USING IGHT
Directional/Diffused
Direction al/ Diffused Light Diffused Light

Ba rney. Mom, 1996.

Tina Barney. 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 inin Diffused light is
is low
low in
in contrast.
contrast. ItIt bathes
bathes
contrast. It is partly direct and partly
partly diffused.
diffused. subjects in light from
from allall sides
sides soso that
that shadows
shadows
Shadows are present,
present, but but theythey are
are softer
softer and
and not
not are weak or even absent. ColorsColors are are less
less brilliant
brilliant
as dark as those
those cast by by direct
direct light.
light. than they are in direct light
light andand are
are likely
likely toto bebe
You will encounter directional/diffused
directional/diffused light light pastel or muted in in tone.
tone. Because
Because diffused
diffused light
light isis
on a hazy day when the the sun’s
sun's rays
rays are
are somewhat
somewhat likely to be dimmer than than direct
direct light,
light, you
you might
might
scattered so light comescomes from from the the surrounding
surrounding not be able to to use aa small
small aperture
aperture withwith aa fast
fast
sky as well as from
from the
the sun.
sun. A A shaded
shaded area,
area, such
such as
as shutter speed.
under trees or along the the shady
shady sideside of
ofaa building,
building, A heavily overcast day creates
creates diffused
diffused light
light
can have directional/diffused
directional/ diffused light light ifif the
the light
light isis because the light is is cast
cast evenly
evenly by by the
the whole
whole
bouncing onto the the scene primarily
primarily from from oneone direc-
direc- dome of of the sky rather
rather than,
than, as as itit is
is on
on aa
tion. Indoors,
Indoors, a skylight or or other
other large
large window
window sunny day, mostly
mostly byby the
the small
small disk
disk ofof the
the sun.
sun.
can give this type
type ofof light
light ifif thethe sun
sun isis not
not shin-
shin- Indoors, diffused light
light can
can bebe created
created with
with aa very
very
ing directly on the the subject. Light Light from
from aa flash
flash or
or broad source of of light used
used close
close toto the
the subject
subject
photo lamp can also be directional/diffused
directional/diffused ififitit isis (such as light bounced into into aa large
large umbrella
umbrella
softened by a translucent
translucent diffusing
diffusing material
material placed
placed reflector) plus additional fill fill light.
light. (Page
((Page
Page 143143 top
top
in front of
of the
the light
light or
or ifif it
it is
is bounced
bounced off offanother
another shows a soft
soft box —another broad
box-another broad source—used
source-used in in
surface such as a wall or an an umbrella
umbrella reflector.
reflector. a lighting setup.)

C HAPTER 8
CHAPTER 137
137
Existing Light
U S E WHAT'S
USE WHAT’S A VAILABLE
AVAILABLE

D
D on’t
on't wait for a sunny
sunny day
day to
to go
go photo-
photo- A high ISO is useful
useful when
when light
light isis dim.
dim. ItIt will
will
graphing
graphing.. You can take pictures even
even ififthe
the light
light help you
yo u shoot at a fast
fast enough
enough shutter
shutter speed
speed
is dim:
din1: indoors, in
in the
th e rain
rain or
or snow,
snow, at
at dawn
dawn or
or to stop motion or at aa small
small enough
enough aperture
aperture to to
dusk. If
If you see a scene that
t hat appeals
appeals to
to you,
you, you
you give adequate depth of
of field.
field. A
A tripod
tripod cancan steady
steady
can find a way to photograph
photograph it. it. a camera for long exposures.
exposures.

John Collier. Grandfather Romero, 99

John 99 years old, Try to make something
something out of
ofwhat is already there
there
Trampas,
Trampas, New Mexico, 1943. 1943. Use
Use the
the light
light yyou
ou before thinking of
ofchanging
changing anything. The light in this
this
find ififyou
you can; it usually looks the most believable.
believable. room from one small window is simple and
and effective.

138
138 U S I N G LLIGHT
USING IGHT
 Tunbjork. Sicily, 1983.
Lars Tunbjörk. 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.

,
•• .,
•
. ..
'. ''
0

,'
ｾ＠
;
\w ·· -
~
-
',·•-~~
•
\
\
,,

f ~-- .\

'
David Alan Harvey. EasterEaster Celebration in the reddish by the photographer even though the the white
white
Mixtec Region, Oaxaca, Mexico, 1992. 1992. In
In extremely
extremely balance could be adjustd in post-production. Bracket-
Bracket-
dim light, start with the
the highest ISO your camera
ISO your ing is always a good idea in marginal lighting
lighting situa-
offers (or an ultrafast film like Fuji
Fuji Neopan 1600).
1600). tions.
tions. Make several extra shots ififyou can, increasing
increasing
Only the candles illuminate this
this scene, which was
was left the exposure, then decreasing it.

C HAPTER 8
CHAPTER 139
139
The Main Light
T H E SSTRONGEST
THE T R O N G E S T SSOURCE
OURCE O
OFF LLIGHT
IGHT

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

Shadows define the lighting.

lighting. Although
Although pho-pho-
tographers talk about the
the quality
quality of oflight
light coming
coming
from a particular source,
source, it
it is
is actually
actually the
the shadows
shadows
created by the light
light that
that can
can make
make anan image
image harsh
harsh
or soft, menacing or appealing.
appealing. To To aa great
great extent,
extent, Frontlighting. Here the main light isis placed
placed close
close to
to the
the lens,
lens, as
as when
when
the shadows determine thethe solidity
solidity or
or volume
volume that
that 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
shapes appear to
to have,
have, the
t he degree
degree to to which
which texture
texture than with others, and, as a result, forms seem flattened
flattened and
and textures
textures lessless
is shown, and sometimes
somerin1es thethe mood
n1ood or
or emotion
e1norion of
of pronounced. Many news photos and snapshots are are frontlit
front/it because
because itit isis
the picture. 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
are trying to
to set up up a lighting
lighting arrangement,
arrangement, look look
at the subject from camera camera position.
position. NoticeNotice the the
way the shadows shape or or model
model the the subject
subject as as
you move thet he main
main light
light around
around or or as as you
you change
change
the position of of the
the subject in in relation
relation to to aa fixed
fixed
main light.
Direct light
ligh t from a 500-watt incandescent incandescent
lamp in a bowl-shaped metal metal reflector
reflector was was used
used
for these photographs,
photographs, with no no other
other lightlight sources,
sources,
producing shadows that that are
are hard
hard edged
edged and and dark.
dark.
Direct sunlight or direct
direct flash
flash will
will produce
produce similar
similar
effects. The light would be be softer
softer ififitit were
were bounced
bounced
onto the subject from fron1 another
another surface,
surface, such such asas anan
umbrella reflector (shown (shown on on page
page 145), 145), oror ifif itit High 45°
45 ligh ting. IfIfthe main light isis moved
4 5°° lighting. moved high
high and
and toto the
the side
side of
of
were diffused. Fill
Fill light
ligh t (see
(see pages
pages 142–143)
142- 143) wouldwould the camera, not precisely at 45° 45° but somewhere in in that
that vicinity,
vicinity, shadows
shadows
lighten
ligh ten the 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 inin commer-
commer-
cial portrait studios; fill light would then
then be be added
added to
to lighten
lighten thethe shadows.

140
140 U S I N G LLIGHT
USING IGHT
Side lighting. A main light at about aa 90°
90 ° angle to
to the
the camera
camera will
will light
light Top lighting. With the light directly overhead, Iong long dark shadows
shadows are
the subject brightly on one side and cast shadows across thethe other
other side.
side. cast into eye sockets and under nose and chin, producing
producing an effect
effect that
that isis
When the sun is low on the horizon at sunset
sunset or
or sunrise, itit can
can create
create side
side seldom appealing for portraits. Unfortunately, top top lighting
lighting is not
not uncom-
uncom-
lighting that adds interest to landscapes and
and other
other outdoor
outdoor scenes.
scenes. Side
Side mon—outdoors
mon- outdoors at noon when the sun is overhead
overhead or or indoors
indoors when
when the
the
lighting is sometimes used to dramatize aa portrait. main light is coming from ceiling
ceiling fixtures.
fixtures. Fill
Fill light added
added toto 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 Bottom lighting. Lighting
Lighting that comes from below
below looks distinctly
distinctly odd
odd
the subject than it is for side lighting. If/{the
the light
light was
was directly
directly behind
behind thethe in a portrait. This is because light on people outdoors or or indoors
indoors almost
almost
subject, the entire face would be in shadow
shadow with with just
just the
the hair
hair outlined
outlined never comes from below. This type of oflight casts unnatural
unnatural shadows that that
by a rim of
oflight. Backlighting,
Backlighting, also called edge or or rim
rim lighting,
lighting, isis used
used in
in often
oft-en create a menacing effect. Some products, however—glassware,
however- glassware,
multiple-light setups to bring
bring out
out texture or or to
to separate
separate the the subject
subject from
from for example-
example—areare effectively lit from
from below; such lighting
lighting is often
oft-en seen in
in
the background. advertising photographs.

C HAPTER 8
CHAPTER 141
14 1
Fill Light
T O LLIGHTEN
TO I G H T E N SSHADOWS
HADOWS

FFmill light makes shadows

shadows less less dark
dark bybyadding
adding also use fill
fill light outdoors
outdoors for
for close-ups
close-ups of
of flow-
flow-
light toto them.
them. Photographic
Photographic materials
materials can can record
record ers or other relatively
relatively small
small objects
objects in
in which
which thethe
detail and texture
texture in in either
either brightly
brightly litlit areas
areas oror shadows would otherwise be be too
too dark.
dark.
deeply
deeply shadowed ones ones but but generally
generally notnot inin both
both
at the
the same time.
titne. So
So ifif important
important shadowshadow areasareas Fill light indoors. AA single
single photoflood
photoflood or
or flash
flash
are much darker than than lit lit areas—for
areas- for example,
example, the the used indoors
indoors often
often produces
produces aa very very contrasty
contrastylightlight
shaded side of ofa person’s
person's faceface in
in aa sunlit
sun lit portrait—
portrait- in which the
rhe shaded
shaded sideside of ofthe
the face
face (or
(or any
any other
other
Frontlight. The man’s
man's face
face
consider whether adding adding fill fill light
light will
will improve
improve subject) will be very dark
dark ifif the
the litlit side
side isis exposed
exposed is lit by sunlight shining
shining di-
your picture.
picture. The fill
fill light
light should
should not not overpower
overpower normally.
normally. Such lightlight is
is likely
likely to
to appear
appear moremore con-
con- rectly on it.
it. Facing someone
the main
main light
light but
but simply
simply raise
raise the
the light
light level
level of
of trasty than
than in a similar
similar photograph
photograph lit lit by
by sunlight
sunlight into the sun usually causes
shadow areas so so you can can see
see clear
clear detail
detail inin the
the because light from
from thethe skysky acts
acts as as fill
fill light
light out-
out- an awkward squint against
against
the bright light.
final image.
image. doors. Notice how how dark
dark the the shaded
shaded areas areas are
are in
in
the single-light portraits
portraits on on pages
pages 140–141.
140- 141. You You
When do you need
need fill
fill light?
light?Negative
Negativefilms
films are
are might want such contrasty
contrasty lighting
lighting for for certain
certain
very sensitive toto contrast;
contrast; digital
digital capture
capture isis some-
some- photographs, but but ordinarily
ordinarily fill fill light
light should
should be be
what less so. With either,
either, as as little
little as
as two
two stops
stops added toto make
make thethe shadows
shadows lighter.
lighter.
difference between lit lit and
and shaded
shaded areas
areas cancan make
make
shadows very dark.
dark. HDR
HOR (pages
(pages 74–75)
74- 75) cancan help
help Sources of
of fill light.
light. AA reflector,
reflector, such
such as
as aa
control excessive contrast
contrast but but the
the subject
subject must
must be be white card or cloth,
cloth, is
is aa good
good way way to to add
add fill
fill light
light
absolutely stationary; itit can’tcan't help
help when
when you you areare indoors or out. An aluminized
aluminized “space "space blanket”
blanket"
photographing people.
people. from a camping-supply
camping-supply store store isis easy
easy toto carry
carry and
and
In most portraits,
portraits, aa partly
partly shaded
shaded subject
subject thatthat highly
highly reflective.
reflective. Convenient
Convenient collapsing
collapsing “bounce
"bounce
has shadows two two stops
stops darker
darker than
than thethe lit
lit side
side ofof cards”
cards" are available from from camera
camera retailers
retailers that
that Backlight. Here
Here he faces
the
rhe face will bebe contrasty
conrrasry but bur will
will still
still show
show fullfull cater to
ro professionals.
professionals. Holding
Holding aa reflector
reflector at at the
the away from the sun and has
texture and detail
derail everywhere.
everywhere. But Bur when
when shadows
shadows correct angle, usually
usually onon the
the opposite
opposite side side ofofthe
the a more relaxed expression.
get
ger to be three or
robe or more
more stops
stops darker
darker thanthan litlit areas,
areas, subject from the the main
main light,
light, will
will reflect
reflect some
some of of Increasing the exposure
would lighten the shadowed
fill light becomes useful.
useful. YouYou can
can control
control contrast
contrast the main light into
into the
the shadows.
shadows. side of
ofhis face but make
make the
the
between highlights
highlights and
and shadows
shadows later,
later, in
in editing,
editing, A
A flash can be be used
used for for fill
fill light
light indoors
indoors lit side very light.
but results are often better better ifif you
you cancan lighten
lighten or outdoors. A A unit
unit inin which
which the the brightness
brightness of of
shadows by adding fill fill light,
light, rather
rather than
than trying
trying to to the flash can be be adjusted
adjusted is is much
much easier
easier toro use
use
lighten a too-dark
too-dark shadow
shadow later.
later. than one with aa fixed
fixed output.
output. Some Some flashflash units
units
designed forfor use
use with
with automatic
automatic camerascameras (or (or built
built
Fill light outdoors. ItIt isis easier
easier to
to get
get aa pleasant
pleasant into the
rhe camera body)
body) can can be be set
set toto provide
provide fill fill
expression on on aa person’s
person's face
face inin aa sunlit
sunlit outdoor
outdoor flash automatically.
portrait if
if the
the subject
subject is
is lit
lit from
from the
the side
side or
or from
from In indoor setups, light light from
from another
another photo-
photo-
behind and not not squinting
squinting into into the
the sun.
sun. These
These flood can be usedused for
for fill
fill light.
light. ToTo keep
keep the
the fill
fi ll
positions, however,
however, cancan make
1nake the the shadowed
shadowed side side light from overpowering
overpowering the the main
main light,
light, the
the fill
fill
of
of the face too
too dark. InIn such
such cases,
cases, you
you can
can add
add fill
fill can be farther
farther from the the subject
subject than than thethe main
main
light to
to decrease thethe contrast
contrast between
between the rhe lit
lit and
and light, of
of lesser intensity,
intensity, bounced,
bounced, or or diffused.
diffused. SeeSee
shadowed sides of of the
the face
face (see
(see right).
right). You
You can can photographs opposite.
opposite.
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.

142
142 U S I N G LLIGHT
USING IGHT
Using a reflector for fill light. A large white white cloth or or card
card
can lighten shadows in backlit or or sidelit
side/it portraits by by reflecting
reflecting
onto the shaded side of the subject
of subject some of the illumination
of the illumination
from the main light. Sometimes nearby objects will will act
act as natu-
natu-
ral 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
Be careful to keep it it
out of
ofthe picture.
In the example on the right, the main light isis on youryour left—
left-
the 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
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
and aperture settings. Meter onlyonfy the shadowed
shadowed side and and note
note
the shutter speed and aperture. The number
number of f-stops (or
off-stops (or
shutter-speed settings) between the two exposures equals equals the
the
number of ofstops’
stops' difference. Stanley Rowin

Using a photoflood for fill light. The The photographer

photographer placedplaced
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 ofofthe 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 mustmust meter
meter
each area separately without including
including the
the background
background or or other
other
areas ofofdifferent brightness. IfIfyou are photographing
photographing very very
small objects, you
you can use a spot meter or
meter or make substitution
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 thethe subject
subject
(although this would have changed the the framing
framing of ofthe
the scene), or, or,
with some flash units, decreased the light outputoutput of ofthe
the flash.
flash.
The handkerchief
handkerchiefalso changes the quality of ofthe
the light.
light. LikeLike
a small version ofofthe soft
so~ box pictured
pictured above, itit increases
increases the the
apparent size of ofthe source and so slightly
slightly softens
sofrens thethe harshness
harshness
that usually results from small camera-mounted
camera-mounted flash flash units.
units.
Many flash attachments and light modifiers are available sepa-
rately to further alter the harshness of ofon-camera flash.flash.
See your
your owner’s
owner's manual
manual for instructions on on how
how to to set your
set your
camera and flash for fill lighting. In In general, forfor a subject
subject thatthat
is partly lit and partly shaded, decrease the the brightness
brightness of ofthe
the
flash on the subject until it is one to twotwo stops less than
than thethe basic
basic
exposure from the sun.

CHAPTER 8 143
Simple Portrait Lighting
M
M any fine portraits have
have been
been made
made using
using Indoors, window light
lig ht isis aa convenient
conven ient source
so urce
simple
s imple lighting
lig hting setups. You don’t
don't need a com- of light
ligh t during
du ring the
the day (this (chis page,
page, bottom).
botto m). The The
plicated arrangement of of lights
ligh ts to
to make
make aa good good closer your
yo ur subject is to to the
the window,
window, the the brighter
brighter
portrait. In fact, the
t he simpler
simpler the
the setup,
setup, the
the more
more the light will be. If If direct sunlight
sun light is is shining
shining
comfortable
co mfo rtable and relaxed
relaxed your
yo ur subject
subject isis likely
likely to
to through
t hro ugh the
t he window and falls falls onon the
the subject,
subject,
be. (See pages 166–169
166- 169 forfor more
more about
abo ut photo-
photo- contrast will be very high: high : lit
li t areas
areas very
very light,
light,
graphing
grap hin g people.)
peopl e.) unlit areas very dark.
dark. A A small window
window will will create
create
harder shadows than than a largelarge one.
one. Unless
Unless youyou want
wane
Outdoors, open shade
shade or
or an
an overcast
overcast sky
sky extreme contrast, it’s it's best
best toto have
have the
the subject
subject also
also
surrounds a subject in in soft,
soft, even
even lighting
lighting (photo-
(photo- lit by indirect
indirec t light bouncing
bo u ncing off
offother
other surfaces.
surfaces .AA
graph opposite,
o pposite, bottom).
bottom) . In In open
o pen shade,
shade, the
the per-
per- reflector opposite
o pposite the the window can can lighten
lighten shad-
shad-
son is out
our of
of direct sunlight,
sunlight, perhaps
perhaps under
unde r aa tree
tree ows by adding fill fi ll light
light toto the
t he side
side of
of the
the person
person
or in the shade ofof a building.
building. Illumination
Illumination comes
comes facing
fac ing away from the t he window.
window.
from light reflected
reflected from
from the the ground,
grou nd, aa nearby
nearby
wall, or other surfaces.
su rfaces. If
If the
the sun
sun is
is hidden
hidden by by anan A main light—photoflood
lig ht- photoflood oror flash—plus
flash - plus
overcast or cloudy
clo udy sky,
sky, light
light isis scattered
scattered over
over thet he reflector fill is a simple setup when available
available
subject from thethe entire
entire sky. In In sunlight,
sunlight, shadows
shadows light is inadequate (see opposite
opposite top).
top). Bouncing
Bouncing
may appear
ap pear relatively
relatively bluish
bluish because
because they
they are
are hid-
hid- the main light
ligh t (sometimes
(sometimes called
called the key light)
the key ligh t)
den from the sun and illuminated
illum in ated only
onl y with
with light
light into
in to an umbrella reflector
refl ector provides
provides aa softer
softer light
light
from the
t he sky. than shining
shin ing it directly
di rectly onto the
the subject.
subject.

Amy Stein. Window #2,

Amy
2005. Window
2005. W indo w light
lig ht can
be contrasty unless other
windows, as here, a nearby
light-colored wall, or a well-
placed reflector, provide fill.fill.
Stein’s's series Domesticat-
Stein Do mesticat-
ed
ed “explores
"explores our paradoxical
relationship with the ‘wild.’”
'wild. "'
Like the birds, the woman
looks at the world from inside
her geometric enclosure.

144 U S I N G LLIGHT
USING IGHT
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
arrange the lighting yourself. The main source of
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 ofofthe subject bounces some ofofthe
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
So~er indirect light bounces onto the subject. Here,
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.

C hapter 8 8
CHAPTER 145
145
Using Artificial
Artif icial Light
P HOTOLAMP O
PHOTOLAMP ORR FFLASH
LASH

A
A rtificial light
lig ht sources let
let you
you bring
bring your
your own
own speed. Cameras with leaf
sync speed. leaf shutters
shutters synchronize
synchronize
light with you when the the sun
sun goes
goes down,
down, when
when youyou with flash
fl as h at any shutter speed.speed. Some
Som e top-of-the-
top-of-the-
photograph in a relatively
relatively dark
dark room,
room, or or when
when line dedicated flash
flas h units
units (intended
(intended for
for use
use with
with aa
you need just a little more
more light
light than
than isis available.
available. specific camera model)model) can operate
operate inin high-speed
high-speed
Artificial sources area re consistent and and never
never go go sync mode so the the camera’s
camera's focal-plane
focal-plane shutter
shutter
behind a cloud just when you’re yo u' re ready
ready toto take
take aa can be set
sec for
fo r any shutter speed. See See your
your owner’s
owner's
picture. You can manipulate
manipulate themthem to to produce
produce any any manual for details on on how
how toto set
set the
the camera
camera anda nd
effect you want—from
want- from light
light that
that looks
looks like
like natural
natural connect the flash to to it.
it.
sunlight to underlighting effects
effects that
that are
are seldom
seldom
found in nature. Different
Different sources
sources produce
produce light
light Automatic flash units have have aa sensor
sensor that
that mea-
m ea-
of
of different color balances, each
each requiring
requiring aa differ-
differ- sures the amount of of light
light reflected
reflected by by the
t he subject
subject
ent white balance
bala nce setting.
setting. during the flash;
flash; thethe unitunit terminates
termina tes the the flash
flas h
when the exposure is is adequate.
ad equate. Even Even ifif you
yo u have
have
Continuously burning
burning (incandescent)
( incandescent ) lamps
lamps an automatic unit, unit, sometimes
s01netimes you yo u will
will want
want to to
such as LED bulbs, tungsten
tungsten lights,
lights, and
and quartz
quartz calculate and set the the flash
flash exposure
exposure manually,
manually,
(or halogen) lamps plug plug into
into an
an electrical
elect rical outlet.
outlet. such as when the subject is is very
very close
close to
to the
the flash
flash
Because they letlet you
yo u see
see how
h ow the
the light
light affects
affects the the or very far
fa r from
fron1 it and not not within
within the
th e automatic
a u to matic
subject, they
t hey are excellent forfor portraits,
portraits, still
still lifes,
lifes, flash
flas h range. Like automatic
auron1aric focus, focus, automatic
auton1acic flash
flas h
and other stationary subjects
subjects that
char give
give you
you timerime toto units may give less less accurate
acc urate results
res ults when
when your yo ur
adjust
adj ust the light exactly. Determining
Determining the the exposure
exposure subject is not centered in in the
the frame.
frame . Most
Most dedi-dedi-
is easy: you meter
meter the
the brightness
brightness of of the
the light
light just
just cated flash models
models allow the the camera,
camera, when when set set
as you do outdoors. Professional
Professio nal photographers
photographers for
fo r one of
of its auto-exposure
a uto-ex posure modes, modes, to to control
control
often refer to continuous sources
so urces as hot lights.
as hot lights..
lights the brightness of of the
the flash
fl as h automatically
a u to matically to to add
add aa
preset level ofof fill.
Electronic flash
fl ash or strobe is
or strobe is the
the most
m ost popular
popular
source of
of portable light.
light. Power
Power cancan come
come from
from Determining your
you r own
own exposure
exposure with
with flash
flash isis
either batteries, a rechargeable
rechargeable powerpower pack,
pack, or
or an
an different from doing so so with other
other light
light sources
sources
electrical outlet. Some unitsuni ts are
are built
built into
into cam-
cam- because the
th e flash of of light
light is
is too
too brief
bri ef to
to measure
m easure
eras, but the more powerful
powerful ones,
ones, which
which can
can light
ligh t with an ordinary light meter. m eter. Some
Some professionals
professionals
objects at a greater
g reater distance,
dista nce, are
are aa separate
separate acces-
acces- use a hand-held
hand-h eld light
li ght meter
m eter that
that cancan measure
measure the th e
sory. Because electronic flash flash isis fast
fast enough
en ou gh to
to brief
brief burst of
of a flash,
flas h, but
but you can can also
also accurately
accurately
freeze most motion, it it is
is aa good
good choice
choice when
when youyou determine flash
flas h exposure
ex posure using
u sing thethe histogram
hisrogran1
need
n eed to light unposed
unposed shots
shots oror moving
moving subjects.
subjects. display on the backback of of a digital
digital camera.
can1era. Use Use
a manual exposure
ex posure modemode anda nd test
test exposures,
expos ures,
Flash must be synchronized with with the
the cam-
cam- varying the aperture,
aperture, ISO,ISO, oror flash
flash power
power set-set-
era’s
era's shutter so the flash of
of light occurs when
when ting. Because the farther the the subject
subject is is from
from
the shutter is fully
fully open. With With most
m ost single-lens
single-lens a given flash unit, the the dimmer
dimmer the the light
ligh t that
that
reflex cameras that that haveh ave aa focal-plane
focal-plane shutter,
shutter, it receives, you can also calculate
calculate your yo ur flash
flas h
shutter speeds of o f 11/60
⁄60 sec. or slower will synchro- exposure by knowing—or
knowing- or guessing—the
guessin g- the
nize
ni ze with electronic
electro nic flash;
flash; some
som e models
models havehave subject’s
subject's distance (opposite).
(o pposite).
shutters thatthat synchronize at at higher
high er speeds,
speeds, up up
to 11/300
⁄300 sec. At shutter speeds faster faster than
than that,
that, the
the
Nikon, Inc.

camera’s
cam era's shutter
s hutter curtains are are open
open only
only part
part of
ofthe
t he A utomatic electronic flash is a standard
Automatic standard accessory
accessory
for an automatic exposure camera. The flash flash has aa
way at any time so only part part of
of the
the sensor
sensor would
wo uld light-sensitive cell and electronic circuitry that sets
be exposed. The fastest fastest shutter
shutter speed
speed during
during the duration ofofthe flash by metering
metering the amount of of
which the curtains open all all the
the way
way is
is called
called the
the light reflected by the subject during the exposure.

146 U S I N G LLIGHT
USING IGHT
The inverse square law is the basis for for flash
flash
exposure calculations. The farther
farther that light travels,
travels,
the more the light rays spread out andand the dimmer
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.
10 ft. from a light source as on an object
object at 55 ft.
from
from the source.

0 55ft.
ft. 10 ft.
ft. 20 ft.
ft.
1¼the light 1¼6 the light
4 16
ft.
as at 5 ft. as at 5 ft.
ft.

Manually Calculating
Calculating aa Direct
Direct Flash
Flash Exposure
Exposure
To calculate your own flash exposure,
exposure,youyou need
need
to know two things: the distance the light travels
travels to
to Guide number is
is 80
80 with
with this
this flash
flash unit
unit used
usedwith
with ISO
ISO100
100film.
film.
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
do the division for you.
you. Dial
Dial in the ISO
ISO and the
the
flash-to-subject distance, and the dial will show
show thethe 0 5 ft. 10 ft.
ft. 20 ft.
ft.
correct f-stop.
f-stop. Guide number
=- f-
f-stop
stop
f-stop ｾ＠ =• 16
80
__ ｾ＠ =• 88
80
__ ｾ＠ =- 44
80
__
Distance from
from 5 10 20
flash
flash to subject
subject

00 f/16
f/ 16 f/8
f/ 8
0 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 Reflecting surface
. 5f
to reflecting surface to subject. In
In addition, open 5 ft t.
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 thethe head
head isis
pointed, the sensor will read the light reflected
reflected from
from Guide number ｾ＠ =- 88
80
__
= f-
f-stop
stop Open lens one one stop
stop oror more
more to
to
the subject toward the camera. Some cameras can can Distance from
from 10
compensate
compensate for for light
light absorbed
absorbed
measure flash light through the lens: these
these also can flash
flash to reflecting
to reflecting
by reflecting surface.
surface.
be used automatically with bounce flash. surface to
to subject
ｦ Ｏ ＸＭ
f/8 ＠ ff//5
/5..6
5.6

Changing the shutter

shutter speed
speed does
does not not affect
affect Then you set the aperture accordingly
accordingly (see
(see illustra-
illustra-
the exposure from aa flash, as long as it is tions above). Some manufacturers
manufacturers overrate
overrate guide
guide
within the acceptable range
range for
for synchronization
synchronization numbers a bit (in order to to make
1nake their
their products
products
(the sync speed or slower). sound more powerful than than they
they actually
actually are),
are), so
so
You can determine the the amount
amount of oflight
light falling
falling it’s
it's a good idea to
to try
try out aa new
new flash
flash unit
unit with
with
on the subject byby dividing the
the distance
distance to to the
the sub-
sub- some test exposures or or aa professional
professional flash
flash meter
n1eter
ject into the flash
fl ash unit’s
unit's output
output (its
(its guide
guide number
number).
number). ). before you use it for
for anything
anything important.
important.

C HAPTER 8
CHAPTER 147
More about Flash
H O W TO
HOW TO P O S I T I O N IIT
POSITION T

LU ight
ght gets dimmer
dimmer the farther
farther itit travels.
travels. perhaps you can change ch ange your
yo u r own
own position
position to to
Light from any source—a
sou rce- a window,
wi ndow, aa continuously
continuously have the same effect. You can can also
also modify
modify the the
burning
burni ng lamp, a flash—follows
flash - follows the the same
same general
general flash so it more evenly reachesreaches various
various partsparts ofof
rule: the light falls off
off (gets
(gets dimmer)
dimmer) the t he farther
farther the scene, such as by by bouncing
bouncing the t he light
light onto
onro thethe
the light source is from
from an an object.
object. You
You cancan see
see subject or you
yo u can useuse more
more thanthan one
one flash
flash unit.
uni t.
and measure that effect if, if, for
for example,
example, you yo u meter
meter If
If none ofof these
t hese options is is possible,
possible, you you simply
simply
objects that are near
near aa bright
bright lamp
lamp compared
compared to to have to
ro work with the the fact
fact that
that those
those parts
parts of
ofthethe
those that are farther
farther away.
away. But But light
light from
from aa flash
flash scene that are farther fromfrom thethe flash
flash will
will be
be darker
darker
comes and goes so fast
fast that
that you
you can’t
can't see
see the
the effect
effect than
th an those
chose that
that are closer. UnlessUnless it it is
is extreme,
exrre1n e,
of
of the flash on a scene at the the time
time you
you areare taking
taking you can effectively compensate for for uneven
uneven expo-
expo-
the picture. sure in editing. If you knowknow thethe light
light falls
falls off
offand
and
gets dimmer
d i miner the
the farther
farther it
it travels,
travels, you
yo u can
can atat least
least
A flash
flash-lit
-lit scene may
may not
not be
be evenly
evenly illumi-
illumi- predict how thet he flash
flas h will illuminate
illuminate aa scene.scene.
nated.
nated . Because light from a flash
flash gets
gets dimmer
dimmer
the farther it travels, you have have to
to use
use aa smaller
smaller Flash portraits. In
In one
one way,
way, flash
flash isis easy
easyto
to use
usefor
for
lens aperture for
for subjects closeclose to
to the
the flash,
flash, aa portraits: the flash
fl ash of light is
oflight is so
so fast
fast that
that you
you don’t
don't
wider aperture for subjects farther
farther away.
away. There
There are
are have to worry about
abo ut the
the subject
subject blurring
blurring because
because
several ways to determine
detern1ine thethe correct
correct exposure
expos ure forfor it moved during the the exposure. But But the
the light
light from
from
a subject at a given distance (pages
(pages 146–147).
146- 147). But
But the flash 1⁄1000
fl ash is so quick ((1/1000
1000 sec. or shorter) thatthat you
what do you do if ifdifferent parts
parts of
ofthe
the same
same scene
scene can’t
can't really see what the
the subject
subject looks
looks like
like when
when lit.
lit.
are at different distances from
from the
the flash?
flash? However, with some son1e practice
practice you you can
can predict
predict the
the
Sometimes you can rearrangerearrange thethe subject,
subject, qualities of
of light that
that are
are typical
rypical ofofdifferent
different flash
flash
such as the people in in aa group
group portrait,
portrait, so
so all
all are
are positions. Shown on the th e opposite
opposite page
page are
are some
some
more or less at the
t h e same distance
distance from
from the
the flash;
flash; simple lighting setups for for portraiture.
portraiture.

When objects are at different distances

flash, those that are closer will
from a flash, will be
lighter than those that are farther
farther away.
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
Red-eye is a reflection of of the eye’s
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

148 UISING
S I N G LLIGHT
IGHT
 l f h
Direct flash on camera is simple and easy to to use because
because the
the Direct flash off camera-—usually
usually raised
off camera—usually
camera raised and to
to one
one side—
side-
flash
flash is attached to the camera. The
The light shining
shining straight
straight at
at gives more roundness and modeling
modeling than
than does flash
flash on camera.
camera.
the subject from camera position, however, tends
tends to
to flatten
flatten out
out A synchronization (or sync) cord lets you move
move the
the flash
flash away
away
roundness and gives a rather harsh look. from the camera. To avoid a shadow on the the wall,
wall, move
move the
the
subject away from it or raise the flash more.
more.

Flash bounced from above onto the subject subject gives a softer,
so~er, more
more Flash bounced from the side onto the subjectsubject gives a soft,
so~,
natural light than direct flash.
flash. Light
Light can also be directed into
into aa flattering light. You can use a light-colored
light-colored wall, a large
large piece
large piece of
ofwhite cardboard or an umbrella reflector
reflector and
and then
then of
of white cardboard, or an umbrella reflector. TheThe closer
closer the
the
bounced onto the subject. Bouncing
Bouncing the
the flash
flash cuts the
the amount
amount subject is to the reflector, the more distinct the
the shadows willwill
of
of light that reaches the subject. Some flash units
units automatically
automatically be.
be. To avoid a shadow on the back wall, move move the
the subject
subject
compensate for this, or you
you can make the the exposure adjustment
adjustment away from it.
yourself (see page 147).
yourself 147).

C HAPTER 8
CHAPTER 149
149
Using Flash

Bruce Gilden. Old Man at a Racetrack, Racetrack,

Ireland, 1996.
1996. Flash can be unflatter-
ing, especially direct light from aa built-in
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,
⁄1000 sec. or less, flash can also capture aa
11/1000
momentary expression. Gilden used used this
this
image in After the on rural
Off, his series on
the Off,
racetracks in Ireland.
Ireland.

150 U S I N G LLIGHT
USING IGHT
Carl De Keyzer. GI. K. K. 6.
6. Krasnoyarsk, 2002. FlashFlash 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 ofofthe man
man andand the building
building
coming toward the photographer. The blur blur of
ofmovement
movement
around the birds’
birds' wings is the result of
ofmovement
movement during
during the
the
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 investigat-
investigat-
ing 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
MARC OKEMPNER
PoKEMPNER What's in the Picture.
What’s Picture
Picture......
. . . . .. .... .. .. 154
154 Formal: Setting them up .... .. ......
. . . . .. 168
168
Down
Down at
at Theresa’s,
Theresa's, 1974.
1974. The edges
The edges or
or frame
frame ......... 154
. . . . . . . .. .... .. .. 154
The background . ..........
. . . . . . . . .. .....
. . . 156156 Photographing
Focus .........................
. . . . . . . . . . . . . . . . . . . . . . . 158
158 the Landscape ................
. . . . . . . . . . . . . . 170
170
Which parts are sharp .. ...........
. . . . . . . . . 158
158
Photographing
Time and Motion the Cityscape . .... . . .... .... .. .... .. .... .. 172
172
in a Photograph .... . ...... . . . . . .... . . 160
160
Depth in a Picture .............
. . . . . . . . . . . 162
162 Photographing Inside.
Inside .. .. .. .... .. .... .. 174
174
Three dimensions become two. two .. .... .. .. 162
162
Chaos into order ................
. . . . . . . . . . . . . . 163
163 Assembled
Photographing for Meaning .. .... 164
164 to be Photographed .. ..........
. . . . . . . . 176
176

Portraits . .....................
. . . . . . . . . . . . . . . . . . . 166
166 Responding
Informal: Finding them .......... . . . . . . . . 166
166 to Photographs.
Photographs . ..............
. . . . . . . . . . . . 178
178
 Seeing Like a Camera 9
•• to break
picture into
you.'ll learn…
In this chapter you’ll learn ...
break down your intuitive
intuitive way of
of taking
taking aa
into conscious component parts—subject
and content, framing and the edge,
relationship.
foreground/background relationship.
parts-subject
edge, andand the
the
PP ictures translate the world you
the world outside their
ter and, usually,
usually, much
more abstracted than
you photographed;
than those
p h otographed; it
those in
it refers
you see.
their edges,
see. Your
edges, and

in color.
color. No
refers somehow
Your photographs
and make
photographsleave
make the
much smaller. Black-and-white
No photograph
someh ow to
leavebehind
the parts

photograph isis the

to the
the original
original scene
behind
parts that
that are
Black-and-white photographs
thesame
scene but
are recorded
recordedflat-
photographs are
samething
buthas
thingas
has its
flat-
are even
even
aswhat
itsown
what
ownlife
life
•• to make considered
co nsidered decisions about how how your
your
camera settings, location,
location, and
and subject
subject will
wi ll affect
affect and meaning. The only way to to understand
understand and and master
master this this translation
translation isis to
to
the meaning of of a photograph.
photograp h. continue the work cycle: makemake aa photograph,
photograph, looklook atat it,
it, think
think about
aboutit,it,make
make
•• how to discuss your photographs
photographs and those those another.
anoth er.
of
of others inin ways that go beyond
beyond “I"I like
like it”
it"
or “It’s
"It's good.”
good."
Photographs can tell tell aa story,
story, arouse
arouse an an emotion,
emotion, or or evoke
evoke aa mood.
mood. They
They
can convey a political,
political, sociological,
sociological, or or theological
theological insight,
insight,or or they
they can
can merely
merely
be a reminder of
of an event.
evenr. TheThe weight
weight andand import
import ofofyour
your photographs
photographs will will
depend on your own aspirations
aspirations andand the
the effort
effort you
you devote
devote to to mastering
mastering thethe
medium.
n1edium.

Photography is a kind
kind of
of literature—in
literature-in two
two ways.
ways. First,
First, any
any time
time you
you
can spend absorbing the the work
work ofof recognized
recognized mastersmasters will will reward
reward your your ownown
work with insight and and inspiration;
inspiration; the
the Internet
In ternet isis useful
useful but but aa good
good library
li braryisis
as important as a goodgood lens.
lens. Second,
Second, photographs
photographs can can bebe assembled
assembled like like sen-
sen-
tences placed consecutively
consecutively to to carry
carry aa larger
larger and and more
more complex
complex meaning.
meaning. For For
example, the
the two
two photographs
photographs on on pages
pages 172–173
172- 173 showshowaa romantic
romanticand andaagritty
gritty
side of
of city
ciry life, and together
together say
say more
more thanthan either
either one
one of ofthem
them sayssays bybyitself.
itself.
This chapter’s
chapter's illustrations should
shou ld be be aa jumping-off
jumping-offpoint, point, butbutthere
thereisisnono
better way to become a good good photographer
photographerthan than toto keep
keep making
makingphotographs.
photographs.
Every time, before you yo u shoot,
sh oot, ask
ask yourself
yourselfwhat what youyou want
want in in the
the photograph.
photograph.
Once you have taken the the photograph
photograph as as you
you imagined
imaginedit, it,stop
stopfor
foraamoment
momentto to
consider other options. How How would
would itit look
look ififyou
you framed
framed the the scene
scene vertically
vertically
instead of
of horizontally? WhatWhat ififyou
you moved
moved the the camera
camera to to aa very
verylow lowpoint
pointof of
view? What would a slow slow shutter
shutter speed
speed do do to to motion
motion in in the
the scene?
scen e? TryTry some
some
of
of the variations, even if ifyou are
are not
not sure
sure how
how theythey will
will look
look inin aa print.
print. In Infact,
fact,
try them especially ifif you areare not
not sure,
sure, because
because thatthat isis the
the way
way to to learn
learn howhow
the camera will translate
translate the
the world
world before
before it. it. Photographs
Photographsaffect affecttheir
theirviewers,
viewers,
someimes profoundly.
profoundly. Take them them seriously;
seriously; see see and
and read
read more
more about
about your your
choices, and how
h ow to
to make
n1ake them,
rhetn, on
on the
the following
following pages.
pages.

Santiago Harker. Norte de Santander, Colombia, Colombia, 1985.

1985. YouYou
have choices. To begin with, what do you choose to to photograph?
photograph? In In aa
portrait, the whole person, head to toe? TheirTheir face?
face? Or
Or just
just aa part
part of
of
them that reveals something about their their life?
life?
Opposite, PoKempner moved in close to to concentrate onon 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
ofthe scene you
you want to be sharp.
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 ofofan
an event.
event.

153
What’s
What's in the Picture
T H E EEDGES
THE DGES O
ORR FFRAME
RAME

O
O ne of
of the first choices to
to make
make with
with aa pho-
pho-
tograph is what to to include
include and
and what
wh at toto leave
leave out.
out.
The image frame, the the rectangle
rectangle you
you see
see when
whe n you
you
look through
th ro ugh the
the viewfinder
viewfinder or or at
at the
the LCD
LCD moni-
moni-
tor, shows only
on ly a section ofofthe
the much
much wider
wider scene
scene
that is in front of
ofyou. The frame
frame crops
crops the
the scene—
scene-
or, rather,
rath er, you crop it—when
it- when you
you decide
decide where
wh ere to
to
point the camera,
ca1nera, how
h ow close toto get
get to
to your
your subject,
su bject,
and from what angle to to shoot.
sh oot.

Decide before you shoot

shoot whether
wh ether you
you want
want to
to
show the whole
wh o le scene
scene (or
(or as
as much
much of it as
ofit as you
you can)
can)
or whether
wh ether you want to to move
move in in close
close (or
(or zoom
zoom in in
with a zoom lens) forfor a detail.
detail. You
You can
can focus
focus atten-
atten -
tion on something by by framing
framing itit tightly
tightly oror you
yo u can
can
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 thethe
frame? We naturally
naturally look
look atat the
the middle
middle of ofthings
t hings
to get
gee the clearest view. MostMose ofof usus have
have aa similar
similar
tendency toto place a subject
subject squarely
squarely in in the
the middle
middle
of
of the frame, especially
especially when
when hand
h and holding
holding aa cam-
cam-
era and framing
fram ing through
through aa viewfinder.
viewfi nder. Usually
Usually it’s
it's
better not toto center your
your subject,
subject, although
although therethere
are exceptions toco this
chis and
and to
co any
any other
ocher rule.
rule.

When you look through the

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

You can also change framing

framing laterlaterby bycropping
cropping
the edges ofof a picture
picture when
when it it is
is printed.
printed. Many
Many
photographs can be improved
improved by by cropping
cropping outour
distracting elements at the th e edges
edges of of the
the frame.
frame.
But it is best to
to frame
frame exactly
exactly when
wh en youyou take
take the
t he
picture;
pictu re; the highest
highest quality
q uali ty results
results from
from using
using allall
the image area you capture.
capture. Keep
Keep in in mind
mind the
rhe old
o ld How much of should you include? What
ofthe subject should What you put
put in
in
the picture and what you leave out are among
among the
the most
most important
important
saying, “crop
"crop with your feet.”
feet." decisions you
you have to make when photographing. Do Do you need to move
need to move
in close to your
your subject or
or will
will a wider view
view better
better represent your ideas?
represent your ideas?

154
154 S E E I N G LLIKE
SEEING IKE A C AMERA
CAMERA
 Terry E. Eiler. Old Fiddler’s
Fiddler's Convention,
Convention, Galax,
Galax, Virginia,
Virginia, 1978.
1978. YouYou 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
surrounding the fiddler
fiddler at
at center,
center, while
while cropping
cropping
out most of
ofthe other musicians themselves,
themselves, focuses
focuses attention onon the
the fiddler.
fiddler.

Project: THE
THE cun1NG
CUTTING EDGE
EDGE
PROCEDURE Expose Expose a few few dozen
dozen digital
digital pictures
pictures or
or aa roll
rollof
offilm
film using
using Have looking at or
Have someone looking or reaching
reaching forfor something
something outside
outside the
the
the edges of
of the picture,
picture, thethe frame,
frame, inin various
various ways.
ways. As
As you
you look
look through
through frame. Have
Have them close to to the
the side
side of
ofthe
the frame
frame they
they are
are looking
looking or
or
the viewfinder, use
use the frame to to surround
surround and and shape
shape the
the image
image in in dif-
dif• reaching toward. Then have have them
them farfar from
from that
that side,
side, at
at the
the other
other side
side
Make a viewing
ferent ways. Make viewing aid aid by
by cutting
cutting aa small
smallrectangle
rectangle in an 88 ×x
in an of
of the frame.
10-inch piece
piece of
of black
black cardboard. ItIt will will be
be easier
easier to
to move
move around
around and and Photograph
Photograph something in in its
its entirety:
entirety: aa person,
person , aa shopfront,
shopfront, an an
look through than aa camera
camera and and can
can help
help you
you visualize
visualize your
your choices.
choices. chair~whatever
animal, an overstuffed chair —whatever gets gets your
your attention.
attention. Move
Move
Put
Put the main subject off off to
to one
one side
side or
or in
in one
one corner
corner of ofthe
the frame.
frame. in a little closer. How
How will you
you useuse the
the frame
frame toto cut
cut into
into the
the object?
object?
Can you balance
balance thethe image
image so so that
that the
the scene
scene doesn’t
doesn't feel
feel lopsided?
lops ided? Do
Do you crop the object evenly
evenly allall around?
around? More More onon one
one side
side than
than
Put
Put the horizon line
line at at the
the very
very top
top or very bottom
or very bottom of ofaa photo-
photo- the other? Move
Move in
in even closer.
closer. Closer.
Closer. Photojournalist
Photojournalist Robert
Robert Capa
Capa
graph, or try tilting itit intentionally.
intentionally. said, “If
"If your pictures
pictures aren’t
aren't good
good enough,
enough, you you aren’t
aren't close
close enough.”
enough."
Have
Have “nothing”
"nothing" at the the center
center ofof the
the frame,
frame, like
like the
the photograph
photograph Do
Do you agree?
above. Keep
Keep the viewer’s
viewer's interest
interest directed
directed toward
toward thethe edges.
edges.
Make a portrait of of someone
someone without
without hishis or
or her
her head
head in in the
the picture.
picture. HOW DID YOU DO? DO? What worked
wo rked best?
best? What
What wouldn’t
wouldn't you
you ordi-
ordi-
Try to have
have the image
image express something
something of ofthe
the subject’s
subject's personality.
personality. narily
nari ly have done?

C HAPTER 9
CHAPTER 155
What’s
What's in the Picture
THE B
THE ACKGROUND
BACKGROUND

SS eeing the background.

background. When When you you view
view aa
scene, you see most
n1ost sharply
sharply whatever
whatever youyou are
are look-
look-
ing at directly, and you see see less
less clearly
clearly objects
objects in in
the background or at the the periphery
periphery of ofyour
your vision.
vision.
If
If you are concentrating on on something
son1ething of of inter-
inter-
est, you may not
nor even notice
notice other
other things
things nearby.
nearby.
But the camera’s
camera's lens does
does see
see them,
them, andand itit shows
shows
unselectively everything
everything within
within itsits angle
angle of of view.
view.
Unwanted or distracting details
details can
can bebe ignored
ignored by by
the eye looking at aa scene, but but in
in aa picture
picture those
those
details are much more
n1ore conspicuous. Before Before shoot-
shoot-
ing, try to imagine
imagi ne how
how thethe scene
scene will
wi ll look
look ififthe
the
subject and background are are given
given equal
equal emphasis.
emphasis.
To reduce the
the effect of
of a distracting
distracting background,
background,
you can shoot so thatthat the
the background
background is is out
out ofof
focus or change your angleangle of of view
view as as shown
shown in in
the photographs at right.
right. There is is no
no rule
rule that
that
says you shouldn’t
shouldn't have
have aa distracting
distracting background;
background;
sometimes that
that can be
be exactly
exactly the
the point,
point, as as in
in the
the Where's the subject? The clutter
Where’s clutter of
ofobjects building can make a useful contribution. But
But ifif
picture opposite. Just be be aware
aware of of the
the different
different in the background attracts the eye at least least as the photograph is supposed to be about the man
much as do the man and bird in the foreground.
foreground. and his bird, then the busy background seems an
way the camera sees.
IfIf the picture is about the location, then the
the unnecessary distraction.

The relationship of of subject

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

-intrusive background resulted

less-intrusive
A less resulted when
when which she shot. The plain sky provides a clear
clear
the photographer simply moved
moved to aa lower
lower separation between figure and ground, and
and
vantage point and changed the angle from doesn’t
doesn't distract from the subject.

156 S E E I N G LLIKE
SEEING IKE A C AMERA
CAMERA
 Lee Friedlander. New York York City,
Ciry, 1974.
1974. Make sure sure of
of life—even
life- even for a statue—in
statue- in New York.
York. The picture
you look at the background
you background of ofa scene as well
well as the
the is visually chaotic and ambiguous, but intentionally
intentionally so.
main subject of
ofinterest. IfIfyou
you aren’t
aren 't paying
paying attention, Remember that the camera records everything
everything within
within
you may lose your
you your subject entirely. Confusion
Confusion of ofthe
the its angle of
ofview with equal importance, even ififyou are
background and foreground,
foreground, however, maymay itself
itselfbe
be the
the looking only at one subject. A photograph can render
render the
the
subject. Here,
subject. Here, Friedlander uses chiaroscuro
chiaroscuro,, asas artists relation between a foreground object and aa background
background
call patterns of
of light and dark, to suggest the intensity
the intensiry very differently than you
you perceive it.

Project: USING THE BACKGROUND

us1NG THE sAcKGRouNo

PROCEDURE Make Make photographs

photographs in in which
which the
the background
background eithereither described in the Project
Project box
box on
on page
page 155)
155) as
as you
you try
try different
different posi-
posi-
complements
comp lements or contrasts with the the subject.
subject. For
For example,
example, someone
someone tions from which to
to photograph.
photograph.
drinking coffee in front of
of a large
large ornate
ornate espresso
espresso maker;
maker; an an arguing
arguing
of a smiling-face poster;
couple in front of poster; aa child
child by
by aa “Library
"Library Closed”
Closed " HOW DID YOU DO? DO? Compare several
several of
of your
your most
most successful
successful
sign; a shopkeeper standing in in front
front of
of aa store.
store. prints. Could the background
background be
be seen
seen as
as clearly
dearly as
as the
the subject?
subject? What
W hat
Look through the viewfinder (or (or aa viewing
viewing aid,
aid , like
like the
the one
one did the background contribute?

C HAPTER 9
CHAPTER 157
Focus
WHICH P
WHICH ARTS A
PARTS R E SSHARP
ARE HARP

W
W hen you look at a scene you you actually
actuallyfocus
focus
your eyes on only one distance
distance at at aa time;
time; objects
objects
at all other distances are
are not
not asas sharp.
sharp. Your
Your eyes
eyes
automatically adjust their
their focus
focus asas you
you look
look from
from
one object, or part
part of
of an
an object, to
to another.
another. If Ifyou
you
were at the scene shown opposite,
opposite, bottom,
bottom, you you
might look at thethe wire rack
rack and
and notnor notice
notice youyou
were seeing the sailors much
much less
less sharply.
sharply. IfIf you
you
looked at the sailors your eyes eyes would
would instantly
instantly
refocus to see them
them sharply. ButBur inin aa photograph,
photograph,
differences in the
the sharpness of ofobjects
objects at at different
different
distances are immediately evidentevident because
because the the
focus relationships are frozen
frozen atat the
the time
time ofofexpo-
expo-
sure. Such differences cancan bebe distracting
distracting or or they
they
can add interest to
to the
the photograph,
photograph, depending
depending on on
how you use them.
chem.

Controlling the depth of of field.

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

Eliot Porter. Gravel and Mud at Edge of of you. Instead of

you. of simply enhancing the realism
River below Piute Rapids, San Juan
Juan Canyon,
Canyon, of
of the picture, this kind of
ofall-over sharpness
Utah,
Utah, May 24, 1962.1962. Landscapes are often
ofl:en can also call attention to its two-dimensional
photographed so that everything is sharp graphic qualities. Porter hoped in vain
vain that
that
from foreground to background. The entire his photographs ofofscenic splendor in the Glen
Glen
image is more important than any single partpart Canyon area of of Arizona and Utah could stop
of
of it.
it. If you had been standing next
Ifyou next to the
the the construction ofofa dam that eventually
camera when this picture was taken, each submerged everything he photographed
photographed under
under
part ofof the scene would have looked sharp toto Lake Powell, which it created.

158 S E E I N G LLIKE
SEEING IKE A C AMERA
CAMERA
Project:
Elliott Erwitt. Metropolitan Museum of ofArt,
New York City, 1949. ofdepth isis
1949. The illusion of
USING DEPTH
DEPTH enhanced when the foreground is in sharp focus
focus
OF FIELD and the background becomes gradually softer.
so~er.
PROCEDURE As you The gentle transition from near to
to middle
look at various subjects,
subj ects, distance to background in this photograph
try to anticipate how how emphasizes its realism.
much depth of field you yo u
want, and how you can
increase (or decrease)
the depth of of field
fie ld to
to get
more (or(o r less)
less) of
of the
photograph to appear
sharp. Page
Page 45 shows
how to use aperture
size, focal
foca l length,
lengt h, and/
and /
or distance to do d o this.
this.
Make several
severa l photo-
photo-
graphs
grap hs ofof each scene,
using depth of of field in in
different ways. See for
example, the landscape
landscape
on page 47. You might might
have the entire
ent ire scene
sce ne
sharp, as shown, or
Ray K. K. Metzker. The
for the same scene, the Loop: Chicago, 1958.
1958.
river in front sharp and
Here the background
the background out of of
is out of
offocus—but
focus—
focus -butbut the
focus. How about abo ut just
photographer wanted the
the mountains in in the
th e
out-of-focus
out-of focus figures to be-
distance in in focus? Is Is
come the most important
there some object you you element. We naturally
can
ca n call
cal l attention to
give more attention to
using shallow
sha llow depth of of
what is in focus and what
field
fie ld that might
might be be over-
is close but there are
looked with everything always exceptions. This
in focus? photograph pushes its
Keep notes
notes of of your
subject toward the edge
aperture size, focal of
ofrecognizability.
recognizability. Even
length, distance, and an d
further
fi,rther toward that edge
why you chose them, to is the photograph on page
remind you later what 163,
163, top.
top. Both reverse
you did.
d id.
our expectations, putting
putting
the foreground out of of
HOW DID YOU
focus and leaving the
DO? Compare
Com pare your
yo ur
background sharp.
results. Were you able
ab le
to get everything
everyt hing sharp
when you wanted itit that
way? When you wanted
something
so mething out of of focus,
focus,
was it out ofof focus
enough?
eno ugh? NowNow that you
look at the
t he prints, do
do
you see anything youyo u
might try next
next time?

C HAPTER 9
CHAPTER 159
Time and Motion in a Photograph

A photograph is a slice ofof time.

A time. Just
Just as
as you
you Blur part of
of a picture
picture for
for emphasis.
emphasis. IfIf the
the Mike Mandel. Emptying
the Fridge,
Fridge, 1985.
1985. Expo-
Expo•
select the section that
that you want
want toto photograph
photograph subject moves a little
little during the
the exposure
exposure (or (or ifif
sure time controls the
out ofof a larger scene, you can also also choose
choose the the by panning—see
panning- see page
page 19—you
19- you keep
keep the
the subject
subject suggestion of of motion. In a
section of
of time you want
want to
to record.
record. You
You can
can think
think still and move the
the background) you you create
create visual
visual reference to motion studies
of
of a photograph as carving through
through time,
time, taking
taking interest with the
the comparison. Use Use aa tripod
tripod to to made by efficiency
efficieno/ experts
keep the background very sharpsharp while
while your
your sub- Frank and Lillian Gilbreth
a wide slice at a slow shutter
shutter speed
speed oror aa narrow
narrow sub-
early in the 20 th century,
20th
slice at a fast shutter speed. InIn that
that slice
slice of
of time,
time, ject moves, as was done inin the
the photograph
photograph below.
below. Mandel tied blinking
blinking lights
things are moving,
n1oving, and, depending
depending on on the
the shutter
shutter Rarely is it effective toto have
have the
the entire
entire image
image to the person’s
person's hands and
speed, direction ofof the
the motion,
motion, and
and other
other factors
facrors blurred by motion,
motion, the
the way
way it
it would
would be be ifif you
yo u left
le~ the camera’s
camera's shutter
used too slow a shutter speed or or didn’t
didn' t hold
hold the open for five minutes. The
discussed earlier (pages 18–21),
18- 21), you
you cancan show
show the
objects moved to the coun-
coun -
objects frozen in in mid-movement,
m id-movement, blurred
blu rred until
until camera steadily. But
But even aa photograph
photograph that that is is ter later in the exposure
they are almost unrecognizable,
unrecognizable, or or blurred
blurred to to any
any everywhere out ofof focus
focus can
can be
be aa visual
visual treat;
treat; itit is
is (for less of
of the total time)
extent in between. up to you to make it work. appear more translucent.
translucent.

160
160 S E E I N G LLIKE
SEEING IKE A C AMERA
CAMERA
Project:
SHOWING
SHOWING
MOTION
MOTION
YOU WILL NEED
A tripod, when you want
to keep the camera steady
steady
during long exposures.

PROCEDURE Make Make

a series ofof photographs
photographs
that
chat depict motion
motion in in
different
d iffe rent ways. Select aa
scene that will let let you
photograph the same same
action several times, such
as people moving on on a
crowded street, children
on swings, or moving
moving
water or leaves. Or have have
someone perform
perform thethe
same action for you
several times, such as aa
skateboarder, a runner,
runner,
or a dancer. Russell Lee. Soda Jerk, Corpus Christi, Texas,
Sodajerk, Texas, 1939.
1939.
How
H ow can you make make aa Time is frozen by a flash.(Tash. The rapid
rapid motion of of
photograph that makes makes the flying ice cream has been halted
halted in midair
midair by by the
the Jones. Boston, 1998.
Lou Jones. 1998. Move the camera along
a viewer feel the subject quick burst ofoflight from an on-camera flash.
flash. Stopping
Stopping with your subject to keep it in focus. focus . Here,
Here, the
the
is moving? Try showing
showing time this abruptly can be unflattering, for example
example by by photographer was positioned on the carnival
carnival ride
ride
the subject sharp. Try catching faces in between expressions, but but itit can
can also itself
itself so his relatively-long shutter speed
speed held
held nearby
nearby
showing it blurred. Try produce magical visions the eye could never have
could never have seen. passengers in focus but allowed the parts of ofthe
the scene
panning
pann ing the camera with
not moving with him to blur. Panning
Pann ing., or moving the
the subject, so that the the
camera during exposure to follow a moving
moving subject, of-
of
subject appears sharp
ten makes your
your photograph appear thisthis way: a subject
subject
against a blurred
blurred back-
back-
in focus against a streaking background.
ground. PagePage 1919 shows
some of of the ways you
can control the represen-
represen-
tation ofof motion.
motion.
Try photographing
from a different angle,
such as very low low to the
ground. IfIf you move
move
closer to your subject’s
subject's
feet or skateboard, or or
whatever is is moving,
moving, you’ll
you'll
get more of of a blur
blur than
than ifif
you stay farther away.
Keep notes
notes ofof the
shutter speed, distance,
and relative subject speed
so later you can recon-
recon-
struct what you did.

HOW DID YOU

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

CHAPTER 9 161
Depth in a Picture
THREE D
THREE IMENSIONS B
DIMENSIONS ECOME T
BECOME WO
TWO

PP hotographs can seem to change

change the
the depth
depth
in a scene.
scene . When you photograph,
photograph, you trans-
trans-
late 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.
In doing so, you can expand
expand space
space so so objects
objects seem
seem
very far apart or you
you can
can compress space
space soso objects
objects
appear to be flattened and
and crowded
crowded close
close together.
together.
For example, compare thesethese two
two photographs
photographs of of
buildings in a city. One shows
shows us us flat
flat planes
planes that
that
look almost as ifif they
they were
were pasted
pasted one one on
on top
top ofof
the other and thethe other gives
gives the
the scene
scene volume,
volume,
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
lens. Its narrow angle of of view andand close
close cropping,
cropping,
combined with the the straight-on vantagevantage point,
point,
helped the photographer
photographer reducereduce what
what we we can
can seesee Dan McCoy. Midtown Manhattan, 1973.
1973.
to a simple—and
simple-and flattened—geometry.
flattened-geometry. The T he bot-
bot-
Two perspectives of ofthe city. Buildings
Buildings especially focal lengh, lighting, vantage
vantage point,
tom photo was made made with
with aa normal-focal-length
normal-focal-length (top) seen from the side seem to lie on top of
of and focus,
focus, can contribute to enhancing
enhancing or
or sup-
lens but from an elevated elevated position.
position. This
This wider
wider each other. A bird’s-eye
bird's-eye night view
view (bottom) pressing the sense of
ofa third dimension in your
your
angle ofof view includes more more buildings,
bui ldings, andand more
more gives the buildings volume. All your choices, photographs.
photographs.
of
of the bottom and top top ofofeach
each building.
bui lding. There
There was was
Berenice Abbott.
probably a limited selection
selection ofof possible
possible vantage
vantage New York at Night,
points, but thisthis one was was still
still carefully
carefu lly chosen.
chosen. 1934.
1934.
Pages 48–49
48- 49 explain more more about
about howhow to to use
use your
your
lens and position to to control thethe way
way aa photograph
photograph
shows depth.
All of
of your choices affect the the viewer’s
viewer's impres-
impres-
sion of
of your subject’s
subject's depth,
depth, something
something the the pho-
pho-
tograph itself—being
itself- being two two dimensional—doesn’t
dimensional- doesn't
have at all. Showing only only part
part ofof anan object
object or or aa
narrow view of of a scene,
scene, for
for example,
example, may may contrib-
contrib-
ute to reducing a viewer’s
viewer's impression
impression of of volume
volume
in a photograph. This may may bebe easy
easy toto do
do byby choos-
choos-
ing a longer-focal-length lens, lens, but
but framing,
framing, focus,
focus,
vantage point, and lighting
lighting are
are all
all important
important fac- fac-
tors as well.
we ll.
Every time you take take a picture,
picture, thethe three
t h ree
dimensions of of the
the real
real world areare translated
translated auto-
auto-
matically into the the twotwo dimensions
din1ensions of of aa photo-
ph oto-
graph. But, like taking
taking control
control of ofautomatic
automatic focus focus
and automatic exposure, itit is is usually
usually best
best toto make
make
your own decisions.

162
162 S E E I N G LLIKE
SEEING IKE A C AMERA
CAMERA
 C H A O S IINTO
CHAOS NTO O RDER
ORDER

Y
Y our choices of of timing,
t1m1ng, vantage
vantage point, point,
focus, and lens are a complex complex mix. mix. You are
making photographs,
photographs, not not just taking
caking them,them, and and
must keep in mind that that viewing themthem will wi ll be
be aa
different experience from from seeing
seeing the
the world
world fromfrom
which they were made. made. What
What kindkind ofof experience
experience
do you want to communicate?
Consider the
t he two photographs
photographs on on thisthis page.
page.
The one below is carefully
carefully ordered
ordered andand organized
organized
to
co create a mood of of calm and
and serenity.
serenity. We We imag-
imag-
ine the place—because
place- because of of the
the way
way itit isis shown
shown to to
us—to
us- co have a storybook quality quality that
that we we can’t
can't
credit to a simple choice of lens or
oflens or depth
depth of offield.
field.
At left is a photograph so chaotic
chaotic it it is
is difficult
difficult at at
first to
co sort out. It It is
is jangled andand energetic,
energetic, with with
no clear subject.
In both cases the photographer
photographer has has imposed
imposed
a personal sensibility on what what waswas in
in front
front of ofthethe
lens and so directed our experience in in viewing
viewing
them. The ability
abili ty to
to create aa unique
unique sensibility,
sensibili ty,
and to do so consistently,
consistently, is is often
often called style..
called style
style.
Style takes time to to develop, and and itit hinges
hinges on on
both an understanding of of the
the available
available toolscools andand
a sense of
of what it is is important to to use
use themthem for.for.

Pete Turner. Ibiza Woman, 1961.

1961. You
You
our subject with choices of
can simplify yyour of
where,
where, when, and how to take the picture.
Larry Fink. Man Drinking, Alan Turner
Larry Turner
Party, 1982.
1982. The
The eye and brain hesi-
hesi-
ta te when an image is too complex to
tate to be
be
quickly deciphered. Creating that
that kind
kind of
of
hesitation is a goal of
ofsome photographers
(see page 157).
157).

CHAPTER 9 163
Photographing
for Meaning
for

G
G ood composition
compos1t1on and technical
technical quality
quality
are not the only goals you could keep in mind
mind
as you photograph. For some, some, itit is
is enough
enough to to
make a competent,
competent, well-designed
well-designed photograph
photograph of of
the subject of
of your choosing. In In fact,
fact, many
many pho-
pho-
tographers make aa good living
living doing
doing just
just that.
that. All
All
photographs have both form—the
form- the way way aa picture
picture
looks, including its composition—and
composition- and content—
content-
what a picture is
is about, including
including itsits subject.
subject. And
And
there is a balance between formform and
and content
content that
that
the photographer can can control. If If you’d
you'd like
like an
an
additional challenge,
challenge, however,
however, consider
consider the the way
way
you can use form
forn1 and
and content
content together
together to to create
create
meaning in a photograph.
photograph.
Meaning can be be reinforced,
reinforced, as as in
in the
the photo-
photo-
graphs on these twotwo pages,
pages, by
by arranging
arranging the the way
way
you show your subject. For For example,
exatnple, meaning
meaning can can
be created using
using a metaphor
metaphor basedbased onon appear-
appear-
ance, like the supermarket stretching
stretching its its mouth
mouth
(opposite) or the
the sensual shapes
shapes andand curves
curves ofof
Pepper #30 (right). To expand
expand aa picture’s
picture's possibili-
possibili-
ties, think not only
only about what
what something
something lookslooks
like, but what else itit looks
looks like
like or
or might
might mean.
mean.
Mythology, literature,
literature, and
and religion
religion have
have invested
invested
many subjects with symbolic
symbolic meaning—a
meaning- a pome-pome-
subject of
of the image.
image. The
T he wide
wide panoramic
panoramic shape
shape Weston . Pep-
Edward Weston.
granate in a still life or a rutted
rutted path
path inin aa land-
land- per ##30,
30, 1930.
1930. Common
of
of the landscape below
below suggests
suggests anan endless
end less hori-
hori-
scape—that
scape- that can add significance. YourYour pictures
pictures cancan shapes can be suggestive
zon, a topography so vast itit can’t
can't be
be contained
contained when photographically isolat-
be more than just a record
record of
ofaa subject’s
subject's existence.
existence.
in an ordinary rectangle.
rectangle. Scale
Scale also
also changes
changes the
the ed.
ed. About this image Weston
Consider the physical
physical qualities
qualities of
of your
your effectiveness of
of an image:
image: aa tiny
tiny print
print often
often exudes
exudes said “It
"It is classic, completely
photograph.
photograph . A slightly brown or sepia color
color of
of intimacy;
intimacy; a very large
large one
one can
can project
project power.
power. AA satisfying—a pepper—but
satisfying-a pepper-but
more than a pepper; abstract,
a black-and-white photograph
photograph is
is called
called warm
warm tone
tone thoughtful
thoughtfu l presentation of ofyour
your work
work will
will make
make aa in that it is completely outside
because it imparts an emotional
emotional warmth
warmth toto the
the big difference in
in its impact.
impact. subject matter.”
matter. "

164
164 S E E I N G LLIKE
SEEING IKE A C AMERA
CAMERA
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 byby using
using
the bottom rack ofofa supermarket cart as a tripod
tripod to
to hold
hold aa home-
home-
made 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 equip-
equip-
ment, but of
ofthe efforts and ability of
ofthe
the user.
user. Another
Another example
example of ofaa
Art Sinsabaugh. Midwest Landscape
Landscape #24, 1961.1961.
photographic metaphor is on page 202, bottom.
bottom.
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 toto the relentlessly
horizontal and often featureless landscape ofofthe
the
American Midwest.

C HAPTER 9
CHAPTER 165
165
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 anan expression,
expression,
reveals a mood,
mood, or tells
tells something
something about
about aa per-
per-
son. Props, clothing,
clothing, or
or a view
view into
into the
the subject’s
subject's
environment are not essential,
essential, but
but they
they can
can help
help
show what a person does
does or
or what
what kind
kind of
ofaa person
person
he or she is (see photographs
photographs atat right
right and
and onon the
the
opposite page).

Put your subject at ease. ease. ToTo do

do this,
this, you
you have
have
to be relaxed yourself, or at least least look
look that
that way.
way.
You’ll
You'll feel better if if you areare familiar
familiar with
with youryo ur
equipment and how how itit works so so you
you don’t
don' t have
have
to worry about how how toto set
set the
the exposure
exposure or or make
make
other adjustments.
Don’t
Don't skimp on shooting when when making
making aa
portrait. Make sure you you aren’t
aren't imposing
i1nposing on on some-
some-
one’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 atat first
first when
when
being photographed.
Try to use a fast enough shutter speed, 11/60
shutter speed, ⁄60
60
sec. or faster, if
if possible,
possible, so so you
yo u can
can shoot
shoot whenwh en
your
yo ur subject looks good, rather
rather than
than your
your having
having
to say, “Hold
" Hold it,”
it," which is is only
only likely
likely to
to produce
produce
a wooden expression. Don’t Don't automatically
automatically ask ask
your
you r subject to smile, either.
either. AA quietly
quietly pleasant,
pleasant,
relaxed expression
expressio n looks
looks better
better than
than aa pasted-on
pasted-on
big smile.

Lighting. See what itit isis doing

doing to
to the
the subject.
subject. Soft,
Soft,
relatively diffused light
light is
is the
the easiest
easiest to to use;
use; itit isis
kind to most faces
faces and won’t
won't change
change muchmuch eveneven ifif
you alter your position.
position. Alec Soth. Charles, Vasa, Minnesota, 2002. Leave Leave yourself
yourselfopen
open toto
chance meetings. Soth, driving through an unfamiliar
unfamiliar neighborhood,
neighborhood,
Side lighting, like in in the
t he photographs
photographs on on
noticed a large glass room built on the roof
roofofofaa house.
house. He
He introduced
introduced
these two pages,
pages, adds roundness
roundness and and aa three-
three- himself
himselfto the owner, who said the glass room was was his “cockpit,”
"cockpit," aa place
place
dimensional modeling.
modeling. The more more to to the
the side
side the
the where he and his daughter built
built model airplanes.
main light is, particularly
particularly ifif it it is
is not
not diffused,
diffused,
the more it emphasizes facial facial texture,
texture, including
including
wrinkles and lines.
lines. That’s
That's fine
fine for
for many
many subjects,
subjects,
but bad, for instance,
instance, for
for your
yo ur Uncle
Uncle Pete
Pete ififhe
he still
still
wants to see himself
himself as as the
the young adult ad ult hehe used
used
to be. Front lighting produces
produces lessless modeling
modeling than than
does side lighting (see
(see pages
pages 140–141),
140- 141 ), butbut itit min-
min-
imizes
imi zes minor
min or imperfections.
imperfection s. Three
Three simple
simple portrait
portrait
lighting setups are shown on on pages
pages 144–145.
144- 145.

166
166 S E E I N G LLIKE
SEEING IKE A C AMERA
CAMERA
Project:
A PORTRAIT
PROCEDURE Th There
ere are
are
at least as many many different
different
ways to make a portrait portrait of of
someone as there are people peo ple
worl d to photograph.
in the world photograph .
Use at least three dozen dozen
exposures to photograph
photograp h the the
same person
person in as as many dif-
many dif-
ferent
fere nt ways as you can. Twice
as many of of the same personperson
are even better.
better. ItIt may
may take
take
a while
wh il e before both both you and a nd
your subject feel fee l relaxed andand
co mfortab le. Here
comfortable. Here areare some
possibilities, but but you can can
think
t hink up even more. more.
As a baseline,
baseline, consider
co nsider
conventional head-and-
the conventional head-and-
shoulders
sho ulders graduation-type
grad uation-type
portra it. Where can you go
portrait.
from there?
T
Try ry different sites and a nd
backgrounds,
backgro unds, such as in in
a park,
park, at home, ho me, at work.
Does the background
Does background have have
to look pleasant?
pleasan t? How How about
about
in front of a row row of of beat-up
beat-up
schoo l lockers?
school lockers?
T
Try ry different angles:
angles; from
above or below, as well as as
from eye level. level. Try
T ry moving
moving
in very close,
cl ose, so the camera
exaggerates facial facia l features.
fea tures.
Does
Does the person perso n always have have
sitti ng or standing?
to be sitting stand in g?
IfIf the person feels relaxed
person fee ls relaxed
enough or can ca n role-play,
ro le- play, have
have
him or her her express different
different
emotions, such as anger, sad- sad-
ness, silly
si lly good humor.
humor.
Vary the lighting:
ligh ting: front,
fro nt,
side,
side , top, bottom,
bottom, back back (see
(see
pages 140–141),
140- 141 ), in in direct
direct
sun,
su n, byby a window, in in the
the
shade
shad e (see pages pages 136–137).
136- 137).
Do you
Do yo u have
have to see see their
face? Can Ca n you make make aa reveal-
reveal-
portrait from the back?
ing portrait back?
sil houette?
As a silhouette?
You’ll
You' ll know you have have shot
shot
eno ugh when both
enough both youyou and
and
your subject are a re worn out.ou t.

HOW DID YOU DO? DO?

Which
Whic h are your favorite
favor ite
photographs?
photograp hs> Why? W hy> Which
W h ich
are your subject’s
subjec t's favorites?
favorites?
W hy? How
Why? How did di d the bac
back-k-
ground,
grou nd , props,
pro ps, or other
other
elements
ele me nts contribute
co ntribute to the t he
picture?
p icture? What wouldwo ul d Ki/lip. Torso,
Chris Killip. Torso, Pelaw,
Pe/aw, Gateshead,
Gateshead, Tyneside,
Tyneside, 1978.
1978. he didn’t
didn 't notice the poorly repaired coat
coat and
and mismatched
mismatched
so meo ne who didn’t
someone didn ' t know
know A person can be revealed by more than just
just a face.
face. shoelaces until he printed the image.
this
t hi s person
perso n think
th ink about
abou t
Killip
Ki/lip lived in Newcastle during the 1970s,
1970s, aa period
period of
of Years later, when asked to participate in a museum
museum
t hem , based
them, based simply
simp ly on economic decline and high unemployment
unemployment in England’s
England's exhibit on portraiture, Killip
Ki/lip sent this photograph. The The
seeing
see ing the photographs?
p hotographs?
industrial north. He was drawn to photograph this this man,
man, museum sent it back with a note saying
saying itit wasn’t
wasn 't aa portrait.
portrait.
seated on a wall near Killip’s
Ki/lip 's home, by
by the
the stained
stained trousers;
trousers; Do you
you think it is?
C HAPTER 9
CHAPTER 167
Portraits
FFORMAL:
O R M A L : SSETTING
E T T I N G THEM
THEM U
UPP

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
feel casual even if
if you’ve
yo u've made
made an an appointment
appointment in in
advance, asked
as ked your
yo ur subject
subject toto wear
wear your
yo ur choice
choice ofof
clothes, or made
m ade them
them hold
ho ld aa given
given posture.
posture. Like
Like
the photographs on pages pages 166–167
166- 167 show,
show, there
there
is a power in presenting
presenting someone
someone in in aa believable
believable
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 moremore formal.

formal. AA
political leader
lead er or
o r business executive
executive may m ay want
wane aa
photograph that suggests the the traditions
traditions of ofaa stu-
stu-
dio portrait, like the
t he one onon this
chis page.
page. A A celebrity
celebrity
magazine maym ay want someone
som eon e photographed
photographed in in aa
more expressive way, but but one
one (like
(like on
on the
the opposite
opposite
page) that
char appears just
ju st as
as deliberate.
d eliberate. These
T hese styles
styles
require an understanding
understanding of lighting (see
of!ighting (see Chapter
Chapter
8) and are usually
usually made
mad e in
in artificial
a rtificial illumination
illumination
supplied by the
the photographer.
p h otographer.

A model release protects protects you you ifif you

yo u sell
sell aa
photograph of of someone
som eone for for commercial
commercial use. use. ItIt
is a contract with your
yo ur subject that
that gives
gives you
yo u the
t he
right to sell or publish
p ublish his
his or
or her
her image.
image. You
You can
can
find sample releases
releases online with
with aa simple
simple Internet
Internee
search. The ASMP
ASM P (American
(Am erican Society
Society ofof Media
Media
Photographers, asmp.org)
as mp.org) displays
displays several
several use-
use-
ful versions
ve rsions online, and offers
offers legal
legal and
and business
business
information to to its
its members.
m embers. Remember,
Rem ember, eveneven ifif
someone asks
as ks you
yo u (or pays
pays you)
you) toto make
make their
their
photograph,
pho tograph, its ownership,
ownership, or or copyright,
copyright, remains
ren1ai n s
yours
yo urs unless you
yo u sign it
it away.
away.
Yousuf Karsh. Sir Winston Churchill, 1941.
Yousuf Karsh. 1941. The
The
photographer was given only two minutes of ofthis
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.

168
168 S E E I N G LLIKE
SEEING IKE A C AMERA
CAMERA
 Newman . Igor
Arnold Newman. Igor Stravinsky, 1946.
1946. The
The structure
structure of ofaa photograph
photograph can can
reinforce its meaning. Newman cropped cropped this
this portrait
portrait toto its
its essentials,
essentials, departing
depar ting
departing
from the conv
con ventional rectangle. Composer
conventional Composer Stravinsky
Stravinsky isis shown
shown withwith aa piano,
piano, the
the
image connects him to music. The The isolated
isolated piano top’s
top's shape
shape suggests
suggests the
the quar
qquarter
uarter
uar ter
note
no te in musical notation.
notation. Newman says thatthat the
the image
image “echoed
"echoed my m y feelings
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."

C HAPTER 9
CHAPTER 169
169
Photographing the Landscape

H
H ow do you photograph aa place?
place? There
There are
are Look at a scene from different
different angles,
angles, walk-
walk-
as many different ways to to view
view aa scene
scene as as there
there ing around
aro und to
to view it it from
from different
different positions.
positio ns.
are photographers. Most
Most important
important for for you:
you: what
what Your
Yo ur location can profoundly
profoundly affect
affect the
the relation
relation
do you want to remember?
remen1ber? What What isis the
the best
best part
part between foreground
foregro und and background;
background; the the closer
closer
of
of the place for you?
you ? Is
Is it
it the
the sweep
sweep of of the
the land-
land- you
yo u are to an object, thethe more
more aa slight
sligh t change
change ofof
scape as a whole that
that is
is breathtaking
breathtaking or or is
is some
some position will alter itsits relationship
relationship to to the
the back-
back-
particular part
part of
of it
it especially
especially significant?
signifi cant? In
In what
what ground.
gro und. Change your point point of
of view
view and
and aa subject
subject
way does the place
place speak to to you?
yo u? may reveal itself
itself in a new
new way.
way.

M israch. Tracks, Black

Richard Misrach. Black Rock Desert,
Desert, Nevada, 1989.
1989. enough to protect the earth from ourselves. Many
Many landscape
A landscape can have an opinion. Beautiful
A Beautiful as they
they are, the
the photographers try to exclude signs of
ofcivilization from
from their
their
pattern of
ofthese tire tracks make us wonder
wonder ififwe
we are doing
doing images; Misrach has made such encroachments aa majormajor theme.
theme.

170
170 S E E I N G LLIKE
SEEING IKE A C AMERA
CAMERA
Stuart Rome. Horsetail Falls,
Falls, Oregon, 1996.
1996. Landscapes
Landscapes
are often
o~en sharp from foreground to to background.
Depth ofoffield 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 thethe
waterfall in rock and show it against aa background
background of offorest.
forest.
Your location can profoundly affect the relation between
between
foreground and background; the closer
closeryou are to to an object,
the more a slight change ofofposition will
will alter
alter its relationship
to the background.

Barbara London. Point Lobos, California, 1972.

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 identi-
identi-
fies 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 171
171
Photographing the Cityscape

HH ow do you see the city? city? Is

ls itit aa place
place ofofcom-
com-
fort or
o r of
of chaos? Is
ls it
it the
the people
people or or the
the buildings
buildings
that
t hat give it character?
characte r? Whether
Whether youyo u livelive in
in the
the city
city
or you
yo u are just visiting, use
use the
the camera
cam era as as your
yo ur
excuse to explore it.

Walking givesg ives you time to to photograph.

photograph . Stop Stop
if
if you
yo u see something
som ething interesting;
interesting; don’t
don' t bebe in
in such
such
a hurry
hurty that
that you
yo u can’t
can't pause
pause to
to think
think about
about howhow
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 makema ke your
yo ur cityscape distinctive.
distinctive.

Return to a place
place when the
the light
light isis best.
best. The
The
sun will illuminate a different
different side
side of
ofaa building
building in in
the morning
morn ing than it does
does inin the
the afternoon.
afternoo n. Clouds
Clo uds
or an overcast sky
sky impart
impart an an entirely
entirely different
differen t
emotional tone than
than aa bright,
bright, sunny
sunny day.
day.
Don’t
Don't ignore the possibilities
possibilities ofof photograph-
photograph-
ing at dawn, dusk,
dusk, or at
at night.
night. AA tripod
tripod will
will let
let you
you
make
n1ake long exposures, but but bebe careful
careful setting
setting oneone
up on a busy sidewalk.

The time of of day affects more

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

lfred Stieglitz. The Flatiron Building,

Alfred
A
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.
172 S E E I N G LLIKE
SEEING IKE A C AMERA
CAMERA
Walker Evans. Graveyard and Steel Mill,
Bethlehem, Pennsylvania, 1935.
1935. Your
Your
vantage point creates relationships.
Evans helps us see parallels here between
the rhythmic appearance ofofapartment
house windows, the gravestones, and the
smokestacks in the background. All these
unrelated elements seem purposefully
convened before the foreground cross as
though for a sermon.
sermon.

C HAPTER 9
CHAPTER 173
173
Photographing Inside
I nterior spaces
Interior s paces always present
present multiple
multiple chal-
chal- Vantage points are limited
Ii mited indoors.
indoors.Often
O ften there
there
lenges
le nges for
fo r the photographer,
photograp her, but
but overcoming
overco ming is an
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 you
yo u from backing up up to
to fit
fit everything
everythi ng intointo your
yo ur
its own character
cha racter and can can imply
im ply meaning,
n1eaning, muchmuch picture. It is
is no wonder that
that architectural
architectural photog-
photog-
like a landscape. You may may want
want to to capture
capture the the raphers, who are often asked
asked to to photograph
photograph interi-
interi-
volume and scale of of the
t he space itself,
itself, asas in
in thethe ors, carry wide-angle
wide-angle lenses
lenses inin several
several focal
focal lengths.
lengths.
photograph on the the opposite
o pposite page,
page, oror you
yo u may
m ay useuse Even for the
t he professional whowho is is allowed
allowed to to move
m ove
it—like
it- like below—to
below- to highlight
hi ghli ght your
yo ur subject
subject thethe way
way aa the furniture, finding
fi nding the
the right
right spot
spot for
for the
t he camera
camera
stage set features actors.
acto rs. Interiors
Interiors reflect
reflect the
th e lives
lives can be a challenge. Don’tDon't ignore
ignore thethe possibilities
possibi lities
of people who live or work wo rk in in them,
them, and and even
even of of opened
o pened up by by a vantage point
point above
above your
yo ur head
head or
or
those
t hose who just pass
pass through
th ro ugh them.
them. When
When photo-
photo- below your
yo ur waist.
graphs
grap hs of people reveal
reveal something
something of of the
t he subjects’
subjects'
surroundings
su rro u ndings they
t h ey can find find resonance
reson a n ce withwith aa Shelby Lee Adams. The Napiers’Napiers
Napiers'’ Living
Living Room,
Room, 1989.
1989. Bring
Bring your
your own
own light
ligh t
much wider
wid er audience thanthan cancan aa simple
sim ple head-and-
head-and- ifif necessary. For his extended series on Appalachian families,
families, Adams
Adams carried
carried aa set
set
of
ofstudio strobes to provide enough light for for dark interiors
interiors like
like this
this one
one and
and to
to let
let
shoulders portrait. him control the illumination on his subjects for for the clarity
clarity and
and depth
depth he
he wanted.
wanted.

174 S E E I N G LLIKE
SEEING IKE A C AMERA
CAMERA
Pay attention to the light.
light. Most
Mose interior spaces There is less light indoors
in terior spaces indoors than
than you’d
yo u'd find
find out-
out-
are illuminated
ill um inated by several sources;
sources; there
there maymay bebe doors, almost
alm ost invariably. Stay
Seay aware
aware of of depth
depth ofof
windows on more more than
t h an one
one wall,
wall, and
and window
window field; it is especially important
important to co interior
interior photog-
photog-
light
li ght is often supple mented by
suppl emented by artificial
artifi cial lighting
lighting raphy because you yo u are often
often close
close toco your
your subject.
subject.
during the day. day. Watch for for unwanted
unwanted shadows
shadows Remember
Remen1ber that that the
the closer you areare to
to aa subject,
subject, the
th e
that
chat may appear more more bothersome
bothersome in in aa photo-
photo- less depth of of field you’ll
you'll get
gee with
with anyany given
given focal
focal
graph than in the the scene itself,
itself, and
and be
be onon the
the look-
look- length and aperture. If If you
yo u need
need to co close
close down
down
out
o u t for excessive contrast fromfrom strong
strong side
side or
or top
top the aperture to to keep
keep most
most ofof the
the environment
environment in in
light.
li ght. If
If you are working
workin g inin color
color and
and can’t
can't control
control focus, as did the the photographers
photographers in in the
the examples
examp les
the
t he lighting, youyo u may
may see different
different color
color casts
casts in
in on these
t h ese two pages, youyo u may
1nay need
need aa tripod,
tripod, some
son1e
different areas. extra light, or both.

Edward Burtynsky. Manufacturing #17, Deda Deda Chicken

Chicken Processing
Processing Plant,
Plant,
Dehui
Oehui City, Jilin Province, 2005. It
City,Jilin It is often impossible to to control
control anything
anything
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 tootoo 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."

C HAPTER 9
CHAPTER 175
175
Assembled to be Photographed

Y
Y ou can photograph scenes scenes that
that could
could an individual publication.
publication. If
the news, however,
however, you
yo u can
If you’re
you're not
can exert
exert as
as much
reporting Lori Nix. Library, 2007. Nix
not reporting
control fabricated and assembled
much control
Nix
never exist by creating directly from from your
your imagi-
imagi- every element of of this
nation. There isis an idea
idea most
n1ost of
ofus
us share
sh are that
that as you’d
you'd like over what
what your
yo ur photographs
photographslook look like.
like. photograph in miniature,
photography has aa connection to to the
the truth.
truth. Even
Even You are already comfortable with with certain
certain deci-
deci- {,fling
filling the living room of
ofher
the most sophisticated and and skeptical
skeptical observers
observers sions
sion s when
wh en you
yo u capture an an image,
image, choosing
choosing sub-sub- New York apartment over over a
ject matter,
n1atter, vantage point,
point, timing,
titning, and
and lighting.
lighting. period ofofabout seven months.
perceive photographs differently
d iffere ntly than
than paintings.
paintings. The image is not digitally ma-
Even when
wh en we know we we can’t
can't really
really believe
believe aa pho-
pho- You may askas k someone to to smile
sm il e for
for the
t he camera.
camera. nipulated. She gets ideas while
tograph,
tograp h, we want to.to. This natural
natural reaction
reaction to to pho-
pho- It’s
It's only a short
s h ort step to
to hiring,
hiring, costuming,
costun1ing, and and commuting on the subway and
tographs
tograp hs is a powerful tool
tool in
in your
yo ur hands.
hands. posing a model,
model, oror creating
creating an an entire
entire environ-
environ- “…postulates
"... postulates what it might
might be
ment (photograph on on opposite
opposite page).
page). like to live in a city that is post
mankind, where man has left
le~
There are no rules
rules for personal
personal expression.
expression. his mark by the architecture,
Journalists must abide by
by aa set
set of
of general
general ethical
ethical The camera sees with one
one eye.
eye. You
You don’t
don't need
need but mother nature is taking
principles and—usually—a
and- usually- a specific
specific set
set imposed
imposed by
by to be concerned with anything
anythi ng outside
outside its
its vision.
vision. back these spaces.”
spaces.,,

176
176 S E E I N G LLIKE
SEEING IKE A C AMERA
CAMERA
Jeff Wall. After
Jeff Invisible
A~er Invisible To construct an environment
environment to to be
be photographed,
photographed, using
u sing other visual cues—for
cues- for example,
examp le, objects
objects at at aa
Man by Ralph Ellison, the like the ones on these
t hese two
two pages,
pages, itit helps
helps to
to lock
lock distance appear smaller. By By creating
creating objects
objects small-
small-
Prologue, 1999–2001.
1999- 2001. Wall
was inspired by an “ac- " ac-
the camera in place
place while
whi le building
building the the structure,
structure, er than they would be be normally
normally or,
or, for
for example,
example,
cident of of reading”
reading" to create
crea te so you can refer to itsits unique
unique vantage
vantage point
point often
often making
n1aking a table
table that
that is
is narrower
narrower atat one
one end
end than
than
this environment, based on during the time
rin1e it
it takes
rakes toto complete.
co1nplece. Like
Like aa movie
1novie the other, you can use perspective to
u se forced perspective to create
create
“the
"the hole in the basement”
basement" set, nothing out ofof view needs
needs to
to be
be finished.
finis hed. a false sense of
of depth.
depth . In the
the world
world of
of Hollywood
Hollywood
with “exactly
"exactly 1,369
1,369 lights”
lights" in
which the narrator of ofEllison’s
Ellison 's
movies, many props and and special
special effects
effects depend
depend on on
novel lives.
lives. Wall presents Perspective can be
be manipulated.
manipulated . We
We normally
normally forced perspective.
this photograph, a composite get most of
of our depth perception
perception from
from stereoscopic
stereoscopic Look at advertising photographs,
photographs, as as well
well as
as
of
ofseveral exposures, as a vision, each eye sees a slightly
slighrly different
different image.
image. But
But films, for ideas. Corporate
Corporate clients
clients have
h ave immense
immense
transparency over eight feet
wide that is illuminated from
because a photograph
photograph is is flat,
flat, we
we perceive
perceive depth
depth by
by budgets and can materialize
materialize almost
almost anything.
anything.
behind so, when exhibited, it
becomes itself
itselfa light source.
Ellison’s
Ellison's character says “With-
"With-
out light
fight I am not only invisible
but formless as well.”
well. "

C HAPTER 9
CHAPTER 177
177
Responding to Photographs
“I
"I t’s
t's good.” “It’s
good." "It's not so so good.”
good." What What The elements of of design are are aa commonly
commonly used used
else is there to
to say when you you look
look atat aa photo-
photo- vocabulary for describing pictures pictures that
char will
will bebe
graph? What is is there
there to
to see—and
see- and toto say—when
say- when useful for responding to to photographs.
photographs. You You might
might
you
yo u respond toto work inin a photography
photography class
class or
or begin with point,, like
wirh point like the
the ice-cream
ice-cream scoop
scoop on on page
page
workshop? Looking at other ocher people’s
people's pictures
pictures 161 top, or line, like
like the
the sides
sides ofofbuildings
bui ldings onon page
page
helps you improve your own, especially
especially ifif you
you 162 top or the curve of of the
the track
track onon page
page 161 161
take
rake some time
rime toto examine an an image,
in1age, instead
instead bottom. Shape could
cou ld describe
d escribe thethe shadow
shadow in in the
the
of
of merely glancing at it it and
and moving
moving on on to
to the
the middle of the image on page
ofrhe page 35.35. Other
Other design
design ele-
ele-
next one. In addition to to responding
responding to to other
other ments
n1ents include direction or or movement,
movement) sizesize or
or scale,
scale)
people’s
people's work, you need
need to
to be
be able
able to
to look
look at
at and
and volume,
volume) texture, color or hue
texture) color hue,, and value or
and value or lightness.
lightness.
evaluate your own. Try finding examples of of these
these inin this
this book—and
book- and

Roe Ethridge. Old Fruit, 2010. What What do

you respond to in a photograph? This
you This
scene suggests the kind ofofstill-life paintings
popular in 16 th and 17
J6th th century Europe,
1Jth
called vanitas,
vanitas, that suggest the transience of of
living things.
things. Do you
you see hope in this picture or 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?
178 S E E I N G LLIKE
SEEING IKE A C AMERA
CAMERA
 look at the
th e other
ocher examples
exam ples in in the
the box
box below.
below. SeeSee ality?
aliry? Does the
th e environment,
environn1ent, the
th e setting
setting in
in which
wh ich
if breaking down a picture
pictu re into
into formal
formal elements—
elen1ents- the sitter appears, add anything?
anything?
the
rhe way it looks, apart from
fron1 its
its content
content or or what
what itit
describes—makes
describes- n1akes you moremore attentive
attentive to co their
t heir pres-
pres- Emphasis. Is
Is your eye drawn
drawn to
co some
some part
pare of
ofthe
the
ence in your own photographs.
p hotographs. picture? What leads
leads your eye
eye there?
t here? For
For example,
example,
When evaluating your own own photographs,
photographs, ask ask is depth of
of field
field shallow,
shallow, so
so that
ch at only
only the
the main
main
yourself what you yo u saw
saw when
when you you brought
brought the the subject is sharp and
an d everything
everyth ing else
else out
ou t of
offocus?
focus?
camera toco your eye?
eye? How
How well
well did
d id what
what you you had
had
in mind translate intointo aa picture?
pictu re? Would
Wo uld you you dodo Technical considerations. Do Do they
chey help
help or
or
anything differently
differencly next
next time?
time? hinder?
h inder? For
For example,
example, is
is contrast
con trast harsh
ha rsh and
an d gritty?
gricry?
Following are other itemsitems to to consider
consider whenwhen Is the technique
tec h nique suitable co the
suitable to t he subject
subject or
or not?
not?
you look at a photograph.
photograph. You You don’t
do n' t have
have toco con-
con-
sider each one every time,
time, but
but they
they can
can give
give you
you aa Emotional or physical impact.
impact. Does
Does the
the pic-
pic-
place to start. ture
t u re make you feel sad,
sad, amused,
am u sed, peaceful?
peaceful? Does
Does itit
make
n1ake your eyes widen, your muscles
n1uscles tense?
tense? What
What
Type ofof photograph.
photograph . Is Is itic aa portrait?
portrait? AA land- land- elements
elemen ts might cause these
t h ese reactions?
reactions?
scape? Advertising photograph?
p h otograph? News News photo?
p h oto?
What do you think
ch ink the
th e photograph
p h otograph was was intended
intended What else does the picture picture tell
tell you
you besides
besides
to do or to
to mean?
mean? WasWas it ir meant
meant to to bebe functional
functional what is immediately
immediately evident? Photographs
Photographs often often
or expressive? Both? A A caption
caption or or title
title can
can provide
provide have more to to say thanth an may
may appear
appear at at first.
first. For
For
information, but looklook atat the
t he picture
picture first
first so
so thethe example, is a fashion
fas hion photograph
p hotograph about
abo u t the
the design
design
caption does not limit
lin1ir your
your response.
response. of
of the
th e clothes,
cloches, or is
is it
ic really
really about
abo u t the
the roles
roles ofofmen
men
Suppose
Su ppose the picture
piccure is is aa portrait.
portrait. Is Is itic one
one and women in in our culture?
culture?
that
chat might
m ight have
have been
been made
made at at the
the request
request of of the
the Trust your own responsesresponses to
co aa photograph.
photograph.
subject? One made
made for for the
the personal
personal satisfaction
satisfaction How do you actually respond respond toco anan image
im age andand
of
of the photographer?
p h otographer? Is Is the
the sitter
sitter simply
simply aa warmwarm what do you actually
actually notice
notice about
about it?
ic? What
What do do you
you
body or does hehe or she contribute
contribute some some individu-
individu- remember about it it the
th e next
next day?
day?
Visual Elements
Here
Here are some of of the terms
terms we we Light High contrast: Very dark andand Perspective
can use to describe the visual or or Front light: Light
Light comes from from very light tones, few gray tones
tones Compressed perspective
graphic elements of ofaa photograph.
photograph. position, shadows
camera position, shadows not not (pages 204 bottom,
bottom, 205)
205) (telephoto effect):
effect): Objects
Objects
page cited for an
See the page an illustra-
ill ustra- prom inent (page 145
prominent 145 bottom)
bottom) Low contrast: Mostly
Mostly gray tones
to nes closer
seem crowded together, closer
tion of
of a particular
particular element.
element. Back light: Light
Light comes towardtoward (page 172, 205 top)
172,205 top) than they really
really are (pages
(pages 36,
36,
camera, front of of subject
subject is is High key: Mostly
Mostly light
light tones
tones 162 top)
Focus and Depth
Depth of Field
Field shaded (pages 65, 65, 71)
71) (page 52) Expanded perspective
Sharp overall (pages
(pages 158,
158, 164
164 Side light: Light
Light comes from from Low key: Mostly
Mostly dark tones (wide-angle “distortion”):
udistortion"):
bottom), soft focus overall
overall side,
side , shadows cast to side side (page 38) Parts of
of the scene seem
(page 165 top)
165top) (pages 2, 144)
144) stretched or positioned
positioned
Selective focus: One
O ne part
part sharp,
sharp, Direct light: Hard-edged,
Hard-edged, often often Texture unusually far from
from each other
other
not (page 44). See
others not See also
also dark shadows (page 136) 136) Emphasized: Usually
Usua lly results
resu lts (pages 38, 39 bottom)
bottom)
Shallow depth of of field.
field. Directional diffused light:
light: light striking subject
from light subject from
fro m
Shallow depth ofoffield:
field: Little
Little dis-
dis- Distinct,
Distin ct, but
bu t soft-edged an angle (pages 138,138, 150)
150) Line
ranee between
tance between nearest
nearest andand far-
far- shadows (page 137 137 left)
lefi:) Minimized: Usually
Usua lly results
results from
from Curved (page 163
163 bottom)
bottom)
thest
chest sharp areas (pages 152, 152, Diffused light: No,
No, or almost
almost light coming from camera Straight (page 170)
170)
158 bottom) no, shadows (page 137 137 right)
right) position or from all all sides
sides Horizontal (page 164–165
164-165
Extensive depth ofoffield:
field: Silhouette: Subject very dark dark (page 101, 207) bottom)
Considerable distance between
between against light background
backgro und Vertical (page 48 bottom)
bottom)
nearest and farthest
fart hest sharp
sharp (pages 52, 72 top) Viewpoint and Framing
Framing Diagonal (page 21,
21, top)
top)
areas (pages 59,
59, 170)
170) Glowing light: Subject glows Eye-level viewpoint (pages Position of
ofhorizon line
with refl ected light
wit h its own or reflected light 167)
160, 167) bottom, 173)
(pages 97 bottom, 173)
Motion (pages 67, 139
139 bottom)
bottom) High (page 162 162 bottom),
bottom),
Frozen sharp even
even though
though sub-
sub- low (page 155),
155), or unusual
un usual Balance
ject was moving (pages 35,
jeer 35, 46) Contrast and Tone viewpoint (page 161 161 bottom)
bottom) An internal, physical
p hysica l response.
response.
Blurred: Moving
Moving camera or or sub-
sub- Full scale: Black,
Black, white, and
and The
Framing: Th e way the edges
the edges Does the image
image feel
feel balanced
balanced
ject blurred, part
jeer part or all
all of
of the
the many tones of of gray of the photograph
of photograp h meetmeet the or does itit tilt or feel
feel heavier
heavier in
in
image (pages 3, 161161 bottom)
bottom) (pages 121,
121, 138)
138) shapes in itit (page 153)
153) one part than
tha n another?

C HAPTER 9
CHAPTER 179
179
 L O UE SJ O
TH
ESTHER NEERS B UBLEY
BUBLEY Daguerreotype ................
. . . . . . . . . . . . . . 182
182 Photography
A Picture-Taking
A Picture-
Title of Toking Machine
Photograph, 1972in the Lobby “Designs
"Designs on silver bright" .. ........
silver bright” . . . . . . 182
182 and Social Change ............
. . . . . . . . . . 194
194
at the United Nations Service Center,
Center,
Source lines go here Photojournalism ..............
. . . . . . . . . . . . 196
196
Washington,
Washington, DC, 1943.1943. From its start, pho- Calotype ......................
. . . . . . . . . . . . . . . . . . . . 184
184
tography was most popular for its ability to Pictures on paper ...............
. . . . . . . . . . . . . 184
184 Photography as Art
record a person. For most of 19th centu-
of the 19 in the 19 th Century ............
19th . . . . . . . . . . 200
200
ry, portraits were made only by professionals Collodion Wet-Plate ...........
. . . . . . . . . 185
185
or very serious amateurs.
amateurs. George Eastman’s
Eastman's reproducible. ..........
Sharp and reproducible. . . . . . . . . 185
185 Pictorial Photography
1888
1888 Kodak camera gave the general public and the Photo-Secession ......
. . . . 201
201
a way to memorialize themselves and others
Gelatin Emulsion/
Roll-Film Base ...............
. . . . . . . . . . . . . 186
186 The Direct Image in Art ........
. . . . . . 202
202
nearly any time, but getting the prints meant
sending the camera away to have the film Photography for everyone .. ........
. . . . . . 186
186 The Quest for a New Vision .... . . 203
203
inside processed, and that took time.
time.
Color Photography ............
. . . . . . . . . . 187
187 Photography as Art
The photobooth’s
photobooth's inventor, a Siberian immi-
in the 1950s and 1960s
1960s ........
. . . . . . 204
204
grant named Anatol Josepha,
Josepho, opened the first Early Portraits ................
. . . . . . . . . . . . . . 188
188
photobooth on New York City’s
City's Broadway Photography as Art
in 1925;
1925; it made eight portraits on a strip Early Travel Photography
Photography ......
. . . . 190
190 in the 1970s and 1980s
1980s ........
. . . . . . 206
206
of
of paper,
paper, in about ten minutes, for 2525¢.¢. Early Images of
of War ...........
. . . . . . . . . 191
191
Josepho’s
Josepha 's Photomaton Studio was a sensa-
Color Photography
tion; there, over a quarter-million people Time and Motion Arrives—Again ...............
Arrives-Again . . . . . . . . . . . . . 208
208
slipped behind the curtain ofof one of
of its in Early Photographs .........
. . . . . . . 192
192 Digital Photography ........... . . . . . . . . . 210
210
photobooths in the first six months,
The Photograph Predecessors ...................
. . . . . . . . . . . . . . . . . 210
210
as many as 7,500
7,SOO a day.
day.
as Document .................
. . . . . . . . . . . . . . . 193
193 Becomes mainstream ............
. . . . . . . . . . 212
212
 History
Histor of Photography
Photo 10
In this chapter
cha p ter you’ll
you 'll learn…

photography was born.

•• the limits that
processes placed
leurn ...
•• about the unique era in history
born.
history into

chat early photographic

into which
w hich

photographic materials
placed on the kinds
kinds of
materia ls and
of photographs
and
photographs that
chat
PP
the
hotography
hotog raphy was one
the
t he electric

t he most astonishment
one of
of many
elect ric light,
many inventions
light, the
just a few others—and
inve ntions in
the safety
others- and of
safety pin,
of all
astonish ment and delight.
for granted, but earlyearl y viewers were
in the
the 19
pin, dynamite,
all of
of them,

were awed
th century
19th century-—
dy namite, andan d the
t hem, photography
deligh t. Today,
awed and
the automobile
photography probably
Today, most
mos t people
and amazed
people take
am azed by bythe
au to mobile are
pro bab ly created
are
created
take photographs
photographs
t heobjective
objectiverecords
reco rds
could
cou ld be
be made.
•• how photography
photograp hy grew as an art form,
form, and
and the
t h e camera
can1era made.
n1ade.
overcame opposition
oppos itio n from
from many
many directions.
directions. Photography
Photograp hy tooktoo k over what
what previously
previo usly had
had been
been one
oneof ofthe
t hemain
main func-
fu nc-
tions
tio ns of
o f art—the
art- the recording
recording of of factual
fac tual visual
visual information,
in fo rm ation, such
such asas the
t heshape
shape
of
of an object, its size, and its its relation
relation to to other
other objects.
objects. Instead
Instead ofofhaving
having aa
portrait
portra it painted,
p ain ted, people
people hadhad “Sun
"S un Drawn
D rawn Miniatures”
M iniatures" made.
m ad e. Instead
Instead of of
forming
fo rm ing romantic
ro mantic notions
notions of o f battles
battles and
and faraway
faraway places
places from
fro m paintings,
paintings,
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.
The
T he 10 th century Arabian
1Qd, Arabi an scholar
scholar Alhazen
Alhazen described
desc ribed the the effect
effect and
and told
told how
how
to view an
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"),
a darkened roomroo m with aa pinholepinh ole opening
opening to to thet he outside.
o utside. By By the
the time
tim e of
of
the
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 thet h e image,
image,
and the
t he room-sized device had had been
been reduced
reduced to to the
the size
size of
ofaa small
small boxbox 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 anan image
im age reflected
refl ected onto
onto aa sheet
sheet of o fdrawing
drawi ngpaper.
paper.

What remained to be be discovered

discovered waswas aa wayway toto fix
fix the
thecamera
cameraobscura
obscura
image permanently. The darkening
dar kening ofof certain silver
silver compounds
compounds by by expo-
expo-
sure to light
ligh t had been observed
observed as
as early
early as
as the 17th century, but the
the 17 the unsolved
unsolved
and difficult
d iffi cult problem was how
how to
to halt
halt this
this reaction
reaction soso that
that the
t he image
image would
wo uld
JJoseph
oseph Nicéphore Nii pce. View from His
Niciphore Niépce. His Window
Window at
at Le
Le Gras,
Gras, not darken completely.
completely.
Saint-Loup-de-Varennes, France, c. 1826.
1826. Niépce
Niepce produced
produced
the
t he world’s image-—aa view
world's first photographic image—a
image view of ofthe
the courtyard
courtyard The first permanent
permanent picture picture was was made made by by Joseph
Joseph Nicéphore
Nicephore NiépceNiepce, ,
buildings on his estate in about 1826.
1826. ItIt was made on on aa sheet
sheet a gentleman
gen tleman inventor
in ven to r living
living inin central
central France.
Fran ce. He He first
fi rst experimented
ex perimen ted withwith
of pewter covered with bitumen of
of Judea, aa kind
ofjudea, kind of ofasphalt
asphalt
that hardened when exposed to to light; he called
called itit aa Heliograph.
Heliograph. silver chloride, which he he knew
knew darkened
darkened on on exposure
exposure to to light,
light, but
but then
then hehe
The unexposed, still-soft bitumen was then dissolved, leaving leaving aa turned to bitumen
bitum en of of Judea, aa kindkind ofof asphalt
as phalt that
t hat hardened
harde ned when when exposed
exposed
permanent image. The exposure time was so long long (eight
(eight hours)
hours) 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 var-
var-
that the sun moved across the sky and illuminated
illuminated both both sides
sides of
of nishes, then coated a sheet of of pewter
pewtet with with thethe mixture.
mixture. He He placed
placed the
the sheet
sheet
the courtyard.
courtJard.
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
exposed it forfo r eight hours.
ho urs. The
The light
light forming
fo tmi ng the theimage
imageon onthetheplate
platehardened
harde ned
the
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
then washed the t he plate
plate with lavender
lavender oil. oil. This
This removed
removed the the still-soft
still-softbitumen
bitu men
that had not been struck by by light,
ligh t, leaving
leaving aa permanent
permanent image image of of the
the scene
scene
(left). Niépce
Niepce namednamed the t he process
process heliography
heliograp hy (from (from the th e Greek , “sun,”
helios,
Greek helios
helios, "sun ,"
and graphos,
graphos, “drawing”).
"drawing") .

181
181
Daguerreotype
“"DESIGNS
DESIGNS O
ONN SSILVER
ILVER B RIGHT”
BRIGHT"

N
N ews of
of Niépce’s
Niepce's work came
came to
to the
the atten-
atten-
tion of
of another Frenchman,
Frenchman, Louis
Louis Jacques
Jacques
Mandé
Mande Daguerre.
Daguerre. Daguerre
Dagu erre had been
been using
using
the camera obscura for
for sketching
sketching and
and had
h ad also
also
become interested in
in trying
trying to
to preserve
preserve its
its images.
images.
He wrote Niépce
Niepce suggesting
suggesting anan exchange
exchange of ofinfor-
infor-
mation, and by 1829
1829 had
had become
become his
his partner.
partner.

The mid-19
mid-19th th century was ripe for for anan inven-
inven-
tion like photography. Interest in a new new inven-
inven-
tion might have h ave spread simplysimply by by aa growing
growing
interest in science, but but photography
photography was was more.
more.
In Western countries a rising rising middle
middle classclass with
with
money to to spend wanted pictures,
pictures, especially
especially family
fami ly
portraits, which, until
until then,
then, only
on ly the
the rich
ri ch had
had been
been
able to
ro afford. In addition, peoplepeople were
were interested
interested
in faraway places;
places; they
they traveled
traveled toto them
them whenwhen they
they
could and
a n d bought travel
travel books
books andand pictures
pictures when
when
they could not.
not.
Niépce
Niepce did not not live to to see thethe impact
impact thatthat
photography was to to have.
have. HeHe died
died inin 1833,
1833, several
several Louis Jacques Mandi Daguerre. Boulevard
Jacques Mandé Boulevard du Temple,
Temple,
Paris, 1839.
1839. The busy streets of ofa Parisian
Parisian boulevard
boulevard
years before Daguerre
Daguerre perfected
perfected aa process
process that
that he
he appear depopulated because of ofthe
the long
long exposure this
this
considered different enough from from Niépce’s
Niepce's toto daguerreotype required.
required. Only a person getting
getting aa shoeshine near near
be announced to to the
the world
world as as the
the daguerreotype
daguerreotype the corner of
ofthe sidewalk stood still
still long
long enough to to be
be record-
record-
(right and opposite). ed; all the other people, horses, and carriages had had blurred
blurred so
much that no image of ofthem appeared on the plate. The The shut-
ter was probably open for several minutes, much less than than the
the
The response to the daguerreotype
daguerreotype was was eight hours required by Niépce’s
Niipce's heliograph, and and the
the results
results
sensational. After experimenting
experin1encing forfor many
many years,
years, were far superior-
superior—richrich in detail and tonality. TheThe enthusiastic
enthusiastic
both with Niépce
Niepce and alone, Daguerre
Daguerre was was finally
finally 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
satisfied with his
his process,
process, and it it was
was announced
anno unced silver bright //Daguerre’s
Daguerre's immortal plan.”
plan."
before the French
French Academy of ofSciences
Sciences on on January
January
7, 1839.
1839. A French newspaper
newspaper rhapsodized:
rhapsodized: “What
"Wh at
fineness in the strokes! WhatWhat knowledge
knowledge of ofchiar-
chiar-
oscuro! What delicacy! What What exquisite
exquisite finish!…
finish!..
How admirably are the the foreshortenings
fores h ortenings given:
given: this
this
is Nature itself!”
itself! "
Almost immediately after after the
the process
process was was
announced,
a nnounced, daguerreotype studios studios were
were opened
opened
to provide “Sun
nsun Drawn
Drawn Miniatures”
Miniatures" to to aa very
very will-
will-
ing public. ByBy 1853
1853 an estimated
estimated three
three million
million
daguerreotypes per per year were
were being
being produced
produced in in
the United States alone—mostly
alone- mostly portraits
portraits but
but also
also
scenic views.

182 H ISTORY O
HISTORY OFF P HOTOGRAPHY
PHOTOGRAPHY
 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
placed, silver side down,
down, overover aa container
container of ofiodine
iodine
crystals inside a box.
box. Rising
Rising vapor
vapor from
from thethe iodine
iodine
reacted with the silver, producing
producing the the light-sensi-
ligh t-sensi-
tive compound silversi lver iodide.
iodide. During
During exposure
exposure in in
the camera, the plateplate recorded
recorded aa latent
latent image:
image: aa
chemical change had had taken
taken place,
place, but
but nono evidence
evidence
of
of it was visible. To develop
develop the the image
image the the plate
plate
was placed, silver
si lver side down,
down, in in another
another box box con-
con-
taining a dish of of heated
heated mercury
mercury at at the
the bottom.
bottom.
Vapor from the mercury
mercury reacted
reacted with
with the
the exposed
exposed
areas of
of the plate.
plate. Wherever light light had
had struck
struck thethe
plate, mercury formed a frostlike frosrlike amalgam,
amalgam, or or
alloy, with the
the silver. This amalgam made made up up the
the
bright areas of of the
the image.
image. Where
Where no no light
light had
had
struck, no amalgam
an1algam was formed; formed; thethe unchanged
unchanged
silver iodide was dissolved in in sodium
sodium thiosulfate
thiosulfate
fixer, leaving the bare metal metal plate,
plate, which
which looked
looked
black, to form thethe dark areas of ofthe
the picture.
picture.

The daguerreotype was very very popular

popular in in its
its
time, but it was a technological
technolog ical dead dead end.
end.
There were complaints about about the the difficulty
difficulry ofof
viewing, for the
rhe highly
highly reflective
reflective image
image could
could bebe
seen clearly only from
from certain angles.
angles. The
The mercury
mercury
vapor used in thethe process
process waswas highly
highly poisonous
poisonous
and probably shortened the th e life
life of
of more
more than
than one
one
daguerreotypist.
daguerreorypist. ButBut the
the most
most serious
serious drawback
drawback
was that each plate
plate was unique;
unique; there
there was
was no
no way
way
of
of producing copies except by by rephotographing
rephotographing
Unkno wn. Emily Dickinson at
Photographer Unknown. at Seventeen,
c.
c. 1847.
1847. Daguerreotype. The Th e daguerreotype
daguerreo type reached the original. The beautiful daguer reotype was
daguerreotype was
the height ofof its popularity in America. Millions of of rapidly—and
rapidly-and easily—eclipsed
easi ly-ecl ipsed by by aa negative-posi-
negative-posi-
Americans, famous and obscure, had their their portraits tive process that
that allowed any numbernun1ber of of positive
positive
made. Although the exposure time was reduced to less
images to be made fromfrom aa single
single negative.
negative.
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
the only known photograph of ofthe 19 th-century poet Emily
19''•century
Dickinson. Just
Just like her poems, it seems direct on thethe sur-
face 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 thethe sherry
sherry
in the glass that the guest leaves.”
leaves."

C H A P T E R 110
CHAPTER 0 183
183
Calotype
P ICTURES O
PICTURES ONN P APER
PAPER

A
A nother photographic
photog raphic process
process was
was image visible, Talbot used
used silver
silver iodide
iodide (the
(the light-
ligh t-
announced almost
almost at
at once.
once. On January 25,
25 , sensitive element ofof the
the daguerreotype)
daguerreorype) treated
treated
1839, less than
than three
three weeks
weeks after
after the
the announce-
announce- with gallo nitrate of
of silver.
silver. He
He called
called his
h is invention
invention
ment of of Daguerre’s
Daguerre's process
process to to the
the French
French a calotype
calorype (after the
the Greek kalos, “beautiful,”
Greek kalos, "beautiful," andand
Academy, an English amateur
amateur scientist,
scientist, William
William typos>“impression”).
typos, "impression").
Henry Fox Talbot, appeared
appeared before
before the
the Royal
Royal
Institution of
of Great Britain
Britain to
co announce
announce thatchat he
he Talbot realized the value of of photographs
photographs on on
too had invented
invenred a way to to permanently
permanently fix fix the
the paper rather than on metal: metal: reproducibility.
reproducibility.
image of
of the
the camera
can1era obscura.
obscura. He placed thethe fully
fu lly developed paper paper negative
n egative in in
contact with another sheet of ofsensitized
sensitized paper
paper and
and
Talbot made his his images
images on on paper.
paper. HisHis first
first exposed both to light,
light, aa procedure
procedure now now known
known as as
experiments had beenbeen with negative
negative silhouettes
silh ouettes contact
conract printing. The T he dark
dark areas
areas ofof the
the negative
negative
made by placing
placing objects on
on paper
paper sensitized
sensitized with
with blocked the
the light from
from thethe other
other sheet
sheer ofof paper,
paper,
silver chloride
ch loride and exposing
exposing them
chem to
to light.
light. Then
Then while
wh ile the clear areas allowed light light through.
through. The The
he experimented withwith images
images formed
formed by by aa cam-
cam- result was a positive
positive image
image on on paper
paper resembling
resembling
era obscura, exposing the the light-sensitive
light-sensitive coating
coating the tones of
of the original
original scene.
scene.
long enough forfor the
the image
image to
to become
become visible
visible dur-
dur- Because thethe print was mademade through
through thethe paper
paper
ing the exposure. of
of a negative, the
the calotype lacked
lacked thethe sharp
sharp detail
derail
of
of the daguerreotype.
daguerreotype. Calotypes
Calotypes are are beautiful—
beautiful-
In June
June 1840 Talbot
Talbot announced
announced aa technique
technique the fibers in
in the
the paper
paper producing
producing aa soft,
soft, slightly
sli gh tly
that became the basis
basis of
of modern
modern photogra-
photogra- textured image thatchar has
has been
been compared
compared to to aa char-
char-
phy: the sensitized paper
paper was
was exposed
exposed only
only long
long coal drawing. ButBu r the
the process
process didn’t
didn't displace
displace thethe
enough to produce a latent
latent image,
in1age, which
which then
then was
was one-of-a-kind daguerreotype until until the
the transparent
tran sparent
chemically developed. To make
make the
the latent
latent negative
negative negative appeared.
appeared.

William Henry Fox Talbot. Talbot’s

Talbot's Photographic
Photographic Establish-
Establish- a portrait.
portrait. At right, the man at the racks
racks makes contact
contact prints
ment, c.
c. 1844.
1844. The activities at Talbot’s
Talbot's establishment
es tablishment while another photographs a statue. At At far
far right, the
the kneeling
kneeling
near London are shown in this early calotype taken in two two parts man holds a target for the maker of ofthis photograph to to focus
focus on.
on.
and pieced together. At left, an assistant copies aa painting. In
In Talbot gave assurance that “the
"the plates of
ofthe
the present
present work
work are
the center, possibly Talbot himself
himselfprepares aa camera to to take
take impressed by the agency ofoflight alone.”
alone. "

184 H ISTORY O
HISTORY OFF P HOTOGRAPHY
PHOTOGRAPHY
 Collodion
Collodion Wet-Plate
Wet-Plate
SSHARP
HARP A N D RREPRODUCIBLE
AND EPRODUCIBLE

T
T he
he collodion
collodion wet-plate
wet-plate process
process combined
combined container.
container. Then
Then thethe plate
place was
was sensitized
sensitized by bybeing
being
the
the best
best feature
feature ofof thethe daguerreotype—
daguerreotype- dipped
dipped in in aa bath
bath ofofsilver
silver nitrate.
nitrate. ItIt was
was exposed
exposed
sharpness—and
sharpness- and thethe best
best of
of the
the calotype—
calotype- for
for aa latent
latent image
image while
whi le still
still damp,
damp, developed
developed
reproducibility.
reproducibility. And
And itit was
was more
more light
light sensitive
sensitive in
in pyrogallic
pyrogallic acid
acid oror iron
iron sulfate,
sulfate, fixed,
fixed, washed,
washed,
than
than either
either ofof them,
them, with
with exposures
exposures as as short
short as
as and
and dried.
dried. All
All this
chis had
had toco be
be done
done right
rightwhere
wherethe the
five
five seconds.
seconds. ItIt combined
combined so so many
many advantages
advantages photograph
photograph was was taken,
taken, which
which meant
meant thatchat to
co take
cake
that
chat despite
despite itsits drawbacks
drawbacks virtually
virtually all
all photogra-
photogra- aa picture
picture the
the photographer
photographer had had toco lug
lugaa complete
complete
phers
phers used
used itit from
from its
its introduction
introduction in in 1851
1851 until
until darkroom
darkroom alongalong (below).
(below).
the
the commercial
commercial availability
availabilityof ofthe
thegelatin
gelatindry
dryplate
place
almost
almost three
three decades
decades later.
lacer. Collodion
Collodion could
could be
be used
used to
to form
form either
either aa
For
For some
some time,
time, workers
workers had had been
been looking
looking for
for negative
negative or
or aa positive
positive image.
image. Coated
Coated on
on glass,
glass,
aa substance
substance that chat would
would bindbind light-sensitive
li ght-sensitive salts
sales itit produced
produced aa negative
negative from
from which
whichaapositive
positivecould
could
to
to aa glass
glass plate.
place. Glass
Glass was
was better
better than
than paper
paper oror be
be printed
printed onto
onto albumen-coated
albumen-coated paper.paper. IfIf the
the
metal
metal as as aa support
support for fo r silver
si lver chloride
chloride because
because itit glass
glass waswas backed
backed with
with aa dark
dark material
material like
like black
black
was
was textureless,
textureless, transparent,
transparent,and and chemically
chemicallyinert.
inert. velvet,
velvet, paper,
paper, or
or paint,
paint,the
the image
image was
was transformed
transformed
One
One binding
binding material
material was was thethe newly
newly invented
invented into
into aa positive,
positive, an
an ambrotype,
ambrocype,aa kindkind of
ofimitation
imitation
collodion
collodion (nitrocellulose
(nitrocellulose dissolved
dissolved in in ether
ether and
and daguerreotype.
daguerreotype. Coated
Coated on on dark
dark enameled
enameled metal
metal itit
alcohol),
alcohol), which
which isis sticky
sticky when
when wet,wee,but
but soon
soon dries
dries also
also formed
formed aa positive
positive image—the
image- the durable,
durable, cheap
cheap
into
into aa tough,
rough, transparent
transparent skin. skin. tintype
tintype popular
popular in in America
America forfor portraits
portraits toco be
be
placed
placed in in albums,
albums, on on campaign
campaign buttons,
buttons,andand even
even
The disadvantage
disadvantage ofof collodion
collodion was
was that
that the
the on tombs.
combs.
plate
plate had
had to
to be
be exposed
exposed and
and processed
processed while
while
itit was still
still wet.
wet. AA mixture
mixture of
of collodion
collodion and
and By
By the 1860s
1860s the
the world
world had
had millions
millions of of
potassium
potassium iodide
iodide was
was poured
poured onto
onto thethe middle
middle photographic
photographic images;
images; 25
25 years
years earlier
earlier there
there
of
of the
the plate.
place. The
The photographer
photographer heldheld the
the glass
glass by
by had been none.. Photographers
been none.
none Photographers were
were every-
every-
the
the edges
edges and
and tilted
tilted itit back
back and
and forth
forth and
and from
from where—taking
where- caking portraits,
portraits, going
going to
to war,
war, exploring
exploring
side
side to
to side
side until
until the
the surface
surface was
was evenly
evenly covered.
covered. distant places
places and
and bringing
bringing home
home pictures
piccures to
co
The excess
excess collodion
collod ion waswas poured
poured back
back into
into its
its prove
prove it.
it.

The
The collodion wet-plate
wet-plate process hadhad many
many advantages,
advantages,
but convenience waswas not
not among them. The glass plates
among them.
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
transporting entire darkroom to
to wherever the
wherever the
photograph was toto be made.
made.
A
A Photographer in the Field,
Field, c. 1865.
1865.

C H A P T E R 110
CHAPTER 0 185
185
Gelatin Emulsion/Roll-Film Base
P H O T O G R A P H Y FFOR
PHOTOGRAPHY O R EEVERYONE
VERYONE

LJ ntil
U the 1880s, few photographs
photographs werewere
made by the general public.
public. Almost everyone
had been photographed at one one time
time or or another,
another,
certainly everyone hadhad seen
seen photographs,
photographs, and and
probably many people
people had
had thought
though t of of taking
raking
pictures themselves. ButBut the
the technical
tech nical skill,
ski ll, the
t he
massive
n1assive effort, and the
the expense
expense andand sheer
sheer quantity
quantity
of
of equipment needed
needed for
for the
t he collodion
collodion wet-plate
wet-plate
process restricted photography
photography to to professionals
professionals
and the most
n1ost dedicated amateurs.
amateu rs. Even
Even they
they com-
com-
plained of
of the inconvenience of of the
the process
process and and
made many attempts to to improve
improve it.it.

By the 1880s, the perfection

perfection of
of two
two tech-
tech-
niques created a fast, dry dry plate
plate and
and elimi-
elimi-
nated the need for the the fragile glass
glass plate
plate
itself. T
The
he first development was
was aa new
new gelatin
gelatin
emulsion in which
wh ich the
the light-sensitive
light-sensitive silver
si lver salts
salts
could be suspended. It Ir was
was based
based on
on gelatin—a
gelatin- a jel-
jel-
Church. George
Fredrick Church.
lylike substance processed
processed fromfrom cattle
cattle bones
bones and and Eastman with a Kodak,
hides. It retained its
its speed
speed when
when dry
dry and
and could
could bebe Roll film made possible
possible aa newnew kind
kind ofof 1890.
1890. George Eastman,
applied on the other invention—film
invention- film inin rolls.
rolls. Roll
Roll camera
camera-—inexpensive,
inexpensive, light,
light, and
and simple
sin1ple to
co oper-
oper- who put the Kodak box box
camera on the market and
film revolutionized photography
photography by by making
making itit ate—that
ate-that made everyone
everyone aa potential
potential photogra-
photogra-
thereby put photography
simple enough forfor anyone to to enjoy.
enjoy. pher. Eastman introduced the the Kodak
Kodak camera
camera in in into everybody’s
everybody's hands,
1888. ItIr came loaded with
with enough
enough film
film for
for 100
100 stands aboard the S.S.
Much of
of the credit for popularizing
popularizing photog-
photog- pictures. When the the roll
roll was used
used up,
up, the
the owner
owner Gallia in the act of
of using his
invention.
invention. Roll film made
raphy goes to George
George Eastman,
Eastman, who began as returned the camera with with the
the exposed
exposed film
film still
still the camera small enough
a bank clerk in Rochester,
Rochester, New New York,
York, and
and built
buil t his
his in it to the Eastman
Easttnan company
company in in Rochester.
Rochester. Soon
Soon to carry easily. Fast gelatin
Eastman KodakKodak Company
Company into into one
one ofof the
the coun-
coun· the developed and printed
printed photographs
photographs and and thethe emulsions permitted 1½s-sec
/25-sec
try’s
tty's foremost
foren1ost industrial
industrial enterprises.
enterprises. Almost
Almost from from camera, reloaded with film,
fi lm, were
were sent
sent back
back toto the
the exposures so subjects did not
have to strain to hold still.
the day Eastman boughtbought his his first
first wet-plate
wet-plate camera
camera owner. The
T he Kodak
Kodak slogan
slogan was,
was, “You
''You push
push the
the but-
bu t-
in 1877, he searched for for aa simpler
simpler wayway toto take
take pic-
pic- ton,
to n, we do the rest.”
rest."
tures. “It
"It seemed,”
seemed," he he said, “that
"that one
one ought
ought to to bebe
able to carry less than
than a pack-horse
pack-horse load.”
load." The Kodak camera camera became
became an an international
international
Many people had had experimented
experimented with with roll
roll film,
fi lm, sensation almost overnight overnight.. With the inven-
but Eastman was the the first
first toto market
marker it it com-
con1- tion
tio n of
of a truly
truly modern
modern roll roll film
film (a(a transparent,
transparent,
mercially, with his his invention
invention of of the
the equipment
equipmen t flexible plastic, coated
coated with
with aa thin
thin emulsion
emulsion and and
to mass-produce film. film. TheT h e result
res u lt was
was Eastman’s
Eastn1an's sturdy enough to to be used
used without
without aa paperpaper sup-
sup-
American Film, a roll roll of of paper
paper coated
coated with
with aa port), a newnew photographic
photographic era era had
had begun.
begun. The
T he
thin
t hin gelatin emulsion. The emulsion emulsion had had to to bebe Eastman KodakKodak Company
Company knew knew who who would
would bebe
stripped from its paper paper backing
backing to to provide
provide aa the main users
users of
of its
its products,
products, andand itit directed
directed its
directed its
negative that
t hat light could
cou ld shine
shine through
through for for mak-
mak- advertising accordingly: “A "A collection
collection of ofthese
these pic-
pic-
ing prints. Most
Most photographers
photographers had had trouble
trouble withwith tures may be mademade to to furnish
furn ish aa pictorial
pictorialhistory
history of
of
this operation, so the the film
fi lm was
was usually
usually sent
sent toto the
the life as it is lived by
by the
the owner,
owner, that
that will
will grow
grow more
mo re
company for processing. valuable every day that t hat passes.”
passes."

186
186 H ISTORY O
HISTORY OFF P HOTOGRAPHY
PHOTOGRAPHY
 Color
Color Photography

D
D aguerre
aguerre himself
himselfknew
knew that
that only
onlyone
onething
thing bining
bining cyan,
cyan, magenta,
magen ta, and
and yellow
yellowdyes
dyes (the
(thecom-
com-
was
was needed
needed to
to make
make his
his wonderful
wonderful invention
invention plements
plements of of red,
red, green,
green, and
and blue).
blue). The
The dyes
dyes sub-
sub-
complete—color.
complete- color. After
After several
several false
false starts,
starts, one
one tract
tract colors
colo rs from
fro m the
the “white”
"white" light
light that
cha t contains
contai ns
of
of the
the first
first successes
successes was was demonstrated
demonstrated in in 1861
186 1 all
all colors.
colors.
by
by the
the British
Briti sh physicist
physicist James
James ClerkClerk Maxwell.
Maxwell.
He
He had
had three
three negatives
negatives of of aa tartan
tartan ribbon
ribbon made,
made, The
The first
first commercially
commercially successful
successful color
color was
was
each
each through
th ro ugh aa different
di ffe rent color
color filter—red,
fi lter- red, green,
green, an
an additive
additive process.
process. In
In 1907,
1907, two
two French
French broth-
broth-
and
and blue.
blue. Positive
Positive black-and-white
black-and-white transparencies
transparencies ers,
ers, Antoine
An toine and
a nd Louis
Louis Lumière,
Lumihe, marketed
marketed theirtheir
were
were made
made of of the
the three
three negatives
negatives and and projected
projected Autochrome
Autoch ro me process.
process. AA glassglass plate
plate waswas covered
covered
through
through red,red, green,
green, andand blue
blu e filters
filters like
like those
those onon with
with tiny
tin y grains
grains of ofpotato
potato starch
starch dyed
dyed red-orange,
red-orange,
the
the camera.
camera. When
When the t hethree
three images
images wereweresuperim-
superim- green,
green, and
and violet,
violet, inin aa layer
laye r only
only one
one starch
starch grain
grai n
posed,
posed, they
theyproduced
produced an an image
imageof ofthe
theribbon
ribbonin inits
its thick.
thick. Then,
Then, aa light-sensitive
light-sensitive emulsion
emulsion waswasadded.
added .
original
original colors.
colors. Maxwell
Maxwell had had demonstrated
demonstrated addi- addi- Light
Light struck
struck thet he emulsion
emu lsion afterafter passing
passing through
through
tive
tive color
color mixing,
mixing, inin which
whi ch colors
colorsareareproduced
producedby by the
the colored
colored grains.
grains. The The emulsion
emulsion behind
behi nd each
each
adding
adding together
together varying
varying amounts
amo unts of oflight
light of
ofthe
the grain
grai n was
was exposed
exposed only on ly byby light
light from
from thethe scene
scene
three
t hree primary
primary colors,
colors, red,
red, green,
green,andand blue.
blue. that
that was
was thethe 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.
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 Kodachrome,
Kodachrome, aa subtractive
subtractive process,
process, made
made
Ducos
Ducos du du Hauron
Hauron and
and Charles
Charles Cros,
Cros, working
wo rking color
color photography
photography practical.
practical. It
It was
was perfected
perfec ted
independently
independently of of each
each other.
other. Their
Their process,
process, sub-
sub- by
by Leopold
Leopold MannesMannes and and Leopold
Leopold Godowsky,
Godowsky, two two
tractive
tract ive color
color mixing,
m ixing, is
is the
t he basis
basis of
of present-day
present-day amateur photographic
photograph ic researchers
researchers who who eventually
eventually
color photography.
photography. Colors
Colors are are created
created by
by com-
com- joined forces
fo rces with
wi th Eastman
Eastman Kodak
Kodak research
research scien-scien-
tists.
tists. Their
Their collaboration
collaboration ledled to
to the
theintroduction
introductionin in
in
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 toto 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 marketsma rkets use
use color
color almost
almost exclusively.
exclu sively.
Alfred T. Palmer. Women
War
War Workers,
Worker.s, circa 1942.
1942. Digital
Digital cameras always start start by
bycapturing
capturin g aa color
colo r
Kodachrome transparency
transparency image; anyone
anyone who who wants
wants aa black-and-white
black-and-white end end
film, introduced in in 1936,
1936,
product
was created for the 35mm35mm produ ce must m ust discard
di scard the
th e color
color information.
info rm a ti o n.
still photography market.
market. Even
Even photojournalism,
ph otojournalism, documentary,
docu mentary, and and fine-
fin e-
It was the first accurate,
accurate, art photography,
p horography, which whi ch had
had been
bee n in
in black
blac k and
and
inexpensive, easy-to-use,
easy-to-use, and
and
reliable method for for creating 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
color photographs. now
n o w in color.
colo r.

C H A P T E R 110
CHAPTER 0 187
187
Early Portraits

PP eople wanted portraits.

portraits. Even Even when
when expo-
expo-
sure times were long and having having one’s
one's portrait
portrait
taken meant sitting in in bright
bright sunlight
sunlight for for several
several
minutes
n1inuces with eyes watering, tryingcrying not
not to
to blink
blink or
or
move, people flocked to to portrait
portrait studios
studios to to have
have
their likenesses drawn by by “the
" the sacred
sacred radiance
radiance of of
the Sun.”
Sun." Images ofof almost
al1nost every
every famous
fan1ous person
person
who had not died before
before 18391839 have
have come
come downdown
to us in portraits by photographers
photographers such such asas Nadar
Nadar
and Julia Margaret Cameron
Cameron (right).
(right). Ordinary
Ordinary
people were photographed
photographed as as well—in
well- in Plumbe’s
Plumbe's
National Daguerrian
Daguerrian Gallery,
Gallery, where
where hand-tint-
hand-tint-
ed “Patent
"Patent Premium
Pretniutn Coloured
Coloured Likenesses”
Likenesses" were were
made, and in cut-rate shops where where double-lens
doub le-lens
cameras took them
them “two
"two at at aa pop.”
pop." Small
Small portraits
portraits
called cartes-de-visite were
were immensely
immensely popular
popular in in
the 1860s
1860s (opposite). ForFor pioneers
pioneers moving
moving WestWest
in America,
An1erica, the pictures
pictures were
were aa link
link toto the
the family
fan1ily
and friends they
they had
had left
left behind.
behind. Two Two books
books went
went
West with the pioneers—a
pioneers- a Bible
Bible and
and aa photograph
photograph
album.

Photographs had an almost

almost mystical
mystical pres-
pres-
ence. After seeing some daguerreotype portraits,
portraits,
the poet Elizabeth Barrett
Barrett wrote
wrote to to aa friend
friend in in
1843, “Several
"Several of
ofthese
these wonderful
wonderful portraits
portraits ....
. . like
like
engravings—only
engravings- only exquisite and and delicate
delicate beyond
beyond
the work of of graver—have
graver- have II seen
seen lately—longing
lately- longing to to
have such a memorial
memorial of of every
every Being
Being deardear toto meme
in the world. It is is not
not merely
merely the
the likeness
likeness which
which
is precious in such cases—but
cases- but the the association
association
and the sense of of nearness involved
involved in in the
the thing
thing Julia Margaret Cameron. Mrs. Duckworth,
Julia Duckworth, 1867. 1867. Cameron
Cameron
....
. . the fact of
of the
the very shadow
shadow of ofthe
the person
person lying
lying photographed her friends and peers, the well-known
well-known and
and the
the
there fixed for ever! ..... . II would
would rather
rather have
have such
such well-born, in Victorian England. This
This isis Julia
Julia Jackson
Jackson Duckworth,
Duckworth,
a memorial of of one I1 dearly loved,
loved, than
than thethe noblest
noblest now best known for being
being the mother
mother of ofauthor
author Virginia
Virginia Woolf.
Woolf

artist’s
artist's work ever produced.
produced. II do do notnot say
say soso inin
respect (or disrespect) to to Art,
Art, but
but for
for Love’s
Love's sake.
sake.
Will you understand?—even
understand?- even ififyou you will
will not
not agree?”
agree?"

188
188 H ISTORY O
HISTORY OFF P HOTOGRAPHY
PHOTOGRAPHY
 Photographer Unknown. André Andre Adolphe Disdéri.
Disderi. Cartes-
Cartes-
de-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 posesposes 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
pictures of
of themselves, friends,
friends, relatives, and
and famous
famous people
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
ere you pected to add to
expected to my
my book.
book. // You
You
are welcome to quiz it, the penalty is, // that you add your own
add your own
Portrait for others to quiz.”
quiz."
André
Andre Adolphe Disdéri,
Oisdiri, who popularized
popularized these
these multiple
multiple
portraits, is shown above on aa carte-de-visite. Carte
Carte portraits
portraits
became a fad when Napoleon III Ill stopped on the
the way
way to
to war
war toto
pose for cartes-de-visite at Disdéri’s
Oisdiri's studio.
studio.
Photographer Unknown. Woman in Costume.

C H A P T E R 110
CHAPTER 0 189
189
Early Travel Photography

O 'Sullivan. Black
Timothy H. O’Sullivan. Black Canyon,
Canyon,
Colorado River, 1871.
1871. Expeditions to to pho-
tograph distant places were were launched as
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, whosewhose 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 ofof
the most voracious and particularly poison- poison~
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
the ‘mountain
'mountain ail,’
ail,' and youyou will see whywhy we
we
did not work up more of ofthat country.”
country.,,

EE arly travel photographs met

met aa demand
demand The most spectacular
spectacular scenery
scenery of ofthe
the western
western
for pictures of
of faraway
faraway places.
places. In the
rhe mid-
mid- United States was not not much
much photo graphed
photographed
th century, the
19,h
19 the world seemed
seemed full
full of
of unexplored
unexplored until the late 1860s.
1860s. Explorers and artists had had
wonders. Steamships and and railroads
railroads were
were making
making been in the Rocky
Rocky Mountain
Mountain areaarea long
long before
before this
this
it possible for more
more people
people toto travel,
travel, but
but distant
distant time, but the tales
tales they
they told
told ofof the
the region
region andand
lands still seemed exotic
exotic and
and mysterious
mysterious andand peo-
peo• the sketches they
they made
made were
were often
often thought
thought to to be
be
ple
pie were hungry forfor photographs
photographs of of them.
them. There
There exaggerations. After the the Civil
Civil War,
War, when
when several
several
had always been drawings
drawings portraying
portraying unfamiliar
unfamiliar government expeditions set set out
out to to explore
explore and and
places, but they were an an artist’s
artist's personal
personal vision.
vision. map the West, photographers
photographers accompanied
accompanied them, them,
The camera seemed an an extension
extension of of one’s
one's own
own not always toto the
the delight
delight of
of the
the other
other members
members
vision; travel photographs
photographs were
were accepted
accepted as as real
real of
of the expeditions. “The
"The camera
camera in in its
its strong
strong boxbox
and faithful images.
images. was a heavy load
load toto carry up
up thethe rocks,”
rocks," says
says aa
description
d escription of
of a Grand Canyon
Canyon triptrip in
in 1871,
1871, “but
"bur
The Near EastEast was of of special
special interest.
interest. Not Not it was nothing to to the
the chemical
chemical and and plate-holder
plate-holder
only was it exotic, but
but its
its biblical
biblical associations
associations and and box, which inin turn
turn was featherweight
featherweight compared
con1pared
ancient cultures made
made it it even
even more
more fascinating.
fascinating. to the imitation handhand organ
organ which
which served
served forfor aa
Within a few months
months ofof the
the 1839
1839 announcement
announcement darkroom. This dark dark box
box was
was the
the special
special sorrow
sorrow
of
of Daguerre’s
Daguerre's process,
process, a photographic
photographic teamream was was inin of
of the expedition…”
expedition ... "
Egypt. “We
"We keep daguerreotyping
daguerreotyping away away like
li ke lions,”
lions," Civil War photographers
phorogra p h ers Timothy
Timothy H. H.
they reported, “and
"and from
fron1 Cairo
Cairo hope
hope to
to send
send homehome O’Sullivan
O'Sullivan (above and and opposite)
opposite) and and Alexander
Alexander
an interesting batch.”
batch." Because
Because there
there was
was nono way
way toto Gardner both went West with with government-
government•
reproduce the
the daguerreotypes directly,
directly, they
they were
were sponsored expeditions. William
Will iam Henry
Hen ry Jackson’s
Jackson's
traced and reproduced as as copperplate
copperplate engravings.
engravings. photographs of of Yellowstone helped helped convince
convince
With the invention of of the
the calotype
calotype and
and later
later the
t he Congress toto set the
the area
area aside
aside asas aa national
national park,
park,
collodion processes, actual
actual pictures
pictures from
from the the Near
Near as did the photographs
photographs of of Yosemite
Yosemite made made by by
East were soon available. Carleton Eugene
Eugene Watkins.

190
190 H ISTORY O
HISTORY OFF P HOTOGRAPHY
PHOTOGRAPHY
 Early Images of
of War

Timothy
Timothy H. O’Sullivan.
O'Sullivan. A Harvest
Harvest of
ofDeath,
Death,
Gettysburg,
Gettysburg,)uly 1863. The first realistic
July 1863. realistic
view of war was shown by Civil Civil War
War pho-
pho-
tographers such as Brady, Gardner, and
O’Sullivan
O'Sullivan (right). Oliver Wendell
Wendell Holmes
Holmes
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. "

PP hotographs gave war

war scenes
scenes authority,
authority, Photographs from the the American
American Civil Civil War
War
and made themthen1 more
more immediate
in1mediate for for those
those at at were the first to show show the the reality
reality ofof war
war
home. Until
Until photography’s
photography's invention,
invention, wars wars (above). Mathew B. B. Brady,
Brady, aa successful
successful portrait
portrait
seemed remote and rather rat her exciting.
exciting. People
People photographer, conceived the the idea
idea ofofsending
sendingteams
teams
learned of
of war from
from delayed
delayed newsnews accounts
accounts or or to photograph the the war.
war. No No photographs
photographs were were
even later from thethe tales
tales of
of returning
retu rning soldiers
soldiers or or made during a battle; it it was
was too
too hazardous.
hazardous. TheThe
from paintings or poems.
poems. collodion process required
required up up to to several
several seconds’
seconds'
The disastrous British
British campaigns
campaigns in in the
the exposure and the
the glass plates
plates had
had toto be
be processed
processed
Crimean War of of the
the 1850s
1850s werewere the
the first
first con-
con- on the spot, which made
made thethe photographer’s
photographer's dark-dark-
flicts to be extensively
extensively photographed.
photographed. The The ill-
ill- room-wagon
room•wagon a target
target for
for enemy
enetny gunners.
gunners.
fated Charge ofof the
the Light
Ligh t Brigade
Brigade against
against Russian
Russian Although Brady hoped to to sell his
his photographs,
photographs,
forces in 1854
1854 was only one one of
of the
the catastrophes;
catastrophes; they often showed what people people wanted
wanted only
only toto
official bungling, disease,
disease, starvation,
starvation, andand expo-
expo- forget.
forger. Brady took
rook only
only a few,
few, ifif any,
any, photographs
photographs
sure
su re took
rook more British
British lives
lives than
t han did
did the
the enemy.
enemy. himself, and some of of his
his men
men (Alexander
(Alexander Gardner
Gardner
However, Roger Fenton,
Fenton, thethe official
official photogra-
photogra- and Timothy H. H. O’Sullivan
O'Sullivan amongamong them)them) broke
broke
pher (who had
had been introduced
introduced to to photography
photography with him
h in1 and set upup their
their own
own operation.
operation. But
But
only three years earlier), generally
generally depicted
depicted the the Brady’s
Brady's idea and personal
personal investment
investment launched
launched this
this
war with scenic and idealized
idealized images.
images. invaluable documentation of ofAmerican
American history.
history.

C H A P T E R 110
CHAPTER 0 191
19 1
Time and Motion in Early Photographs

T
T he earliest photographs required required veryvery
long exposures. Today, photographers using using
modern
m od ern cameras consider aa one-second
one-second exposure
exposure
relatively
relati vely long. But
But photographers
photographers using using earlier
earlier
processes had to to work
wo rk with
with much
much slower
slowe r materi-
materi-
als, and an exposure
expos ure ofof sev eral seconds
several seconds was
was con-
con-
sidered quite short.
sh ort.
People or objects thatthat moved
moved during
during the
the expo-
expo-
sure were
we re blurred
blu rred or,or, if
if the
the exposure
exposure was
was long
lon g
enough, disappeared
di sappeared completely. Busy Busy streets
streets
sometimes looked deserteddeserted (page
((page
page 182)
182) because
because
most people had not no t stayed
stayed still
still long
long enough
enough to to
register an image.
in1age.

Stereographic photographs
photographs werewere the
the first
first to
to
show action as itit was taking
taking place,
place, with peo-
ple in midstride
n1idsrride or horses
ho rses and
and carts
carts in
in motion.
n1orion.
This was possible because
because the
the short-focal-length
sho rt-focal-len gth
Joseph Avery Stranded
Platt D. Babbitt. Joseph St,onded on Rocks
Rocks in
in the
the
lens of
of the stereo camera
camera produced
produced aa bright,
bright,
Niagara River, 1853.
1853. This is an early example of ofa news
sharp
sh arp image at wide apertures
apertures andand thus
thus could
could bebe photograph, unusual because newsworthy events rarely rarely
used with very brief
brief exposure
exposure times.
times. held still for the long exposures a daguerreotype required.
These “instantaneous”
"ins ta ntaneou s" photographs
photographs revealed
revealed This unlucky man was stranded clinging
clinging to a log
log after
after aa
boating accident; his situation held him motionless enough
aspects
aspec ts of
of motion that that the
the unaided
unaided eyeeye was
was not
not
to be recorded.
recorded.
able to see. Some
Som e ofof the
the arrested
arrested motions
m otio ns were
we re so
so
different from thethe conventional
conventional artistic
artistic represen-
represen-
tations that the
the photographs
photographs looked
looked wrong.
wrong. A Agal-
gal-
loping horse,
h orse, for ex ample, had
example, h ad often
often been
been drawn
drawn
with
wit h all four feet
feet off
off the
the ground—the
gro und- the frontfront legs
legs
extended forward and hind hind legs
legs extended
extended back.
back.

Eadweard Muybridge waswas aa pioneer

pioneer inin
motion studies. When his photographs
photographs of
of aa
galloping
gall oping horse,
ho rse, published
publi shed inin 1878,
1878, showed
showed thatthat
all four of
of its feet were off
off the
th e ground
ground only
only when
when
they
t hey were bunched under
under the
the horse’s
h orse's belly,
belly, some
som e
people thought that that Muybridge had had altered
altered the
the
photographs. Using
Using the
the new,
new, fastfast gelatin-silver
gelatin-silver
emulsion anda nd a specially
specially constructed
constructed multi-lens
multi-lens
cameras,
cam eras, Muybridge compiled
compiled many many studies
studies ofof
different animals
ani n1als and humans
hun1ans in in action
action (right,
(right,
bottom) that were distributed widely.widely.

Muybridge. Motion Study, c. 1885.

Eadweard Muybridge. 1885. Capturing
Capturing
motion became technically possible as the sensitivity
sensitivity of
of
photographic emulsions increased. Muybridge’s
Muybridge 's project
project
analyzed the
Locomotion analyzed
Animal Locomotion 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 ofofaa move-
move-
ment could be recorded simultaneously from
from different angles.
192
192 H ISTORY O
HISTORY OFF P HOTOGRAPHY
PHOTOGRAPHY
 The Photograph as Document

PP hotographs can bebe documents

documents on
on many
many
levels. Most
Mose snapshots record
record aa particular
particular scene
scene
to
co help the participants remember
remember itit later.
later. AAnews
news
photograph implies that chat this
chis is
is what
what you
you would
would
have seen if
if you had
had been there
there yourself,
yourself, although
although
digital photography continues
continues to co chip
chip away
away at at
this
chis belief
belief (see page
page 112).
112). On
O
Onn another
another level,
level, aa
photograph
photograp h can record
record reality
reality while
while atat the
the same
same
time recording the photographer’s
photographer's commentcomment
on that reality. Lewis
Lewis W. W. Hine
Hine said
said of
of his
his work:
work:
“I
"I wanted toco show the
t he things
things that
that had
had toco be
be cor-
cor-
rected. I wanted to co show the the things
things that
chat had
had toco
be appreciated.”
appreciated." HisHis statement
statetnent describes
describes the the use
use
of
of photography as aa force
force for
for social
social change
change andand aa
style that
chat came toco be
be known
known as as documentary
documentary (see (see
pages 194–195).
194- 195).

Eugene Atget. Café

Eugène Cafe la Rotonde, Boulevard
Boulevard Montparnasse,
Montparnasse, Eugène
Eugene Atget’s
Atget's work went
went beyond
beyond simple
simple
Paris, date unknown. Eugène
Eugene Atget artfully revealed
revealed the
the records, although he considered his
his photo-
photo-
of Paris while seeming merely
essence of merely to
to document its external
external graphs toco be documents. A A sign
sign onon his
his door
door
appearance. An uncluttered street in the early morning,
appearance. morning, with
with its
its read “Documents
"Documents pour pour Artistes.”
Artistes." Atget
Atget made
made
graceful trees, broad sidewalks, and empty cafés
cafes speaks of
ofthe
the
pervasive charm and architectural harmony of ofthe
the city.
city. thousands ofof photographs
photographs in in the
the early
early 1900s,
1900s, of of
the streets, cafés
cafes (left, top),
top), shops, monuments,
monuments,
parks, and people of of the
the Paris
Paris hehe loved.
loved. His
His pic-
pic-
Sander.. Bricklayer
August Sander.
Sander Bricklayer,,
er
Bricklayer,
1928.
1928. August Sander’s
Sander's tures won him little notice
notice during
during hishis lifetime;
lifetime;
photographs are docu- he barely managed to co eke
eke out
out aa living
living by
by selling
selling
ments ofof social types prints to artists, architects,
arc hi tects, and
and others
others who
who want-
want-
rather than portraits of
of
individuals.
individuals. This photograph
ed visual records of the city.
ofche city. Many
Many photographers
photographers
of a laborer with a load of
of of can record thethe external appearance
appearance of of aa place,
p lace,
bricks was one of
ofhundreds but Atget conveyed the the atmosphere
atmosphere and and mood
mood of of
Sander made of ofthe types Paris as well.
he saw in pre-World War II
Germany.
Germany. Holding his pose
as ifif standing for a portrait August Sander chose to to document
document an an entire
entire
painter, the subject displays people—the
people-the citizens of of pre-World
pre-World War War IIII
his trade with stoic strength. Germany. His pictures were not not meant
meant to to reveal
reveal
There is no indication of oftime
personal character but
but to
to show
show the
the classes
classes mak-
n1ak-
or even place. In fact,
fact, the
background is deliberately ing up German society of of that
chat period.
period. He
He photo-
photo-
absent; Sander eliminated it graphed laborers (left,
(left, bottom),
bottom), soldiers,
soldiers, mer-
mer-
from the negative. chants, provincial families,
fami lies, and
and other
other types,
types, all
all
formally posed. The portraits
portraits are
are soso utterly
utterly
factual and unsentimental as as to
ro be
be chilling
chilling at at
times;
tin1es; the
t he individual disappears intointo class
class and
and
social role.

C H A P T E R 110
CHAPTER 0 193
193
Photography and Social Change

PP hotography soon went

went from
from document-
document-
ing the world to documenting itit for
fo r aa cause.
ca us e.
Jacob Riis, Ri is, a Danish-born
Danish- born newspaper
newspaper reporter reporter of of
the late 19 19,hth century,
centu ry, was one of of thethe first
fi rs t to
to use
use
photography for for social
social change.
change. Riis Riis had
had beenbeen
writing aboutabo ut thethe grinding brutality
brutality of life in
oflife in New
New
York City’sCity's tenements
te nements and and slums
slums and and began
began to to
take
rake pictures (right,(right, top)
top) to to show,
show, as as he
he said,
said, what
what
“no
"no mere description
descriptio n could,could, the the misery
misery and and vice
vice
that
t hat he had noticedno ticed in in his
his ten
ten years
years of ofexperience
experience
.... . and suggest the t he direction
directio n in in which
which good good might
migh t
be done.”
d o ne." To
To take
rake photographs
ph otograph s inside in side the
th e tene-
te ne-
ments
me n ts at night,n ight, Riis
Ri is used
u sed magnesium
m ag n es ium powder powd er
ignited in an open o pen panpan to to provide
provide lightingligh t ing inin the
the
dark rooms.roo ms. The technique
tec hni q ue was was the th e forerunner
fo rerunn er
of
of thet he modern
mode rn flashfl as h..
Lewis W. Hine was a trained trai n ed sociologist
socio logist withwit h
a passionate
passio nate social
social awareness, especially especially of of the
t he
abuses of child labor (right, (right, bottom).
bo tto m). This This evil
evil
was widespread
wides pread in the the early
early 202Q,hth century,
centu ry, and Hine Hine
documented
d ocumented it to to provide
provide evidence
evidence for for reformers.
reformers.
Jacob Riis. Home of
Jacob ofItalian
Italian Rag
Rag Picker, Jersey Street, 1894.
Picker,Jersey 1894.
With sarcastic
sarcasti c fury
fu ry he h e wrote
wrote of of “‘opportunities’
“"'op
‘opportunities’
portuni ties' Riis used his camera to expose thethe slum conditions of of
for
fo r the child and the the family
family to to …relieve
... relieve the
the over-
over- New York City. His
His photographs led toto housing
housing regulations
regulations
burdened
burde ned manufacturer,
manufac turer, help help him him pay pay hishi s rent,
rent, that outlawed overcrowded
overcrowded quarters and
and windowless
windowless rooms.
rooms.
supply
sup ply his equipment,
equipment, take rake care
care of of his
his rush
rush andand
slack seasons, and help help him him to to keepkeep down
down his his
wage scale.”
scale."

Lewis Hine. Sadie Pfeifer, 48 Inches

Inches High,
High, Has
Has Worked
Worked HalfHalf
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
between 1908 192 1, making
1908 and 1921, making 5,000 pictures
pictures for
for the
the
National Child Labor Committee. One One foreman
foreman casually
casually
dis missed accidents, such as children getting
dismissed getting caught
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
doesn't amount to anything.”
anything."

194
194 H ISTORY O
HISTORY OFF P HOTOGRAPHY
PHOTOGRAPHY
 The photographers of of the
the FarmFarm Security
Security
Administration recorded
recorded the the Depression
Depression of of
the 1930s
1930s,, when the nation’s
nation's entire economic
economic
structure was in deep trouble
trouble and
and farm
farm families
fan1ilies
were in particular need. Assistant
Assistant Secretary
Secretary of of
Agriculture Rexford
Rexford G. Tugwell realized
realized that
that the
the
government’s
government's program
program of of aid
aid to to farmers
farmers was was
expensive and controversial. To prove prove both
both thethe
extent of
of the problem and the the effectiveness
effectiveness of ofthethe
cure, he appointed Roy Stryker
Stryker toto supervise
supervise pho-
pho-
tographic
rographic coverage ofof the
the program.
program.
Stryker recruited a remarkable
remarkable band band of of tal-
tal-
ent, including Dorothea
Dorothea Lange
Lange (left,
(left, top),
top), Walker
Walker
Evans (page 173),
173), Russell
Russell LeeLee (page
(page 161,
161, top),
top),
Marion Post Wolcott, Arthur
Arthur Rothstein
Rothstein (left,
(left, bot-
bot-
tom), Gordon Parks,
Parks, and Ben
Ben Shahn.
Shahn. The The photog-
photog-
raphers of
of the Farm Security
Security Administration
Administration pro- pro-
duced a monumental
monu mental collection
collection of of images
in1ages show-
show-
ing the plight of
of “one
"one third
third of
of aa nation”
nation" during
during
the Depression.
Dorothea Lange. Migrant Mother, California, 1936. 1936.
Lange’s
Lange's work reveals her empathy for her subjects.
She had a unique ability to photograph people atot 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
A Rothstein. Dust Storm, Cimarron
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. "

C H A P T E R 110
CHAPTER 0 195
195
Photojournalism

W
W hatever the news event—from event- from aa prize-prize-
fight to a war—we
war-we expect
expect toto 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.
Drawings and cartoons appeared
appeared only
only occasion-
occasion-
ally in the drab 18 th-century press.
13,h.century press. The 19 th cen-
19d,
tury saw thethe growth of of illustrated
illustrated newspapers
newspapers
such as the Illustrated London News and,
London News and, in
in America,
America,
Harper’s Weekly, and Frank Leslie’s
Harper's Leslie's Illustrated
Illustrated
Newspaper. Because
Newspaper. Because thethe various
various tones
tones ofof gray
gray
needed to reproduce
reproduce aa photograph
photograph could
could not
not be
be
printed simultaneously
simultaneously withwith ordinary
ordinary type,
type, pho-
pho-
tographs had to to be converted
converted into
into drawings
drawings andand
then into woodcuts beforebefore they
they could
could appear
appear asas
news pictures. The photograph
photograph merely
merely furnished
furnished
material
n1aterial for the artist.

The halftone process, perfected perfected in in the

the
1880s, permitted photographs
photographs and and type
type toto
be printed together, and photographs became
Erich Salomon. Visit of ofGerman Statesmen Erich Salomon was one of ofthe pioneers ofof
an expected addition to to news
news stories.
stories. “These
"These are
are to Rome, 1931.
1931. Not until the 1920s
192 0s did this practice, with a special talent for dressing
dressing
no fancy sketches,”
sketches," the American prom-
th e Illustrated American prom- photographers get a small camera able in formal clothes and crashing diplomatic gath-
ised, “they
"they are the
the actual
actual life
life of
of the
t he place
place repro-
repro- to take pictures easily in dim light. Early
Early erings—sometimes shooting through a hole
erings-sometimes
duced upon paper.”
paper." cameras were relatively bulky, and the slow- in his bowler or disguising his camera within
ness of
of available films meant that using
using a a bouquet.
bouquet. He often recorded those in power
power
camera indoors required a blinding burst of of while they were preoccupied with other mat-
The photo essay, a sequence
sequence of ofphotographs
photographs flashpowder.
flashpowder. The first of
of the small cameras, ters,
ters, such as at this 1931
1931 meeting
meeting ofofGerman
plus brief
brief textual material,
material, camecame of of age
age in in the Ermanox, to be followed soon by the Leica,
Leica, and Italian statesmen.
statesmen. In tribute to Salomon,
the 1930s. It was pioneered by StefanStefan Lorant
Lorant inin had a lens so fast—f/2—that
fast-f/2 - that unobtrusive, the French foreign minister, Aristide Briand, is
candid shooting finally became practical. said to have remarked, “There
"There are just three
European picture magazines
magazines andand later
later in
in America
America Cameras began to infiltrate places where theythey things necessary for a League ofofNations con-
by a score of
of publications
publications such
such as Life and
as Life Look..
and Look
Look. hadn’t
hadn't been before, and the public
public began to ference:
ference: a few foreign secretaries, a table, and
Today, the heyday of of the
the picture
picture magazine
magazine has has see real people in the news. Salomon.”
a Salomon."
passed, due in part
part to
to competition from from televi-
televi-
sion. But
Bu t photographs remain
remain aa major
major source
source
of
of our information about the the world
world and
and photo
photo
essays have returned on
on the
the Internet.
In ternet.

The halftone process converts the continuous shades of 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).

196
196 H ISTORY O
HISTORY OFF P HOTOGRAPHY
PHOTOGRAPHY
W . Eugene Smith. From Spanish Village
W. Village,, 1951.
1951. The photo
essay—pictures
essay-pictures plus supporting text—was
text—
text-waswas the
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," photo-
graphed for Life by W.
W. Eugene Smith, whose picture essays are
unsurpassed in their power
power and photographic
photographic beauty.
beauty.

C H A P T E R 110
CHAPTER 0 197
197
Photojournalism
photojournalism (continued)
(continued)

Photojournalists were the

the first
first to
to embrace
embrace The Associated Press Press (AP)
(AP) began
began trans-
trans-
digital photography. The news is now. mitting conventional photographs
photographs digitally
digitally
Photographers on location
location need
need to to get
get pictures
pictures before 1980. Their system was used used to
to distrib-
distrib-
from the middle
middle ofof the
the action
action to
to the
the editors’
editors' desks
desks ute pictures to editors at different
different newspapers.
newspapers.
as rapidly as possible. Film
Film requires
requires transportation
transportation In the mid-90s practical
practical digital
digital cameras
cameras began
began toto
to a lab, development, drying,
drying, and
and proofing
proofing before
before appear in the hands
hands ofof a very
very few
few photographers.
photographers.
anyone can tell whether the the pictures
pictures cancan be
be used.
used. The cameras were specially
specially modified
modified 35mm
35mm SLRs,
SLRs,
The
T he length ofof a roll limits
limits the
the number
number of of photo-
photo- the
t he same models many many photojournalists
photojournalists werewere
graphs that can be be exposed quickly.
quickly. AndAnd itit isis easy
easy already using, and were very expensive.
expensive. ByBy 2001
200 1
for information about a picture’s
picture's content
content to to get
get nearly half of
of all journalists used
used digital
digital cameras;
cameras;
separated from
from the picture
picture itself.
itself. today virtually
virtually all do.

Gilbertson. Baghdad, Iraq,

Ashley Gilbertson. Iraq, 2004 Whiskey Tango Foxtrot, records
Tango Foxtrot, records not
not on(y
only the
the
Gilbertson has photographed conflict in drama of
ofscenes like this, but also the people
Iraq since 2002, on assignment for a variety
varief:)t that are caught up in the conflict. George
George
of
ofpublications and as a personal
personal project. Here,
Here, Packer, writing in The New Yorker,
Yorker, said
said that
an Iraqi’s
Iraqi's attempt to extinguish the fire burning
burning war photography can “give
"give back their
their subjects
in a van ends spectacularly. Gilbertson’s
Gilbertson's book,
book, the humanity that the war is taking away.”
away.,,

198 H ISTORY O
HISTORY OFF P HOTOGRAPHY
PHOTOGRAPHY
 Alfred Eisenstaedt. Ethiopian Soldier, 1935.
1935.
War and social injustice are among thethe
of news photography. The
staples of The best
best
of
ofthese photographs go beyond thethe 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.

Meise/as. Awaiting
Susan Meiselas. Awaiting Counterattack
by the Guard, Matagalpa, Nicaragua,
1978.
1978. During the Sandinista revolt in
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 forfor publica-
tion. “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 photo-
journalist and deal with a deadline.”
journalist deadline."

C H A P T E R 110
CHAPTER 0 199
199
Photography as Art in the 19 th Century
19th

W
W as it just
just a photograph or
or was
was itit art?
art?
Almost from the the moment of of its
its birth,
birch, photog-
photog-
raphy began staking out out claims
claims in in areas
areas that
that
had long been reserved
resetved forfor painting.
painting. Portraits,
Portraits,
still lifes, landscapes,
landscapes, nudes,
nudes, andand even
even allegories
allegories
became photographic subjectsubject matter.
matter.
At the time, thethe most
most famous
fan1ous and and commer-
commer-
cially the most successful of of those
chose intending
intending to ro
elevate photography
photography to ro an artart was
was Henry
Henry Peach
Peach
Robinson. Robinson turned turned out our many
many illustra-
illustra-
tive and allegorical composite photographs. photographs.
These were carefully plotted
plorred in in advance
advance and and com-
com-
bined several negatives
negatives to to form
form the the final
final print
print
(right, top).
cop). Robinson
Robinson became
became the the leader
leader of of aa
so-called High Art Arr movement
movement in in 19 th-century
19<1,_cenrury
photography, which advocated beauty beauty andand artistic
artistic
effect no matter
matter how
how it ir was
was obtained.
obtained. Robinson
Robinson
advised: “Any
"Any dodge, trick
trick and
and conjuration
conjuration of of any
any Henry Peach Robinson. Fading
Fading Away, 1858.
1858. Henry
Henry
Peach Robinson’s
Robinson's High ArtA rt photography was
was inspired by
by
kind is open to the
the photographer’s
photographer's use.” use." romantic literature. He developed aa composite photographic
photographic
technique that allowed him to produce imaginary scenes.
By the 1880s a new
new movement
movement championed
championed Fading Away (above)
(above) was staged by posing
posing models
models separately
separately
naturalism as artistic photography.
photography. !cs
Its leader, and piecing together the images.
Peter Henry Emerson,
Emerson, feltfelt that
char true
true photo graphic
photographic
art
arr was possible
possible only through
through exploiting
exploiting the the
camera’s
can1era's ability toto capture reality
reality in
in aa direct
direct way
way
(right, bottom). He He scorned the rhe pictorial
pictorial school
school
and its composite printing,
printing, costumed
cosrun1ed models,
models,
painted backdrops,
backdrops, and sentimental
sentimental views views ofof ~ -
daily life. >la
ｾ＠ .,l:~
, .r.
Emerson laid down his his own
he called naturalistic photography:
equipment; no “faking”
own rules
rules for
photography: simplicity
"faking" by by means
means of
for what
what
simplicity of
lighting, pos-
oflighring,
of
pos-
"'%i'-e,
,'. t
.
. Ｌ ｾ ｾ＠
·-... ·...,··:J!
, ｾ＠
..

ing, costumes, or props;

props; free
free composition
composition without
without
reliance on classical rules;
rules; and
and no no retouching.
retouching. He He l. ,; is(,
also promoted what he he believed
believed was was aa scientific
scientific ':t ,
,.~ -
---
focusing technique that chat imitated
imitated the the way
way the
the eye
eye
perceives a scene: sharply
sharply focused
focused on on the
the main
main , '(
subject, with thethe foreground
foreground and and especially
especially thethe
background slightly out out of
offocus.
focus.
His ideas influenced aa new new generation
generation of ofpho-
pho-
tographers who no no longer
longer felt
felt the
rhe need
need toto imitate
imitate Peter Henry Emerson. Gathering Water Water Lilies,
Lilies, 1885.
1885.
painting butbur began to to explore photography
photography as as an
an Peter Henry Emerson rejected the methods of ofthe
the High
High
Art photographers. He He insisted that photography
photography should
should
art in its own right.
right. 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.

200
200 H ISTORY O
HISTORY OFF P HOTOGRAPHY
PHOTOGRAPHY
 Pictorial Photography
and the Photo-Secession

Robert Demachy.
Une Balleteuse, 1900.
1900.
IIss photography anan art? Photographers
Photographers were
were
Pictorialist photography
still concerned with this
chis question
question at
at the
the turn
turn of
of
at the turn ofofthe century the century. Art photographers, or or pictorialists,
pictorialists,
often resembled impression- wanted to separate their
their photographs
photographs from
from those
those
ist paintings, with light and taken for some other purpose—ordinary
purpose- ordinary snap-
snap-
atmosphere more important
important
than sharp details.
details.
shots, for example. Exhibitions
Exhibitions were
were organized
organized
internationally where photographs
photographs werewere judged
judged
on their aesthetic merits.
merits.

Many pictorialists believed

believed that
that artistic
artistic merit
merit
increased ifif the photograph
photograph looked
looked like
like
some other kind ofof art
art-—charcoal
charcoal drawing, mez-
mez-
zotint, or anything other
other than
than photography.
photography. TheyThey
patterned their work quite
quite frankly
frankly onon painting,
painting,
especially the work of
of the
the French
French Impressionists,
Impressionists,
for whom mood
mood and aa sense
sense of
of atmosphere
atmosphere and and
light were important. TheThe pictorialists
pictorialists favored
favored
mist-covered landscapes andand soft
soft cityscapes;
cityscapes; light
light
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
and catalyst for photography
photography asas an
an art
art form
form
and his influence is is hard
hard toto overestimate.
overestimate. He He
photographed (left,
(left, bottom),
bottom) , organized
organized shows,
shows,
and published influential
influential and
and avant-garde
avant-garde work work
by photo graphers and other
photographers other artists.
artists. In
In his
his galler-
galler-
ies—the
ies- the Little Galleries
Galleries of of the
the Photo-Secession
Photo-Secession
(later known simply
simply by by its
its address,
address, 291),
291), the
t he
Intimate Gallery, and An American American Place—he
Place- he
showed not not only
only what he he considered
considered the the best
best
photographic works but but also,
also, for
for the
the first
first time
time in
in
the United States, thethe works
works ofofCézanne,
Cezanne, Matisse,
Matisse,
Picasso, and other modern
modern artists.
artists. In
In his
his maga-
n1aga-
zine Camera Work,
Work, he he published
published photographic
photographic
criticism and works whosewhose only
only requirement
requirement was was
that they be worthy of of the
the word
word art.
art. Not
Not only
only
did he eventually force museum museum curators
curators and and
art critics to grant photography
photography aa place place beside
beside
the other arts, but
but by
by example
example and and sheer
sheer force
force of
of
personality he twice
twice set the
the style
style for
for American
American
photography:
photography: firstfirst toward
toward the the early
early pictorial
pictorial
Alfred Stieglitz. The Steerage, 1907.
1907. Alfred
Alfred Stieglitz
Stieglitz cham- impressionistic ideal
ideal and
and later
later toward
toward sharply
sharply
pioned photography as art, including
including pictorialist
pictorialist photogra-
photogra- realistic, “straight”
"straight" photography.
photography.
phy. 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
other alterations of
ofthe direct camera image.

C H A P T E R 110
CHAPTER 0 201
201
The Direct Image in Art
SS ome photographers
photog raphers interested
interested to
to make
make
th century created unma-
art in the early 20
20th unma-
nipulated images
images even while pictorialists were
were
making photographs that that looked
looked very
very much
much like
like
paintings. A movement was was forming
forming to to return
return toto
the direct photographs
photographs that that characterized
characterized so so much
much
of
of 19 th-century imagery. In
J9,h-century In 1917
1917 Stieglitz
Stieglitz devoted
devoted
the last issue of Work to
of Camera Work to Paul
Paul Strand,
Strand, whose
whose
photographs he he saw
saw as
as a powerful
powerful new new approach
approach to to
photography
phorography as an art form. form. Strand
Strand believed
believed that
that
“objectivity is of
"objectiviry of the very essence
essence of of photography…
photography ...
The fullest realization
realization ofofthis
this is
is accomplished
accomplished with- with-
out tricks of
of process or manipulation.”
manipulation."
Stieglitz’s
Stieglitz's own photographs
photographs were were direct
direct and
and
unmanipulated. He He felt that
that many
many of of them
them were
were
visual metaphors, accurate images images of of objects
objects inin
front of
of his camera and at the the same
same time
rime external
external
“equivalents”
"equivalents" of of his
his inner
inner feelings.
feelings. After
After 1950,
1950,
Minor White carried on on and expanded
expanded Stieglitz’s
Stieglitz's
concept of of the
the equivalent. For For White,
White, the the goal
goal
of
of the serious photo grapher was
photographer was “to
" to get
get from
fron1
Strand. The White Fence, Port
Paul Strand. Port Kent, New
New York,
York, 1916.
1916. Strand’s
Strand's straight
straight approach
approach to to pho-
pho-
the tangible to the the intangible”
intangible" so so that
that aa straight
straight tography as an art form combined an objective view view with
with personal meaning. “Look
personal meaning. "Look at
at the
the things
things
photograph also functions
functions as as aa metaphor
metaphor for for the
the you, the immediate world around you. IfIfyou are alive
around you, alive itit will
will mean
mean something
somethingto you.”"
to you.
photographer’s
photographer's or the the viewer’s
viewer's state
state of
ofmind.
n1ind.

Straight
Straig ht photography
photography dominated
dominated photography
photog raphy
as an art form from the 1930s
1930s to
to the
the 1970s
1970s
and is exemplified by by Edward
Edward Weston
Weston (page
((page
page 164).
164).
He used the simplest technique
technique and and aa bare
bare mini-
mini-
mum of of equipment: generally, an an 88 ×x 10 10 view
view
camera with lens stopped down down to to the
the smallest
smallest
aperture for sharpness overall.
overall. He
He contact-printed
contact-printed
negatives that were seldom cropped. cropped. “My "My way way
of
of working—I
working- I start with no no preconceived
preconceived idea— idea-
discovery
di scovery excites meme to to focus—then
focus - then rediscovery
rediscovery
through the lens—final
lens- final form
form of
ofpresentation
presentation seen seen
on ground glass, the the finished
finished print
print previsioned
previsioned
complete in every detail of of texture,
texture, movement,
movement,
proportion, before exposure—the
exposure- the shutter’s
shutter's release
release
automatically and finally
finally fixes
fixes mymy conception,
conception,
allowing no after manipulation—the
manipulation- the ultimate u ltimate
end, the print,
print, is but a duplication
duplication of ofall
all that
that II saw
saw
and felt through my my camera.”
camera." Many
Many other
other pho-
pho-
tographers, such as Ansel Adams,
Adams, Paul
Paul Caponigro
Caponigro
(right), and Imogen Cunningham
Cunningham have have used
used thethe
straight approach. Paul Caponigro. Galaxy Apple, New York York City,
City, 1964.
1964. The
The apple symbol of
apple isis aa symbol 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 inin the
the
best poetry where familiar,
familiar, everyday words,
words, placed
placed within
within aa special
special context,
context, cancan soar
soar above
above the
the intellect
intellect
and touch subtle reality in a unique way.”
way."
202
202 H ISTORY O
HISTORY OFF P HOTOGRAPHY
PHOTOGRAPHY
 The Quest for
for a New Vision
T
T he beginning of of the 20 th century saw
20th
great changes in manymany areas,
areas, including science,
technology, mathematics,
mathen1atics, politics,
politics, and
and also
also the
the
arts. Movements
Moven1ents like Fauvism,
Fauvism, Expressionism,
Expressionism,
Cubism, Dada, and Surrealism
Surrealism werewere permanently
permanently
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
the field of
of art all motifs
motifs andand subjects
subjects that
that have
have
already been exploited…to
exploited ... to destroy
destroy the
the cult
cult of
of the
the
past…to
past...to despise utterly
utte rly every
every form
form ofof imitation…
imitation ..
to extol every form ofof originality.”
original ity."

At the center of of radical

radical art,
art, design,
design, and and
thinking was the Bauhaus,
Bauhaus, a school in BerlinBerlin to to
which the Hungarian
Hungarian artist
artist László
Laszlo Moholy-Nagy
Moholy-Nagy
came in 1922.
1922. He
He attempted to to find
find new
new ways
ways of of
seeing the world and experimented with with radical
rad ical
uses ofof photographic materials
materials in in an
an attempt
attempt
to
co replace 19 th-century pictorialist
19rh-cenrury picrorialisr conventions
conventions
with a “new
"new vision”
vision" compatible
compatible with with modern
modern
Man Ray. Solarization, 1929.
1929. life. Moholy
Moho ly explored many many ways
ways of of expanding
expanding
photographic
ph otographic vision,
vision, through
through photograms,
ph otograms, pho- p h o-
tomontage (left, bottom),
bottom), thethe Sabattier
Sabattier effect
effect
(often called solarization), unusual
unusual angles,
angles, optical
optical
distortions, and multiple
multiple exposures.
exposures. He He felt
felt that
that
“properly
"properly used, theythey help
help to
to create
create aa more
more com-
com-
plex and imaginary language of ofphotography.”
photography."
Another artist exploring new new art art forms
forms was was
László
Laszlo Moholy-Nagy. Man Ray, an American
An1erican expatriate
expatriate inin Paris.
Paris. He
He waswas
Jealousy, 1927.
Jealousy, 1927. Photog- drawn to Dada, a philosophy
philosophy that
that commented
commented
raphers such as László
Ldsz/0 on the absurdities of of modern
modern existence.
existence. “I "I like
like
Moholy-Nagy and Man contradictions,”
contradictions," he he said. “We
"We have
have never
never obtained
obtained
Ray used many techniques
in their explorations of
of the infinite variety and contradictions
contradictions that that exist
exist
real, unreal, and abstract in nature.”
nature." Like Moholy,
Moholy, ManMan Ray
Ray used
used aa variety
variety
imagery. The photomontage of
of media and techniques,
techniques, including
including the the Sabattier
Sabattier
(right) combines pieces of of
effect
effecr (left, top).
several photographs. Moholy
defined photomontage as
“a
"a tumultuous collision ofof
whimsical detail from which

L
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.

C H A P T E R 110
CHAPTER 0 203
Photography as Art
in the 1950s
l 950s and 1960s
l 960s

A
A tremendous growth took
took place
place in
in the
the Harry Callahan. Eleanor,
1947.
1947. Harry Callahan’s
Callahan's
acceptance of
of photography
photography as
as an
an art
art form,
form,
work was lyrical and per-
a change that
that started in
in the
the 1950s.
1950s. Since
Since then,
t hen, sonal. He returned again
photography became aa partpart of
of the
the college
college and
and art
art and again to three main
school curriculum,
curricu lum, art museums
museun1s devoted
devoted con-
con- themes, the emptiness of of
city scenes, the rich detail of
of
siderable attention toco photography,
photography, art art galleries
galleries
landscapes, and portraits of of
opened to sell only
on ly photographs,
photographs, while
wh ile photog-
photog- his wife,
wife, Eleanor.
Eleanor. He said,
raphy entered other
ocher galleries that
chat previously
previously had
had “It
"It takes me a long time to
sold only paintings oror other
ocher traditional
traditional arts,
arts, and
and change. II don’t
don 't think you
you
can just go out and figure
established magazines such as Artforum ((page
as Artforum page
(page
out a bunch of ofvisual ideas
208) and Art
Art in America regularly
regu larly published
published pho-
pho- and photograph.
photograph. The change
tographs and essays about the the medium.
medium. happens in living and not
through thinking.”
thinking. "
American work of of the
the 1950s
1950s waswas often
often
described in terms of
of regional
regional styles.
styles. Chicago
was identified with
wi th the
the work
work ofofAaron
Aaron Siskind
Siskind(right,
(right,
bottom) and Harry
Harry Callahan
Callal1an (right,
(right, top).
top). The
T he West
West
Coast was linked to co the
the so-called
so-called straight
smught photog-
photog-
raphers, such as Ansel Adams (page (page 47)
47) and
and Minor
Minor
White (page 53). New New York was was aa center
center for
for social
social
documentation, such as by by photo graphers in
photographers in the
the
politically active Photo
Photo League.
League. Meanwhile,
Meanwhile, tiedtied to
to
no region, Robert Frank,
Frank, aa Swiss
Swiss immigrant,
immigrant, was was
traveling across thethe United
United States
States photographing
photographing
his own view of life (opposite).
oflife (opposite).

An increasing number
number ofof colleges
colleges and
and art
art
schools in the late
late 1960s
1960s offered
offered photog-
photog-
raphy courses, often in their
their art departments
where a cross-fertilization of of ideas
ideas took
took place
place
between photographers
photographers and artists
artists working
working in tra-
intra-
ditional art
arc media. Some painters
painters andand other
other art-
art-
ists used
u sed photographs
photographs in in their
their work
work oror sometimes
sometimes
switched to photography altogether.
altogether. Some
Some pho-
pho-
tographers combined their their images
images with
with painting,
painting,
printmaking, or other media.
media. Older
O lder photographic
photographic
processes were revived,
revived, such as as gum
gum bichromate
bichromate
and platinum printing.
Minor White
Whi te said that
chat inin the
the 1950s
1950s photogra-
photogra-
phers functioning
fu nction ing as artists were
were soso few
few that
that they
they
used to clump to gether for
together for warmth.
warmth. The The explo-
explo-
sion ofof photography in in academia
academia helped
helped push
push
the
t he medium in many many directions,
directions, and and thethe long
long
Aaron Siskind. Chicago 30, 1949.
1949. Aaron Siskind’s
Siskind's best-known
best-known workwork
battle over whether photography
photography was was anan art
art was
was
consists of context such as peeled
of surfaces abstracted from their context peeled and
and
finally resolved. The winners were were those
chose who
who said
said chipped paint or posters on walls.
wolfs. The subject
subject of
ofthe
the photograph isis the
the shapes,
shapes,
it could be. tonality, and other elements that appear in it, not
not the
the particular
particular wall
wall itself.
itself

204
204 H ISTORY O
HISTORY OFF P HOTOGRAPHY
PHOTOGRAPHY
Robert Frank. Bar – - New York City, 1955.
1955. Robert
Robert
Frank’s
Frank's ironic view ofofAmerica exerted a great influence
inf1uence
on both the subject matter and style ofofphotography
photography as
form . Like Frank’s
an art form. 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 ofmodern society. Jack
Jack Kerouac
wrote in his introduction to Frank’s
Frank 's book The Americans
Americans,,
“After
"A~er seeing these pictures, you end up finally not
not knowing
knowing
any more whether a jukebox is sadder than a coffin.”
coffin. "

C H A P T E R 110
CHAPTER 0 205
20 5
Photography as Art
in the 1970s and 1980s
PP hotographers
hotog raphers continued to
to explore
explore aa vari-
vari- Cindy Sherman. Untitled
Film Still #13, 1978.
1978.
ety of
of subjects and issues.
is sues . Some
Som e remained
rem ained
Sherman examined modern
committed to the straight
straigh t photography
photography tradition
tradition culture by photographing
of
of Edward
Ed ward Weston (page (page 164)
164) oror Ansel
Ansel Adams
Ad a m s herself
herselfini n various roles. In In
(page 47), while others experimented
experimented with with form
form to to this image from her Untitled
Untit led
find a new vision.
visio n. Shaped by by repercussions
repercussio ns of ofthethe Film ls series, she plays
Stills
Fil m Stil
the role of
of an actor playing
Vietnam
Vietn am War and a nd other conflicts,
con flicts, some
som e photogra-
photogra- a role.
phers took the medium
m edium in in political
political directions,
directio ns, fol-
fol-
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
Friedlander
Friedland er (page 157), 157), Diane
Diane Arbus,
Arbus, andand Garry
Garry
Winogrand
Winogra nd (page 134) 134) roamed
roam ed theth e streets,
st ree ts, record-
reco rd-
ing the
th e humor,
humo r, pathos,
pathos, and irony
iro ny of
ofdaily
daily life.
life.

Photography
Photog raphy found acceptance
acceptance asas aa legiti-
leg iti-
mate art form. During the
the late 1970s
1970s anda 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 Mapple-
Map ple-
thorpe,
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
Irving Penn and Richard Richard Avedon
Avedo n (opposite),
(o pposite), bet-
bet-
ter known for their their commercial
commercial work, wo rk, were
were given
given
exhibitions
exhibi tio ns ofof their
their editorial
editorial anda nd personal
personal work
work in in
major
n1ajor art
arr museums,
n1useums, evoking
evoking controversy
controve rsy in in some
so1n e
quarters. Technological
T echnological advances
advances in in color
color photog-
photog-
raphy, seldom
seldo m usedused byby art photographers
pho togra phers in in the
t he
past,
pas t, helped it it gain popularity.
popula rity.
Museums
M useums hired photographic
photographi c curators
curato rs and
a nd
charged
ch arged them with wi th building
building collections
collectio ns anda nd
exhibiting photography
photography more m ore regularly.
regu la rly. New
New
institutions
in stituti o ns like the International
Internatio nal Center
Cen ter forfo r
Photography (1974) (1974) and the th e Center
Center for
fo r Creative
Creative
Photography
Pho tography (1975)(1975) were founded.
fo unded . ByBy the
the early
early
1980s, photography
pho tography had h ad become
becom e aa fixture
fixt ure in in
museums,
n1useums, academia,
acade mia, and an d the
the art
arr world
wo rld at
at large.
large.

Photography
Photog raphy attracted the the attention
attention of of
respected intellectuals from
fro m other
o ther fields as well.
well.
In On Photography (1977),
( 19 77), Susan
Susan Sontag
Sontag raised
raised pen-
pen-
etrating questions about
abo u t the
the medium,
m edium, its its aesthet-
aes thet-
ics, and
a nd its ties
ties with the
th e culture
cultu re atat large.
large. Sontag
Sontag Robert Cumming. Tile/Mirror,
Tile/ Mirror, Milwaukee, Wisconsin,
Wisconsin,
1970.
1970. “Photographic conceptualism" is a label applied
" Photographic conceptualism” applied
validated photography
photography as as aa subject
su bject worthy
wo rthy ofofseri-
seri- to Cumming’s
Cumming's early photographic works, like this one,
ous
o us analysis. By
By the
the early
early 1980s
1980s photography
photography was was because they broke from the tradition ofofformal
formal beauty
beauty in
not
n ot merely
m erely accepted, itit was hot.
h ot. favor of
ofstressing an idea. Many ofofhis “conceptual”
"conceptual" pieces
also display a very dry sense of
ofhumor.

206
206 H ISTORY O
HISTORY OFF P HOTOGRAPHY
PHOTOGRAPHY
Richard Avedon. Sandra Bennett, twelve year
Richard Avedon. year old,
old,
Rocky Ford, Colorado,
Colorodo, August 23, 1980.
1980.

C H A P T E R 110
CHAPTER 0 207
Color Photography Arrives-Again
Arrives—Again
BB y 1970 almost everyone’s
everyone's snapshots
snapshots were were Color materials had
had (and
(and continue
continue to
to have)
have) In 1978
1978 JJanan Groover
exhibited color photo-
in color
color,, but art photographs
ph o togra phs weren’t.
weren 't. The
T h e sud-
sud - permanence
p ermane nce issues;
issue s; over time, colors fade and
and
graphs at thet he Sonnabend
den
de n respectability
res pectab ility received
received by by serious
seri o u s photography
photography change.
cha nge. In In museums you yo u can
can see
see many
many pristine
pristin e Gallery in NewN ew York.
York .
in the
th e late 1960s
1960s did not not include
include color.
color. ManyMan y of of examples of of black-and-white
black-and-white prints prints made
mad e byby the
the Because Sonnabend was
the
th e era’s
era's well-known
well-kn own artists
a rtists had
had photographed
p h o togra phed in in first
fi rst generation of of photographers
photographers in in the
the 19 th cen-
19,h known for exhibiting promi-
color—Ansel
color- Ansel Adams,
Ada ms, Harry
Harry Callahan,
Calla han , Helen
H elen Levitt,
Levitt, tury.
tu ry. Research into in to the
t he longevity
lon gevity of
of photographs
photograp h s nent contemporary painters
and sculptors, the appear-
and
a nd even Edward
Ed ward Weston among am on g them—but
them - but what what proved that,
th at, with careful processing
processing andand storage,
storage, ance of
of color photographs
was seen of theirs
th eirs was always
always black
black andand white.
white. silver-based
silve r-based black-and-white
blac k-and-whi te printsprints and
and negatives
n egatives caused a sensation. Writing
In part, this
t hi s was due to to the
th e expense
ex pense of o f print-
p rint- can last nearly
n early forever.
fo rever. But
But the
th e news
news about
abo u t color
colo r about her work almost
ing books and a nd magazines
n1agazines in in color.
color. ButBut there
t h ere were
we re was all bad.
bad . It was so so bad
bad that
tha t until
until the
the mid-1970s
mid-1 970s ten years
years later in the New
mes,, critic Andy
Times
York Ti
other
o th er reasons
reaso n s as well. Serious Serio u s photographers
p h o tographers most
m ost museums, because because of oftheir
their obligation
obligatio n to to pre-
p re- Grundberg said, “When
"When
took
too k pride
p ride in their expressive darkroom da rk roo m craft;craft; serve objects
o bjects in
in their
th eir care, would
wo uld not
n ot collect
collect color
colo r one appeared on the cover
the
t he tones
to n es of
of a black-and-white
black-and-wh ite print print were
we re easily
easily photographs
p ho tograph s at a t all. Photographers
Photogra phers who who wanted
wanted of
of Artforum magazine, it
Artforum magazine,
manipulated
m anipulated in the th e hands
h and s ofofaa master.
m as ter. Color
Colo r pho-pho- their
t heir prints
pri n ts to
to outlast themthem wouldn’t
wo uldn't take
take aa chance.
ch ance. was a signal that photogra-
phy had arrived in the art
tographs either looked looked accurate
acc u rate or o r they
they looked
looked world—complete
world- complete with a
wrong.
wro n g. Also, darkroom
darkro on1 colorcolor chemicals
ch em icals required
required Color photography
photog raphy arrived—suddenly,
arrived-suddenly, itit marketplace to support it.”it."
more
n1o re attention,
attentio n, so quality
quali ty control
contro l favored
favored the the seemed—in
seem ed - in the
th e mid-1970s.
mid-1970s. Art schools
schools andand uni-
uni-
automated
a uto mated processing
processing machines
mac hin es in in high-volume
high-volume versities
versiti es that had
had only recently
recently introduced
introdu ced photog-
photog-
commercial labs. labs. Until
Until the
t h e 1970s
1970s no n o photograph-
pho togra ph- raphy courses found fo u nd them
t hem increasingly
increasingly popular.
popular.
ic artists could
cou ld make
m ake a living
living just
just byby selling
sell ing prints,
pri nts, Art departments
d epartments grew from fro m teaching
teaching oneon e or
or two
two
so their darkrooms
d arkroo n1s were we re usually
u su ally economical—
eco no mical- photo
pho to classes to to offering aa full
full academic
acade m ic major,
majo r,
small
sm all spaces with simple sim p le equipment.
equ ipm ent. ThereThere were were which meant
mean t expanding their their facilities
facilities to
co meet
meet
few options
o pt io n s for
fo r a modest
m odest color
color darkroom.
da r kroo m. 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. dye transfer process was labor-intensive and
and required
required
Eggleston had his 35mm
3 5mm color transparencies
transparencies absolute precision, but the prints are among
among the most
most
in to dye transfer prints. Now discontinued, the
made into the permanent and accurate color photographs ever
ever made.
made.

208
20 8 H ISTORY O
HISTORY OFF P HOTOGRAPHY
PHOTOGRAPHY
the course catalogs and school
school labs
labs setset up
up color
color improved
in1proved its expected lifespan
lifespan with
with aa new
new version
version
processing machines.
machi nes. More
More facilities
faci lities meant
meant more
more every few years. Photographers—and
Photographers- and collectors—
collectors-
emerging artists with color portfolios,
portfolios, and and more
more began to trust that
that color
color photographs
photographs wouldn’t
wouldn't
color prints on view. vanish overnight.
New research showed
sh owed that
that low low temper-
temper-
atures slowed thethe deterioration of of color
color pho-
pho- Color photography
photography was validated by by muse-
muse-
tographs. Museums began began constructing
constructing spe- spe- um exhibitions. Stephen Shore was represented
represented
cial refrigerated vaults to to store the
the color
color photo
photo by color prints in the
the enormously
enormously influential
influential New
New
graphs they could then
then collect, and
and some
some photog-
photog- Topographics
Topograph ies exhibition atat the
the George
George Eastman
Eastman
raphers found room
room in
in their
their studios
studios forfor freezers
freezers to
to House in 1975.
1975. Although color
color photographs
photographs hadhad
keep their color negatives.
negatives. been shown occasionally
occasionally atat New
New York’s
York's Museum
Museum
For years, Kodak ignored
ignored pleas
pleas from
from com-
com- of
of Modern Art since 1937,
1937, its
its 1976
1976 exhibitions
exhibitions of
of
mercial photographers and and artists
artists alike
alike for
for aa more
more William Eggleston (in (in May) andand Shore
Sh ore (October)
(October)
permanent color printing
printing paper,
paper, but
but Fuji
Fuji listened.
listened. were hailed
hai led as a watershed in in the
the acceptance
acceptance of
of
They began to market
market color
color paper
paper in in 1980
1980 andand color photographs
ph otographs as fine
fine art.
art.

Stephen Shore. South of ofKlamath Falls, U.S. 97,

91, Oregon, “There’s
'There's something arbitrary about taking a picture.
July 21
July 1913. Shore photographed with an 8 ×
21,, 1973. X 10
10 So II can stand at the edge of
ofa highway and take one step
film.. The
view camera using color film.
film The resulting
resulting prints forward and it can be a natural landscape untouched
untouched byby
have saturated colors, fine detail, and crystalline clarity
clarity man and I can take one step back and include aa guard-
but, he says, “…it’s
"... it's that awareness of
ofreally
really looking
looking at
at rail and change the meaning
meaning ofofthe picture radically.”
radically."
the everyday world with clear and focused
focused attention that
that His not-so-arbitrary decision to step back allowed
allowed him toto
I’m
I'm interested in.”
in." raise questions about the nature ofofpictures.
C H A P T E R 110
CHAPTER 0 209
Digital Photography
P REDECESSORS
PREDECESSORS
T
T oday, it’s
it's difficult to think
think ofof aa sector
sector ofof instant films limited the
ing—like
the photographer
photographer to
ing- like the early daguerreotype—only
to produc-
produc-
daguerreotype- only aa small,
small,
our society that isn’tisn't affected
affected inin some
some mea-
mea-
sure by digitized imagery.
imagery. The print and media media unique print.
industries, the
the arts, medicine,
medicine, politics,
politics, and
and sports
sports
all use and depend on on digital images.
images. Web
Web sites
sites Digital imaging soon reached
reached aa popular
popular
like YouTube,
Yo uTube, Facebook,
Facebook, and and Flickr
Flickr regale
regale us
us with
with audience. Sophisticated computer equipment
equipment
the latest pictures ofof friends,
friends, pets,
pets, kids,
kids, and
and every-
every- was used to co generate new
new special effects
effects and
an d ani-
ani-
thing else in ways that
that few
few people
people could
could imagine
imagine mation techniques in in popular
popular films
films like
like Star
Star Wars
Wars
ago..
even a decade ago (1977). Dazzling imagery
imagery captivated
captivated audiences,
audiences,
including
incl udi ng filmmakers and and artists
artists who
who began
began toto
Many of
of photography’s
photography's inventors
inventors were
were glimpse and use the the visual
vis ual possibilities
possibilities (see
(see pages
pages
grounded in the sciences, for example, William 212–213).
212 - 213). Competition among
amo ng Kodak,
Kodak, Sony,
Sony, Fuji,
Fuji,
Henry FoxFox Talbot (page
(page 184)
184) andand Sir
Sir John and other
ocher corporations led led to
co the
the introduction
introduction
Herschel in the
the early 19 th century. Talbot, coin-
19,h of
of cameras that could capture
capture an an image
image digitally,
digitally,
cidentally, was friends with
with Charles
Charles Babbage,
Babbage, aa and show it to to the
the photographer
photographer immediately,
immediately, in in
mathematician whose “difference
"difference engine,”
engine," was
was the
the the
t he early 1990s.
1990s. InIn January, 2008,
2008, the the Japanese
Japanese
first successful automatic calculator—the
calculato r- the direct
direct camera manufacturers’
manufacturers' trade
trade organization
o rganization report-
report-
ancestor ofof today’s
today's computers. In In the
the mid-20
mid-20,hth ed film camera sales of of less
less than
than 0.1%
0.1 % ofof total
total
century,
centu ry, scientists and engineers
engineers played
played key
key roles
roles cameras sold;
sold; after that
that they
they stopped
stopped including
includ ing
in developing digital imaging
imaging systems.
systems. Space
Space navi-
navi- film cameras in in their
their monthly
monthly sales
sales reports.
reports.
gation and mapping drove drove the
the development
development of, of,
for example, the Hubble
Hubble tele scope and
telescope and advanced
advanced
television cameras.

The impulse to manipulate photographs photographs

is nearly as old as the medium medium itself.itself. Long
before computers
compu ters were invented,
invented, people
people wanted
wanted toco
do (and some were doing) one one ofof the
the things
things that
that
digital imaging does so well—combining
well- combining imag- imag-
es. Henry Peach Robinson
Robinson (page
(page 200),
200), Oscar
Oscar G.G.
Rejlander (right),
(righ t), and others cut,
cut, pasted,
pasted, masked,
masked,
and rephotographed
rep hotographed images
images toto make
make allegories,
allegories,
illustrate Biblical stories, and
and create
create dramatic
dramatic oror
simply amusing scenes.
In the early 20 th century, artists like
20"' like Man RayRay
and László
Laszlo Moholy-Nagy
Moho ly-Nagy (page(page 203),
203), Hannah
Hannah
Höch,
Hoch, and John Heartfield
Heartfield created
created surrealistic—
surrealistic-
and 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
Land’s
Land's first Polaroid
Polaroid camera
camera inin 1948,
1948, there
there was
was no
no
practical way, other than than years
years ofof experience,
experience, to
to
know ifif a captured
captu red image
image would
wo uld match
match the
the expec-
expec-
tations ofof the photographer.
photographer. Polaroid’s
Polaroid's instant-
instant- Oscar G. Rejlander. Rejlander
Rejlander himself
himselfand others displaying emotions,
Introduces Rejlander the Volunteer,
Volunteer, c. made character studies, and created
print cameras and filmfi ln1 were
were enormously
enorn1ously popular
popular
1865.
1865. Rejlander often pieced together
together complicated allegorical scenes. In
In this
this self
self
for snapshots, and theirtheir professional
professional films
films were
were negatives to produce composite images. portrait, he appears as both the artist
artist and
an essential
essen tial proofing stepstep in
in studios,
studios, but
but most
most He enjoyed theatrics and photographed the soldier he is introducing.

210
210 H ISTORY O
HISTORY OFF P HOTOGRAPHY
PHOTOGRAPHY
Jim Stone. Dawn and Krista at the Lemonade
Jim Lemonade Stand, The film pack, a sandwich of ofblack-and-white
Syracuse, New York, 1984.
1984. To photograph strang-
strang- film and print paper, contained a pod of ofdeveloping
developing
ers, Stone used a now-discontinued
ers, now-discontinued Polaroid
Polaroid chemicals that would process the materials after
a~er ex-
X 5 view
positive/ negative film in his 4 ×
instant positive/negative posure—in
posure- in daylight—in
daylight- in twenty seconds. TheThe frame’s
frame 's
camera.
camera. It made an instant print that
that he gave to
to his
his distressed edges, visible in the image above, are the
the
subjects to make sure they were comfortable with
with the
the result of
ofincluding a part ofofthe negative that extended
extended
image, and a negative he kept to make larger
larger prints.
prints. beyond the instant print’s
print's masked white border.
border.

C H A P T E R 110
CHAPTER 0 211
211
Digital Photography
B ECOMES M
BECOMES AINSTREAM
MAINSTREAM

T
T he 1990 introduction of ofAdobe
Adobe Photoshop
Photoshop In less than a generation, digital
digital technol-
technol-
was a major turning
turning point
point in
in the
the acceptance
acceptance ogy took over the medium
medium ofof photography.
photography.
and use of of digital
digital imaging.
imaging. An early exhibi- Anyone who owns a camera, or or even
even just
just aa cell
cell
tion, Digital Photography: Captured
Captured Images,
Images, Volatile
Volatile phone, is an image maker.maker. In In 2013,
2013, Facebook
Facebook
Memory, New Montage (1988) (1988) gathered
gathered workwork by by claimed that its members
members upload
upload 10 10 billion
bill ion pho-
pho-
artists such as Paul
Paul Berger,
Berger, MANUAL
MANUAL (Suzanne
(Suzanne tos every month. In the the same
same year,
year, about
about 90% 90% ofof
Bloom and Ed Ed Hill,
Hill, below),
below), Esther
Esther Parada,
Parada, Martha
Martha the 5 billion cell phones in in use
use worldwide
worldwide werewere
Rosler (page 76), and others who who used
used digital
digital camera phones; soon virtually
virtually everyone
everyone in in the
the
imaging for a variety of of purposes.
purposes. The
The flexibility
flexibi lity world will be carrying aa camera.
camera.
of
of digital imaging and
and the
the integration
integration of
ofapplica-
applica- Digital manipulation of of images
images is is common-
common-
tions on the computer led led many
many artists
artists to
to explore
explore place, whether in in the
the news,
news, in
in advertising,
advertising, or or in
in
cross-media and interdisciplinary
interdisciplinary production
production the simple act of of removing
removing unwanted
unwanted telephone
telephone
using installations, music,
music, and video.
video. wires (or unpleasant relatives)
relatives) from
from ourour snap-
snap-
In the 1990s,
1990s, many
many traditional
traditional photographers,
photographers, shots. The allure
all ure of
of photography
photography has has always
always in in
who had long been committed to to black
black and
and white,
white, part been about controlling and and even
even altering
altering our
our
began using color, inin part
part because
because digital
digital technol-
technol- experience of
of reality. We
We have
have experienced
experienced aa revo-
revo-
ogy simplified color management
management and and made
made thethe lution whose contours and and implications
implications we we are
are
printing process more
more accessible.
accessible. just beginning toto 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 gleam-
ing frame encloses what we
do to our environment in
order to create such objects.

212 H ISTORY O
HISTORY OFF P HOTOGRAPHY
PHOTOGRAPHY
Nancy Burson. Warhead I, 1982. 1982. Burson
Burson made combination
combination portraits
portraits likelike this
this
after working with scientists at MIT
one a~er 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 ofoffive
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 thanthan 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 toto photograph
photograph her her
composites displayed on a CRT
CRT monitor, then
then made
made exhibition printsprints in
in aa darkroom.
darkroom.

C H A P T E R 110
CHAPTER 0 213
21 3
 How to Learn More
Further information oon
Furth er information photography isis readily
n photography readily Most universities and public
universities and public libraries
libraries have
have Use aa search
search engine
engine toto find
find pages
pages onon aaspecspecific
ific
available. Many books
books and
and magazines
magazines extend
extend computers that
that are
are always
always online,
online, meaning
meaningthey they topic. Firefox,
topic. Firefox, Safari,
Safari, and
and Internet
Internet Explorer
Explorerall all
technical information; others reproducegreat
technical information; others reproduce great are connected
connected to to the Internet. Many cities have
the Internet. Many cities have have search engines already stored
have search engines already stored as book- as book-
examples-both contemporary
examples—both contemporary and and histori
histori- • lnternetcafes
Internet cafés that
that charge
charge aa modest
modest hou rly fee
hourly feefor
for marks; three
three useful
useful ones
ones among
among manymanyare are
cal- of practical
cal—of practical and
and artistic
artistic photography.
photography.The The Internet access.
access. Coffeehouses
Coffeehouses and and other
other busi-
busi- Google, Ask.com,, and
Google , Ask.com and Yahoo.
Yahoo.Type
Type keywords
keywords
bibliography onon page
page 226
226 and
and aa local
local library
library nesses offer free
free wireless
wireless (Wi-Fi)
(Wi-Fi) connection
connectionto to to locate your topictopic,, using
using severa
severall to
to narrow
narrow
are good places to
good places to start.
start. the Internet that
that you
you can
can use
use ifif you
you bring
bringyour
your the search.
search. A recent
recent search
search on on the
the keyword
keyword
own
own appropriately
appropriate ly equequipped laptop computer,
ipped laptop computer, photography in in English
English turned
turned up up over
over900 900 mil-
mil-
Camera sstore personnel
tore pe can
rsonnel ca answer
n an questions
swer ques tio ns tablet, or smartphone.
smartphone. lion sites.
sites. Narrowing
Narrowing the the search
search totophotography
photography
about products tthey
abo ut the products sell. Additionally,
hey sell. Additionally, To connect fromfrom your
your home,
home, you you need
needaa museum listed
listed 9898 million possibilities. Changing
million possibilities. Changing
the staff in
in most camera stores
most camera stores are
are often
oftenavid
avid computer andand aa contract
contract with
with an an Internet
InternetService
Service the search
search to to photography
photography museum
museum Rochester
RochesterNY NY
photographers themselves, and
photographers themselves, and they
they may
may bebe Provider(or
Provider (or ISP).
ISP). AA local
local computer
computer retail
retailstore
store reduces thethe number
number to to aa still-daunting
still-daunting450,000450,000
to discuss
eager to discuss photography- especially when
photography—especially when can help answer questions,
help answer questions, and
and numerous
numerousself- self- entries,
entries, but the the first
first one
one onon that
that list
list isis probably
probably
store is not
the store not crowded.
crowded. help books areare available
available on
on the
the topic.
topic. the one
one you
you’d want—the
'd want- home page
the home page for forthe
the
George Eastman House.
Eastman House.
Advanced classes aand
Adva nced classes workshops aare
nd workshops offered
re offered AWWeb
eb browser is is the
the software
software program
programyour your
almost everywhere,
everywhere, from
from guided
guided photo
phototours
toursto
to computer uses uses toto reach
reach thethe Worl
World WideWeb.
d Wide Web. Portal sites are
are very
very useful
useful for
for many
many topics.
topics.AA
professional lighting seminars.
professiona l lighting seminars. Ask
Ask about
aboutthem
them Dominating the the field
field are
are Mozilla
Mozilla Firefox,
Firefox,Apple
Apple portal is aa compilation
compilation of of links
links to to other
othersites
sites
camera store,
at a camera store, aa local
local community
community college
collegeor
or
or Safari , Google
Safari, Chrome, and
Google Chrome, and Microsoft
Microsoft Internet
Internet of
of interest onon the
the topic.
topic. Fortunately,
Fortunately,there thereare
are
university, search the
university, or search the Internet
Internet (see
(see below).
below). Explorer. They
Explorer. They are
are free
free (but
(but youyou need
needto to use
use several good
good ones
ones for
for photography,
photography, organizing
organizing
one to download
download another)another),, and and most
mostcom-
com- links into areas
areas of interest
interest such
such as as manufactur-
manufactur-
The Internet can
Internet ca n aanswer almost aany
nswer almost question
ny questio n puters are
are supplied
supplied with with atat least
least one
onealready
already ers,
ers , museums, schools, stores,
museums, schools, stores, andand ononline gal-
line ga l-
have about
you may have about photography.
photography. LikeLikeanan im-
im- installed. Your Web
installed. Your Web browser
browser letslets you
you type
type ininaa leries and
and discussion
discussion groups.
groups. AAvery very complete
complete
mense library, the
the World
World Wide
Wide Web
Web (the
(the most
most location called aa URL
address, called
location or address, (for Uniform
URL (for Uniform site is The
The Photography Portal (www.the
Photography Portal (www.the
(www.the
widely used
used part the Internet)
part of the Internet) gives
gives you
youac-
ac- Locator), to
Resource Locator), to reach
reach aa specific
specificWeb
Web photographyportal.com).). Other
photographyportal.com Other photography
photography
cess to information, opinions,
information, opin and images.
ions, and images.On On page. Addresses
Addresses begin with http://.
begin with http://. Most
Most pages
pages porta ls can
portals can be
be found
found with
with aa general
general search
searchforfor
can search for prices and order books,
it you can search for prices and order books, contain li nks that connect you
contain links that connect you directly toother
directly to other photography portal.
portal.
portal.
supplies, and
supplies, and equipment.
equipment. AndAnd you
you can
can show
show related
related pages simply by
pages simply by clicking
clicking onon them.
them.YourYour A list of Web
Web sites
sites featuring
featuring the the work
work ofof
your own
own photographs
photographs to to anyone
anyone with
withanan browser letslets you
you save any URL
save any URL asas aa bookmark
bookmarkso so photographers represented in
photographers represented in this
this book
book isison
on
Internet connection,
connection, worldwide.
worldwide. you can
you can easily return
return to to it.
it. page 220, that’s only
220, but that's only aa start.
start.
National Museum of American Art
Innova Art, Ltd.

Light Work

Product informat
information is plentiful
ion is plentiful on
on the
theWeb.
Web. Museums have sites
Museum s have sites on
on the
the Internet.
Internet.This
Thisone
one Photography organiza
organizations havegalleri
tions have galleries and
es and
Camera makers feature new
makers feature new products
products and
and pro-
pro- has an
an on
online version of
line version of aa book-
book-length cata-
length cata- libraries; publish newsletters
libra ries; many publish newsletters and
and books
books
vide listings lenses and
listings of lenses and accessories.
accessories. Paper
Paper log—an exhibition of
log- an exhibition of landscape
landscape photography
photography and—like
and- like Light Work, the
Light Work, the Syracuse,
Syracuse, New
NewYork,
York,
manufacturers’ sites, like
manufacturers ' sites, like lnnova
Innova’s shown here
's shown here,
, that was held
held atat the
the Smithsonian
Smithsonian American
American artist’s space shown
artist's space shown above-
above—sponsor artistswith
sponsor artists with
have printer profiles
profiles you
you can
can download,
download, asas Art Museum. Information about
Museum. Information about individual
individual residencies, grants, and
residencies , grants, and in
in other
other ways.
ways.Find
Findout
out
we ll as complete
well complete product
product listings.
listings. artists is often
often presented
presented along
along with
with images.
images. about their programs
programs from
from their
their Web
Websites.
sites.

214 H OW T
HOW TOO LLEARN
EARN M ORE
MORE
 Troubleshooting
FF rom time to time,
or prints
prints that
the cause of
of some
time, every
every photographer
chat display
so me common
photograph er encounters
display unexpected
com mon problems—and
problems-and how
encounters captured
unexpected problems.
probl ems. This
how to
captured images,
This section
section can
to prevent
preventthem
im ages, scans,
can help
them in
helpyou
in the
scans,
you identify
identify
thefuture.
future.

S O L V I N G CAMERA
SOLVING C A M E R A AND
A N D LENS
LENS
P ROBLEMS
PROBLEMS

PICTURE
PICTURE NOT SHARP. Easier
NOT SHARP. Ea sier to
to see
see in
in an enlarged
en larged print or
screen
scree n display at 100% magnifi
magnification.
cation.
Cause: Too slow a shutter speed
speed will
will blur
blur aa movi
moving subjector
ng subject orblur
blurthe
the
IMAGE
IMAGE AREA
AREA COMPLETELY
COMPLETELY BLACK
BLACK picture
picture overall due to camera
camera motion.Too
motion. Toowide widean anaperture
aperturewiwill make
ll make
the
the scene sharp where youyou focused
focused itit but
but not
not inin front
frontof
ofor
orbehind
behindchat
that
Cause: The sensor (or film)
Cause: received no
film) received no exposure.
exposure. part.
part. An extremely dirty lens
lens can
can sometimes
sometimes reduce
reducesharpness
sharpnessovera
overall,
ll ,
Prevention: Increase
Prevention: exposure
Increase exposu several stops
re by several stops and
and shoot
shootagain.
again. especially
especially when combined
combined withwith lens
lens flare
flare..
Check
Check that the lens cap is
is off.
off. W
With electronic flash
ith electronic flash,, the
the flash
flashmay
may Prevention:
Prevention: Use a faster shutter speed or smaller aperture, or
speed or sma ller aperture, or support support
not
not have
have fired. the
th e camera
ca mera more
more steadily.
steadi ly. Keep fingerprints and
Keep fingerprints and dirt
dirt off
offthe
thelens.
lens.

LIGHT STREAKS. Image

LIGHT STREAKS. Image area
a rea flared
flared oror foggy looking overall.
overall. If you
you VIGNETTING. Image
VIGNETTING. Im age obscured
obscured or
or very dark at
use
use film,
film , darkened
darkened in a negative, lightened in
negative , lightened in aa print
print or
or slide,
slide,with
withfifilm
lm the
the corners.
co rn ers.
edges
spots
unaffected.
edges unaffected.
in the
Cause: The sun,
Cause:
shape
The
of
image
the
sun, a bright
lens
may also
diaphragm.
spots in the shape of th e len s diaphragm.
show

bright bulb, or other light

ghosting or

light source
geometric
also show ghostin g or geometric

source waswas within

withinor or
Cause: A
Cause:
too
coo far
A lens
len s shade, filter,
far forward
blocked
blocked the
forward of
th e image
fi lter, or both
of the lens and
projected
both projected
a nd partially
image from reaching the
partia lly
the lens.
lens.
[
close
close toto the
t he image,
image, or bright light struck struck th the lens aatt aan
e lens angle..
n angle Prevention: Lens
Prevention: Lens shades are shaped shaped toto match
match Lens
Lens shade
shadefor
for
Prevention: Expect
Prevention: Expect some
so me flare if yoyou can
u ca see aa ligh
n see lightt so
source
urce ininyour
your different
ditferent focal-length
focal-length lenses (right). Use the
(right). Use the long-focal-length
long-focal-lengthlens
lens
viewfinder.
viewfi nd er. The larger
larger or brighter tthe light, the
he light, the more
more flare
flare yoyou will
u will correct
correct shade
shade forfor your
yo ur lens; too long
lon g aa lens
lens
get;
ge t; distant
di sta nt or dim lights
li ghts may not produproduce any flflare
ce any are atat aall. To pre-
ll. To pre- shade
shade cancan cause
cause vignetting,
vignetti ng, but oneone that
that isis too
too
vent
ve nt stray
for
the sun
stray light
for your
you r lens
is
light from

not
from striking the
lens focal
focal length
shining directly
t he sun is not shining directl y on
the lens,
length (right).
on
use the
lens, use
( righ t ). Even
Even with
your lens.
the correct

le ns.
correct size
with aa lens
lens shade
size lens
shade,, make
lens shad
makesu
shade
sure
e
re
shallow
sha llow will
from
from flare.
plus
wi ll not
not provide
flare. Using
plu s aa lens
provid e adequate
Using more
lens shade
more than
adequate protection
tha n one
protection
o ne filter
shade can cause vignetting,
filter or aa filter
vignetting, espe-
espe-
filter [
cially
cially with
with aa short lens.
lens. For
For short-focal-len gth lens
short-focal-length lens

TTROUBLESHOOTING
ROUBLESHOOTING 215
215
SOLVING CAMERA
CAMERA AND
AND LENS
LENS LIGHTNESS/DARKNESS PROBLEMS
LIGHTNESS/DARKNESS PROBLEMS
PROBLEMS, continued
PROBLEMS, continued

LINES THROUGH IMAGE. SUBJECT VERY DARK AGAINST LIGHTER

LIGHTER BACK-
BACK-
GROUND.
GROUND .
Cause: Non-responding
Non-responding CCOs. CCDs. AA line
line on
onaadigita
digital cameraphoto
l camera photomeans
meansa a
The meter
Cause: The meter averaged
averaged all all the
the tones
tones ininits
itsangle
angleofofview,
view,then
then
row ofCCDs
of CCDs on on the
the sensor
sensor isis not
not collecting
collecting pixel
pixeldata.
data.AAline
lineon
onaascan
scan
computed an
computed an exposure
exposure for
for aa middle-gray
middle-graytone.tone.The
Theprob
problem
lem isisthat
that
from aa single
is from single dead
dead CCD
CCD that
that moves
movesacross
acrossthe
theimage.
image.
the average
average of the
the overall
overall scene
scene was
was lighter
lighterthan
thanaamiddle
middletone,
tone,soso
Fixing the
Prevention: Fixing the problem
problem may may mean
mean replacing
replacingthethescanner
scannerororcam-
cam-
appears too
too dark.
dark.
era, but such
such lines
lines are
are easy
easy to
to retouch
retouch ininthe
theimage.
image.Photoshop
Photoshopletslets
Don’t make
Prevention: Don't make an
an overall
overall reading
readingwhenwhenaasubject
subjectisisagai
against
nst
you select
you se lect aa single-pixel
single-pixel row
row oror column
columnand andadjust
adjustititseparately.
separately.See
See
a much background. Instead
much lighter background. Instead,, move
move ininclose
closetotometer
meterjust
justaa
also
a lso Lines Across aa Print,
Lines Across Print, page
page 219.
219.
part of the
the subject
subject that
that isis middle-toned,
middle-toned,then thenset
setyour
yourshutter
shutterspeed
speed
and aperture
aperture accordingly (see (see pages
pages 70- 72).
70–72).

DUST SPECKS. Dark Dark or black specks

specks or
or marks
marks on
on aa digital
digital image,
image,
on aa negative.
clear specks on negative. SUBJECT VERY LIGHT AGAINST
AGAINST DARKER
DARKER BACK-
BACK-
Cause: Dust
Oust onon the
the sensor
sensor or or film
film during
duringexposu
exposure. Bitsof
re. Bits ofdust
duston
onthethe GROUND.
light-sensitive surface will
light-sensitive surface will keep
keep thethe light
lightfrom
fromreaching
reachingaasmallsmallpart
partofof
Cause: If the subject
subject isis too
too light,
light, your
your meter
meterwas
wasoverly
overlyinfluenced
influencedby byaa
the exposure.
it during the exposure.
dark background
background andand overexposed
overexposed the the image.
image.
Prevention: Keep the inside
Keep the inside of
of the
the camera
cameradustdustfree
freebybycarefully
carefullyblowing
blowing
Don’t make
Prevention: Don't make an an overall
overall reading
readingwhen
whenaasubject
subjectisisagainst
againstaa
or dusting camera
camera surfaces
surfaces when
when youyou change
changelenses
lensesororrereload
load fifilm,
lm,
much
much darker background.
background. Instead,
Instead, move
move ininclose
closeto
tometer
meterjust
justaapart
part
see page 29. Clean dust
29. Clean dust out
out ofof the
the cap
capthat
thatcovers
coversthe
theback
backof ofyour
your
of
of the subject
subject chat
that isis middle-toned,
middle-toned, thenthenset
setyour
yourshutter
shutterspeed
speedand
and
lens before use.
use. Specks
Specks can can be
be retouched
retouchedduring
duringimage
imageediting
editingtotore-
re-
aperture accordingly (see
aperture accordingly (see pages
pages 70-
70–72).
72).
move them but itit isis better
chem but better not
not to
to get them.
get chem.

216 T ROUBLESHOOTING
TROUBLESHOOTING
SHARPNESS PROBLEMS
SHARPNESS PROBLEMS FLASH PROBLEMS,
FLASH PROBLEMS, continued
continued

NOT ENOUGH (or the

th e wrong part)
p a rt) OF THE SCENE
SCENE IS
IS ONLY PART OF SCENE EXPOSED.
EXPOSED .
IN FOCUS.
FOCUS .
Shooting at
Cause: Shooting at too
too fast
fast aa shutter
shutter speed
speedwithwithaacamera
camerathat
thathas
has
Cause: 1.
1. Not enough depth
Not enough depth ofof fie
field. Toowide
ld. Too wideananaperture
aperturewil will result
l resu lt a focal
foca l plane shutter, such
plane shutter, such asas aa single-lens
single-lens reflex
reflexcamera.
camera.The
Theflash
flash
in shallow depth
depth of
of field,
field, making
making the the scene
scenesharp
sharpwhere
whereyouyoufocused
focused fired when
fired when thethe shutter
shutter waswas not
not fu lly open.
fully open.
camera, but not in front of or behind that part of the scene. 2.
the camera, but not in front of or behind that part of the scene. 2. Check manufacturer's
Prevention: Check manufacturer’s instructions
instructionsfor forthe
thecorrect
correctshutter
shutter
speed was
Shutter speed was too
too slow,
slow, subject
subject or or camera
cameramoved
movedduring
duringexpo•
expo- speed toto synchronize
synchronize withwith flash,
flash, and
and set setthe
theshutter•speed
shutter-speeddialdial
sure.
sure. 3. Camera wasn't
3. Camera wasn’t focused
focused on on the
the main
mainsubject.
subject. accordingly. For most
accordingly. cameras, 11/60
most cameras, ⁄60 sec. is safe;
60 sec. safe; faster
faster speeds
speeds are
are
1. Choose
Prevention: 1. Choose aa smaller
smaller aperture.
aperture. 2.2.Choose
Chooseaafaster
fastershutter
shutter usable with
with some
some cameras.
cameras. The The flash
flash shutter
shutterspeed
speedmaymayappear
appearon on
speed set the
speed or sec the camera
camera on on aa tripod.
tripod. 3.3. Choose
Choosemanual
manualfocus
focus, , oror your camera
camera’s shutter-speed dial
's shutter•speed dial inin aa different
differentcolor
colorfrom
fromthe
theother
other
make sure you
you know
know how
how your
your autofocus
autofocuslens lensselects
selectsaafocus
focusdis-dis- shutter speeds,
speeds, or
or itit may
may be
be marked
marked with withan anX.X.
tance. page 43.
tance. See page 43.

SUBJECT APPEARS TOO DARK DARK OR OR TOO LIGHT.

LIGHT
LIGHT.. Manual
Manual flash
Aash
ALL OR PART OF SCAN OUT OF
OF FOCUS.
FOCUS . settings are
are more
more likely
likely to
to cause
cause problems
problemsthan
thanautomatic
automaticoperation,
operation,which
which
reads the
the illumination from the
illumination from the flash
flash through
throughthe
thelens.
lens.More
Moreabout
aboutflash
flash
Cause: If the
the entire
entire image
image isis out
out of
of focus,
focus,thethescanner
scannervibrated
vibratedduring
during
operation
operation onon pages
pages 146-
146–147.
147.
the exposure or, with
exposure or, with film
film,, the
the original
original isis held
heldtootoofar
farfrom
fromthe
thescan-
scan-
ner’s
ner's plane focus. If part
plane of focus. part ofof the
the scan
scan isisout
outofoffocus
focus, thescanner
, the scanner Cause:
Cause:TooToo dark-
dark—the scene was
the scene was underexposed,
underexposed,not notenough
enoughlight light
may have been bumped
have been bumped during
during thethescan.
scan.The Thefifilm maybe
lm may bebuckling
bucklingoror reached
reached thethe film
film or
or digital
digital image
image sensor.
sensor.Too Toolight-
light—too muchlight
too much light
moving during the the scan,
scan, or
or may
may not
not be
be held
heldflat
flatenough.
enough. reached
reached thethe film
film or
or sensor.
sensor. If If you
you manually
manuallyset setthetheexposure
exposurefor forflash,
flash,
Prevention: Make sure the scanner sits on a solid surface andisisnot
Make sure the scanner sits on a solid surface and not an occasional frame that is too dark or light probably results from
an occasional frame that is too dark or light probably results from
vibrated by nearby
vibrated nearby equipment.
equipment. AAglass glass holder
holderor orcovering
coveringsheet
sheetwill
will setting the camera's
camera’s lens lens aperture
aperture incorrectly
incorrectlyor ormaking
makingan anexposure
exposure
keep the
the film
film flat,
flat, but
but may
may introduce
introduce Newton
Newton’s 's rings , undesired
rings, undesiredrain
rain-• before the flash
flash is
is fully
fully charged
charged..
bow-colored
bow·colored patterns. Special anti-newton
patterns. Special anti-newtonglass glassisisavailable.
available. 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 likeaagymna-
gymna-
sium; the relatively
the re dark surroundings
latively dark surroundingsabsorb absorblightlightthat
thatwould
wouldother•
other-
FLASH PROBLEMS
PROBLEMS bounce back
wise bounce back toto add
add toto 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
PART OF SCENE EXPOSED CORRECTLY, PART
PART TOO
TOO half
ha lf the ISO you
you are
are using.
using.
LIGHT OR TOO DARK. Close down
down the the aperture
aperture about
about aa stop stopwhen
whenshooting
shootingininsmallsmall, ,
Objects in
Cause: Objects in the
the scene
scene were
were at
at different
differentdistances
distancesfrom
fromthe
theflash,
flash, light·colored rooms
light-colored rooms to to compensate
compensate for for excess
excesslight
lightbouncing
bouncingback back
so were exposed
exposed toto different
different amounts
amountsof of light.
light. from
from walwalls and ce
ls and ceiling. With aa non-built·
iling. With non-built-in flash,ififyour
in flash, yourpictures
picturesare are
Try to group important parts of the scene at about the
Prevention: Try to group important parts of the scene at about the usually overexposed
overexposed and and too
too light
light,, try
trysetting
settingthetheflash
flashunitunittototwice
twice
same distance
distance from
from the
the flash
flash (see
(see page
page 148).
148). the ISO you are
150 you are using.
using.

TROUBLESHOOTING
TROUBLESHOOTING 217
217
SOLVING FLASH PROBLEMS,
SOLVING FLASH PROBLEMS, continued
continued SOLVING COLOR
COLOR PROBLEMS
PROBLEMS
Flash pointed straight Same scene
scene shot
shot
at reflective surface at an angle

GREENISH LOOK TO SCENE OVERALL.

shot in
Cause: Scene shot 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.
With film,
Prevention: With film, try
try an
an FL
FL filter
filter on
onthe
the lens.
lens.Set
Setthe
thewh
white balance
ite ba lance
of
of a digital camera to
digital camera to fluorescent
fluorescent (see
(see pages
pages66andand58).
58).

UNWANTED REFLECTION.
REFLECTION .

Cause: Light bouncing

bouncing back
back from
from reflective
reflectivesurfaces
surfacessuch
suchasasglass,
glass,mir-
mir-
ror, or shiny walls.
walls.
Prevention: Position
Prevention: the camera
Position the camera atat an
an angle
angletoto highly
highlyreflective
reflectivesurfaces
surfaces
or aim
aim the flash
flash at
at the
the subject
subject from
from off
offcamera.
camera.

BLUISH OR REDDISH LOOK TO SCENE OVERALL.

OVERALL.

film or
Cause: Color film or aa digital
digital camera's
camera’swhite white balance
balancesetting
settingnot
not
matched
matched toto the
the type
type ofof 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
RED EYE. A person’s
person's or anima
animal’s eyes appear
l's eyes appear red
red or
or amber
amberininaaco
color
lor a digital camera to
digital camera to the
the type
type ofof lighting
lighting used
used(see
(seepages
pages66andand58).
58).
picture, very light
light in
in aa black-and-white
black-and-white picture
picture(see
(seepage
page148)
148).. Use a #BOA
#80A filter
filter for
for aa scene
scene litlit by
by incandescent
incandescent(about
(about3200K)
3200K)light
light
Cause: Light reflecting from
Light reflecting from the
the blood-rich
blood-rich retina
retinainside
insidethe
theeye.
eye. bulbs.
bulbs. Use daylight-balanced film
Use daylight-balanced film inin daylight
daylightororwith
withflash.
flash.
Prevention: Move
Move thethe flash
flash away
away from
from thethe 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
have aa red-eye reduction mode:
red-eye reduction mode: thethe flash
flash lights
lightsup
upbriefly
brieflybefore
before
the main exposure so
main exposure so that
that the
the subject's
subject’s iris
iriscontracts,
contracts,reducing
reducingthethe
amount of of visib
visible red.
le red.

UNEXPECTED COLOR CAST.

Cause: Light reflected
reflected from
from aa nearby
nearbycolored
coloredobject
objectcancangive
giveaacocolor
lor
cast to the scene.
scene. The The shade
shade ofof aa tree
treecan can add
addan anunexpected
unexpectedlook look
to skin tones
tones because
because tthe light was
he light was filtered
filteredtthrough coloredleaves;
h rough colored leaves;
here, orange fall leaves.
orange fall leaves. Simi
Similarly, light bouncing
larly, light bouncingoff offaastrongly
stronglycol-
col-
ored wall
wall can
can titint
nt tthe scene the
he scene the color
color of of tthe wall.The
he wall. Theeffect
effectisismost
most
noticeable on
on skin
skin tones
tones or
or neutral
neutral tones
tones like
likewhwhite
ite oor gray.
r gray.
Try to
Prevention: Try to recognize
recognize and,
and, ifif you
you wish,
wish,avoid
avoidthethesituation.
situation.InIn
some cases, the
the color
color balance
balance of of seselected areascan
lected areas canbebeadjusted
adjusted
separately during image
image editing.
editing.

218 T ROUBLESHOOTING
TROUBLESHOOTING
SOLVING OTHER DIGITAL
SOLVING OTHER DIGITAL PROBLEMS
PROBLEMS

NOISE. Colored specks in

DIGITAL NOISE. areas.
in dark areas.

PIXELATION . Edges
PIXELATION. Edges look stair-stepped. Details are
stair-stepped. Details are indistinct.
indistinct. Cause: Often
Often occurs inin shadow
shadow areas,
areas, in
in photos
photostaken
takenatatnight,
night,or
orinin
low
low light with
with aa long exposure.
exposure.
Cause: Image
Cause: Image resolution too low
resolution coo low for
for the
the intended
intended use
use.. Prevention: Try shooting at
Prevention:Try at aa lower
lower ISO;
ISO; instead
instead of
of ISO
ISO800
800oror1600,
1600,
Prevention: 72 dpi
Prevention: dpi is idea
ideall for
for display
display on on aa monitor,
monitor,butbutprinting
printingfrom
from try ISO
ISO 100 or 200. Try Photoshop
200. Try Photoshop FiFilter>Noise>Despeckle.
lter>Noise>Oespeckle. ThisThis
an ink-jet
ink-jet or dye-sublimation printer requires
dye-sub limation printer requires 180-360
180–360dpi.
dpi.IfIfyou
you reduces
reduces the noise, although itit softens
noise , although softens thethe image
imagesomewhat.
somewhat.
scanned the image, rescan itit at
image, rescan at aa higher
higher dpi
dpi setting.
setting.
Iflfche
the image from aa ddigital
image came from camera, try
igital camera, try Phoroshop
Photoshop BANDING . Unexpected
BANDING. Unexpected bands in areas
areas with
with no
no detai
detail.
l.
Image>Image resample
lmage>lmage Size to resamp the image
le the image atat aa higher
higherdpi.
dpi.Next
Nexttimetime
you photograph,
photograph , use
use aa higher
higher resolution.
resolution. Cause: With a digital
digital camera,
camera, scene
scene may
may have
have been
beenshot
shotatatcoo
toohigh
highan
an
ISO
ISO setting. Some fine
fine patterns,
patterns, like
like aa window
window screen,
screen,maymaycreate
createaa
pattern
pattern (called moiré
moiri)) when
when overlaid
overlaid with
with the
the pixel
pixelgrid.
grid.
Prevention:
Prevention: Try shooting thethe scene
scene with
with aa lower
lower ISO.
ISO.You
Youmight
mightneed
needtoto
use
use a tripod
tripo d and a slower shutter
shutter speed
speed or or add
add light
lightfrom
fromaaflflash or
ash or
other
other light source.
source.

OVERSHARPENING . Details
OVERSHARPENING. Deta il s too
too crisp
crisp and contrasty that
that may
may
show
show digital
digi tal noise; colored fringes along
co lored fringes along edges.
edges.

Cause: Oversharpening the print

Cause: while scann
print while scanning or whi
ing or while workingon
le working on
the
the image
image in in an image-editing program. See
image•ed iting program. See page
page 104.
104.
Prevention: Rescan
Prevention: Rescan the print, transparency, or
print, transparency, or negative
negativewithout
withoutsharp·
sharp-
SOFT IMAGE . Details
SOFT IMAGE. Details in
in the
the image
image are not sharp.
sharp. ening
ening it. it. With a digital
digita l camera image, return
camera image, return to
to the
the original
originaldigital
digital
Cause: Possibly
Cause: Possib ly poor
poor focus camera movement
focus or camera movement (see (see Picture
Picture not not file,
file, ififit
it has
has not
not been
been sharpened. When you
sharpened. When you resharpen
resharpen thethe image,
image,dodo
sharp,
sharp, pagepage 215).
215). Extreme file
file compression
compression UPEG (JPEG,, page
page881) 1 ) isis so
so while
while viewing at 100% magnification.
magnification.
shown in
shown in the the example above.
above.
With
With aa digital
digital camera, quality level
level is
is too
too low.
low. At
At low·quality
low-quality
settings
settings (also
(also called basic or good),
good), the
the camera
camera compresses
compresses the theimage
image
file.
fi le. When
When the the image is reopened
reopened and and uncompressed
uncompressed,, details
detailscan canbe
be
lost.
lost. The visible
visible results may be negligible when prints
negligible when prints are
areveryverysmasmall,
ll,
but
but will
wil l be
be noticeable
noticeab le if
if they are enlarged.
enlarged.
Prevention: Try to anticipate the fina
Prevention: finall size
size and
and reproduction
reproduction methodmethod
for
for your
your images.
images. Pictures
Pictures to be used
used only on on the
the Web
Web cancan be beshot
shot
at
at low
low quality.
quality. Use
Use the camera’s highest quality
camera's highest quality setting
setting ifif you
you might
might
ever
ever want
want to to make
make 8 ×x 10-inch prints..
10· inc h or larger prints
All
All digitally
digitally captured
captured pictures
pictu res need some sharpening
need some sharpening (page(page 104).104).
IfIfyou
you are
are just starting out, youyou may not not bebe used
used cotojust
just how
how unsharp
unsharp
your
your unsharpened
unsharpened photographs
photographs will will appear.
appear.
LINES
LINES ACROSS
ACROSS A
A PRINT.
PRINT.

Cause: Misaligned
Cause: Misa ligned or clogged print heads.
heads.
Prevention: Use
Prevention: Use the
the printer’s software utility
printer's software utility to
to check
check for
for aa problem
problem.. The
The
utility
utility will
will also
also align heads,
heads , print a test pattern,
pattern, and
and run
run cleaning
cleaningcycles.
cycles.

TTROUBLESHOOTING
ROUBLESHOOTING 219
219
Photographers
Photographers’
Photographers'’ Web Sites

W
W eb pages are today’s
them
in a gallery exhibit or
today's galleries; many
t hem to show aa broader
or aa monographic
many photographers
broader sampling
monographic book.
photographers use
samp ling of
oftheir
use
their work
book. Compared
work than
Compared to
than they
to those
theycould
could
those venues,
venues,
a Web site
sire is
is also available
available toto be
be seen
seen almost
almost anywhere
anywhere atat any
any time
time and
and
can always be updated
updated toto include
include new
new work.
work. Use
Use the
the links
links below
belowto to find
find
out
our more about the the photographers
photographers whosewhose work
work appears
appears inin this
this book.
book.

Adams, Ansel anseladams.com

anseladatns.com Killip, Chris chriskillip.com
Adams, Shelby
Shelby LeeLee shelby-lee-adams.blogspot.com
shelby-lee-adams.blogspot.com Klett, Mark thirdview.org
thirdview.org
Avedon, Richard
Richard richardavedon.com
richardavedon.com Koo, Bohnchang
Koo,Bohnchang bckoo.com
bckoo.com
Barney, Tina janetbordeninc.com Kost, Julieanne
Kost,Julieanne jkost.com
jkosr.com
Benjamin, Martin stockrockshots.com
stockrockshots.com Koudelka, Josef
Koudelka,Josef magnumphotos.com
magnum photos.com
Bloom, Steve stevebloom.com
srevebloom.com Leibovitz, Annie contactpressimages.com
contactpressimages.con1
Brooks, Drex drexbrooks.com
drexbrooks.com Liebling, Jerome
Liebling,Jerome jeromeliebling.com
jeromeliebling.com
Brown, Polly
Polly pollybrownphotographs.com
pollybrownphorographs.com Mandel, Mike thecorner.net
rhecorner.net
Burson, Nancy nancyburson.com
nancyburson.com MANUAL
MANUA L manualart.net
manualart.net
Burtynsky, Edward
Edward edwardburtynsky.com
edwardburrynsky.com Manzano, Javier
Manzano,Javier javiermanzano.com
javiermanzano.com
Carey, Alison alisoncarey.com McFarland, Lawrence
Lawrence lawrencemcfarland.com
lawrencemcfarland.com
Cartier-Bresson, Henri
Henri magnumphotos.com
magnum photos.com Meiselas, Susan susanmeiselas.com
susanmeiselas.com
Chin, Christine christinechin.net
chriscinechin.net Miralle, Donald donaldmiralle.com
Crafton, Billy
Billy L.
LL.. craftonphoto.com
craftonphoto.com Misrach, Richard fraenkelgallery.com
fraenkelgallery.com
Cummins, Rebecca rebeccacummins.com
rebeccacummins.com Moholy-Nagy, László
Llszl6 moholy-nagy.org
moholy-nagy.org
D’Amato,
D'Amato, Paul pauldamato.com
pauldamato.com Padula, Warren wpadula.com
wpadu la.com
De Keyzer,
Keyzer, Carl carldekeyzer.com
carld ekeyzer.com Parr, Martin martinparr.com
martinparr.com
Eggleston, William egglestontrust.com
egglestontrusc.com Pinkhassov, Gueorgui magnumphotos.com
magnumphoros.com
Erwitt,
Erwitt, Elliott
Elliott elliotterwitt.com
elliotterwitt.com PoKempner,
Po Kempner, Marc pokempner.net
pokempner.net
Fink, Larry billcharles.com
billcharles.com Richards, Eugene eugenerichards.com
eugenerichards.com
Fontcuberta, Joan
Fontcuberta,Joan fontcuberta.com
fontcuberta.con1 Richfield, Robert
Robert robert-richfield.com
roberr-richfield.com
Frank, Robert pacemacgill.com
pacemacgill.com Robledo, Maria judycasey.com
Galvan, Laurisa
Laurisa laurisagalvan.com
laurisagalvan.com Rosler,
Rosier, Martha martharosler.net
1nartharosler.net
Gilbertson, Ashley
Ashley ashleygilbertson.com
ashleygi lbertson.com Rowin, Stanley stanstudio.com
stansrudio.com
Gilden, Bruce magnumphotos.com
magnumphoros.com Schäfer,
Schafer, Michael mschaefer-studio.de
mschaefer-studio.de
González,
Gonzalez, Dionisio
Dionisio dionisiogonzalez.es
dionisiogonzalez.es Scheinbaum, David
David photographydealers.com
photographydealers.com
Gossage, John
Gossage,John loosestrifebooks.com
loosestrifebooks.com Scherer, Jim
Scherer,Jim jimscherer.com
Gould, Meggan meggangould.net
meggangould.net Sherman, Cindy
Cindy metropicturesgallery.com
metropicturesgallery.com
Harker, Santiago santiagoharker.com
santiagoharker.com Shore, Stephen stephenshore.net
stephenshore.net
Harvey, David Alan magnumphotos.com
magnun1photos.com Siskind, Aaron aaronsiskind.org
aaronsiskind.org
Hatakeyama, Naoya takaishiigallery.com
rakaishiigallery.com Smith, W. Eugene
Eugene magnumphotos.com
magnumphoros.com
Hido,
Hido, Todd toddhido.com
toddhido.com Sohier, Sage sagesohier.com
sagesohier.con1
Hocks, Teun teunhocks.nl
teunhocks.nl Soth, Alec alecsoth.com
Iooss, Walter walteriooss.com
walteriooss.com Stein, Amy
Stein,Amy amysteinphoto.com
a1nysceinphoto.com
Johnson, Keith keithjohnsonphotographs.com
keithjohnsonphotographs.com Sternfeld, Joel
Sternfeld,Joel joelsternfeld.com
joelsternfeld.com
Jones, Lou
Lou fotojones.com
forojones.com Stone, Jim
Stone,Jim jimstone.com
jimstone.com
Jones, Peggy Ann pinhole.us
pinhole.us Strembicki, Stan strembicki.com
srrembicki.con1
Karsh, Yousuf
Yousuf karsh.org
karsh.org Tarnowski, Tom ttarnowski.net
ttarnowski.net

220 P HOTOGRAPHERS’ W
PHOTOGRAPHERS' E B SSITES
WEB ITES
 Brian Ulrich. Untitled (Thrift 0509),
0509), 2005. advertising that the equipment and software for
Obsolescence comes quickly in the the digital
digital making photographs are constantly evolving, but
but
world, as you
you can see in this photograph from
from so are the pictures we can view online. Use
Use the
the list
list
Ulrich’s
Ulrich's series on thrift stores. We
We know through
know through on these two pages to check in on your
your favorites.

Taylor, David dtaylorphoto.com

dcaylorphoto.co m Weems, Carrie Mae
M ae carriemaeweems.net
carrien1aewee n1s. net
Tunbjörk, Lars
Tunbjork, jkand.com Weifenbach, Terri stephendaitergallery.com
scephendaicergallery.com
Turner, Pete peteturner.com
peretu rner.com Whaley, Jo jowhaley.com
Ulrich, Brian notifbutwhen.com
n otifbutwh en .com Willis, Deborah debwillisphoto.com
debwill isphoto.com
Umbrico, Penelope penelopeumbrico.net
penelo peumbri co. nec Wolfe, Byron byronwolfe.com
byronwolfe.co m
Vanderwarker,
Vand erwarker, Peter vanderwarker.com
vanderwarker.com xRez Studio
Stu dio xrez.com
Webb, Alex
Webb,Alex magnumphotos.com
m agnum photos.com Yanagi,
Yan agi, Miwa yanagimiwa.net
yan agimiwa.net

P H O T O G R A P H E R S ’' W
PHOTOGRAPHERS E B SSITES
WEB ITES 221
22 1
Glossary
Aberration Optical defect in a lens (sometimes of
of possible divisions or steps of of color and tone CMOS Complementary metal oxide semiconduc-
unavoidable) causing distortion or loss of of between black and white. tor.
tor. One of of two types of of light-sensing devices
sharpness in the final
fina l image. Bleed mount To mount a print so there is no (the other
ocher is CCD) placed in a grid to make the
Adapter ring A ring used to attach one camera border between the edges of of the print and the sensor in a digital
digi tal camera.
item toco another; for example, to attach a lens to edges of
of the mounting surface. CMYK The basic set of of four colors
co lors used in most
a camera in reverse position in order to increase Body The light-tight box that contains the camera printing presses and desktop printers: cyan, ma-
image sharpness when focusing very close to the mechanisms and protects the sensor or film film from genta, yellow, and black. Also the color co lor mode
subject. light until you are ready to make an exposure. usually used in the professional graphic arts
Additive color The The three
three primary
primary colors
colors (red,
(red, Bounce light Indirect
Ind irect light produced by pointing and printing industry. The other common color
green, and blue) that can be mixed as light to the light source at a ceiling or other surface to mode is RGB (red, green, blue). Files Fi les can be
match any other color. See Subtractive color. reflect the light back toward the subject. SofterSoITer stored
scored and edited in either mode and converted
Ambient light See Available light. and less harsh than direct light. between them. See Subtractive color.
Angle of
of view The amount of of a scene that can be Bracketing Taking several photographs of of the Color balance 1. The proportion of of different col-
recorded by a particular
particu lar lens fromfrom a given posi- same scene at different exposure settings, some ors in a white light source. 2. A film’s film 's response
tion; determined by the focal focal length of
of the lens. greater than and some less than the setting indi- to the colors in a scene. Color films are bal-
Aperture The lens opening formed by the iris dia- cated by the meter, to ensure at least one well- anced for use with specific light sources. 3. The
phragm inside the lens. The size is variable and exposed frame.
frame. reproduction
rep roduction of of colors in a photograph. See
adjusted by the aperture control. Built-in meter An exposure meter in the camera White balance.
Aperture control The ring on the camera lens that takes a light reading (usually through the Color management A means of of coordinating
coordinati ng the
(a push button on some models) that, when camera lens) and relays exposure information
in formation to color output of of various devices so the colors
turned, adjusts the size of of the opening in the the electronic controls in an automatic camera you see on a monitor, for example, examp le, will be the
iris diaphragm and changes the amount of of light or to the photographer ifif the t he camera is being ones that will appear when you print the image.
that reaches the film.
film. operated manually. Color space 1. A system for defining specific col-
Aperture-priority mode An automatic exposure Bulb A shutter-speed setting (marked B) B) at which ors, for example RGB RGB or CMYK. 2. A A predefined
system in which the photographer sets the ap- the shutter stays open as long as the shutter re- gamut, for example sRGB, Adobe RGB (1998),
erture (f-stop) and the camera selects a shutter lease is held down. or ProPhoto.
speed for normal
norma l exposure. Burn in To darken a specific
spec ific area of
of an image in Color temperature Description of of the color of of a
Application See Software. a darkroom, by giving it additional printing ex- light source. Measured in degrees Kelvin Ke lvin (K).
Archiving Copying and storing digital files in a way posure.
posure . Hence
Hence the name of of Photoshop’s
Photoshop's Burn Composite An image made from parts of of two or
that protects against loss. tool.
tool. more other images.
ASA A film speed rating similar to an ISO rating. Byte A unit of of digital data. A number represented Compound lens A lens made of of several
severa l elements.
Aspect ratio The ratio of of width to height,
height , a mea- by 8 bits. Used to measure size or capacity of of Compression A means of of reducing the size of of
sure of
of the shape of of a rectangle. A A camera that a computer file or device. See also Kilobyte,Kilobyte, a digital
d igita l image file in order to reduce stor-
uses a sensor with 1 1/2 1 /2 times the pixels measured Megabyte, Gigabyte. age requirements
requ irements or transmission time across
horizontally as vertically has a 3:2 aspect ratio. a network. “Lossy”
" Lossy" techniques permanently
Automatic exposure A mode of of camera opera- Cable release An encased wire that attaches at eliminate some information to obtain highly
tion in which the camera automatically adjusts one end to the shutter release on the camera compressed, very small files.files. Lossless techniques
either the aperture, the shutter speed, or both and has a plunger on the other end that the compress images
im ages without losing any informa-
for normal exposure. photographer depresses to activate the shutter. tion in the file. See JPEG.
Automatic flash
fl ash An electronic flash unit that uses Used to avoid camera movement or to activate Contrast The difference between the light and
its light-sensitive cell or the camera’s
camera 's to deter- the shutter from a distance. dark parts of of a scene or photograph.
mine the duration of of the flash for normal expo- Calibrate To adjust a device, for example a com- Contrasty Having greater-than-normal differ-
sure by measuring the light reflected back from puter monitor, to match a predefined standard. ences between light and dark areas. The oppo-
the subject. Camera Raw One of of several proprietary file for- site of
of flat.
flat.
Available light
lig ht The light that already exists (as mats that preserves all a ll the
t he data from
from a digital Crop To trim the edges of of an image, often to im-
opposed to t0 being added by the photographer) camera picture with no after-capture
after-capt ure interpreta-
in terpreta- prove
prove the composition. Cropping can be done
where a photograph is to be made. made. tion. by moving the camera position while viewing a
Averaging meter An exposure meter with a wide CCD Charge-coupled device. One of of two types scene, during image editing, or by trimming the
angle ofof view. The indicated
ind icated exposure is based of
o f light-sensing devices (the other is CMOS) finished print.
on an average of of all
a ll the light values in the scene. placed in a grid to make the sensor in a digital
camera. Also used in scanners. Darkroom
Da rkroom A room where analog (film-based)
B See Bulb. CC filter (for color conversion or color correc- photographs
photographs are developed and printed.
Backup An exact duplicate of of a digital file or set tion).
tion ). A transparent filter placed in front of of the Depth ofof field The distance between the nearest
of
of files,
fi les, made as protection against loss. camera’s
camera's lens to alter the color of of the light, usu- and farthest points that appear in acceptably
Bellows An accordion-like section inserted be- ally to adjust white balance. sharp focus in a photograph. Depth of of field var-
tween the lens and the camera body. In close-up Center-weighted
Center-weig hted meter A through-the-lens expo- ies with lens aperture, focal length, and camera-
photography the bellows allows closer-than-nor- sure meter that measures light values from from the to-subject
to-subjecc distance.
mal focusing,
focusing , resulting in a larger image. entire scene but gives greater emphasis to those in Diaphragm (iris diaphragm)
diaphrag m) Th Thee mechanism
Binary number A number consisting only of of one the center ofof the image area. controlling the
t he size of
of the lens opening, there-
or more 1s 1s and 0s.
Os. Close-up A larger-than-normal image obtained fore the amount of of light that reaches the sensor.
Bit The smallest unit of of information usable by a by using a lens closer than normal to the sub- It consists of
of overlapping metal leaves inside
computer, indicated by a 1 or a 0, 0 , describing ject. the lens that form a circular opening of of variable
one of of two conditions: on or off. Close-up
Close-u p lens A lens attached to the front of of an sizes. (You can see it as you look into the front
Bit depth The number of of bits used to represent ordinary
ord inary lens to allow focusing at a shorter of
of the lens.) The size ofof the opening is referred
each pixel in an image, determining the number distance in order to increase image size. to as the f-stop or aperture.

222 G LOSSARY
GLOSSARY
Diffused
Diffu sed light
lig ht Light that has been scattered by File A quantity
q uantity ofof data storage on a computer. Ghosting 1. A kind of flare caused by reflections
reflection or by passing through th rough a translucent Each photograph is saved as a single file. fi le. between lens
le ns surfaces. It appears as bright spots
material. An even, often shadowless, light. File format One of of several standard ways a pho- the same shape as the aperture (lens opening).
Digital camera A camera that records an image tograph can be encoded digitally. See JPEG, JPEG, 2. A combined blurred and sharp image that t hat
directly in digital form, instead of of on conven- TIFF,
T IFF, and Camera Raw. occurs
occu rs when flashflash is used with bright existing
tional silver
si lver film.
fi lm. Fill light
ligh t A light source or reflector used to light. The flash
flash creates a sharp image; the exist-
Digital
Dig ital imaging
imag ing A means by which a photograph is lighten shadow areas a reas so that contrast is de- ing light adds a blurred image ifif the subject is
recorded as a digital image that can be read and creased. moving.
moving.
manipulated by a computer and, subsequently, Film A roll rol l or sheet ofof a flexible
flexib le material coated Gigabyte
Gig abyte Approximately one billion bytes or one
reformed as a visible image. on one side with wi t h a light-sensitive material and thousand megabytes (actually 1,073,741,824).
1,073 ,74 1,824).
Diopter Unit of of measurement that indicates in d icates the used in the camera to record an image. A measure of of computer file size or device stor-
magnifying power of of a close-up lens. Filter 1. An editing command that performs a age capacity. Abbreviated G or GB.
Direct light
lig ht Light shining
sh ining directly on the sub- su b - specific adjustment to a file, file , like sharpening. 2. Glossy Describes a printing paper with a great deal
ject and producing strong highlights and deep In an image database, a search tool for finding of
of surface sheen. The opposite of of matte.
shadows. a specific image or group of of images, for fo r exam- Gray card A card that reflects a known percent-
Directional/diffused
Directional/ diffused light lig ht Light that is partly di- ple to find
find all pictures
pictu res taken at f/16. f/16. age of
of light falling
fall ing on it. Often has a gray side
rect and partly scattered. Softer and less harsh Fisheye lens An extreme wide-angle lens cover- reflecting 18 percent and a white side reflect-
than direct light.
ligh t . ing a 180° angle of of view. Straight lines appear ing 90 percent of of the
t he light. Used to take ac-
Dodge To lighten an area of of a darkroom-made curved at the edge of of the photograph, and the t he curate exposure meter readings read ings (meters base
print by shading it during part of of the print- image itself
itself may be circular.
circular. their exposures on a gray tone of of 18 percent
ing exposure.
exposure. Hence the name of of Photoshop’s
Photoshop 's Flare Non-image-forming light that reaches the reflectance). Some gray cards are also a lso color-
Dodge tool. image sensor, resulting in a loss of of contrast. neutral, to be used for setting color balance.
Dpi Dots per inch; a measure of of the resolution of of Caused by stray light reflecting between the sur- Guide number A A number rating
ra t ing for a flash unit
a photomechanical halftone or the resolution faces ofof the lens or inside the camera. that can be used used to calculate the correct ap-
capacity of of a digital printer.
printer. Frequently (but Flash 1. A short burst of of light emitted by an elec- erture for
fo r a particular
particu lar ISO speed and flash-to-
inaccurately) used for the final fi nal resolution of of an tronic flash
flas h unit or o r strobe to illuminate the subject distance.
image,
image , actually ppi. See Ppi. scene being photographed. 2. The equipment
Dry mount To attach a print to another surface, used to produce this light. Hand-held meter An exposure meter that is sepa-
usually a heavier mat board, by placing a sheet of of Flat Having less-than-normal differences between rate from the camera.
adhesive dry-mount tissue between the print and light and dark areas. The opposite of of contrasty. Hand hold To support the camera with your
the mounting surface. Generally, this sandwich Focal
Foca l length The distance from from an internal part of of hands rather thant han with a tripod or other o t her fixed
fixed
is placed in a heated mounting press to melt the a lens (the rear nodal plane) to the image plane support.
adhesive in the tissue. Some tissues are pressure Hardware The processor, monitor, printer, and
when the lens is focused
focused on infinity.infinity. The focalfocal
sensitive and do not need to be heated. heated. other physical devices that make up a computer
length is usually expressed in millimeters mi llimeters (mm)
DSLR or D-SLR Digital single-lens reflex. reflex. See system. See Software.
and determines the angle of of view (how much of of
Single-lens reflex. HDR
HOR High Dynamic Range; an image with a span
the scene can be included in the picture) and the
of
of brightness values greater than the range that t hat
size of
of objects in the image. A 100mm 1 00mm lens, for
Electronic flash (strobe) A camera accessory that can be captured in a single exposure. Several
example, has a narrower angle of of view and mag-
provides a brief
brief but powerful flash
flash of
of light. A bat- bracketed exposures can be merged into one
nifies objects
o bjects more than a lens of of shorter focalfocal
tery-powered unit requires occasional recharging HDR image.
HDRimage.
length.
or battery replacement but, unlike a flashbulb,
flashbulb , Highlight A very light area in a scene or image.
Focal
Foca l plane The surface inside the camera on Also called a high value.
can be used repeatedly.
repeated ly.
which the lens forms a sharp image.
Environmental portrait A photograph in which Histogram A graph that shows the distribution of of
the subject’s
subject's surroundings are important to the t he
Focal-plane shutter A camera mechanism that tones or colors in a digital
d igital image.
portrait. admits
adm its light to expose an image by opening a Hot shoe A clip on the top of of the camera that
Exif Exchangeable image file format.format. Information slit just in front ofof the focal
focal plane. attaches a flash
flash unit and provides an electrical
about the camera, lens, and exposure that is au- Focus
Focu s 1. The point at which whic h the rays of of light link to synchronize
synch ronize the flash with
fl ash wi t h the camera
tomatically stored with each file by the camera. coming through the lens converge to form form shutter, eliminating
el iminating the need for fo r a sync cord.
See Metadata. a sharp image. The picture is “in " in focus”
focus " or Hyperfocal distance The distance to the nearest
Exposure
Expos ure 1. The act of of allowing light to strike
st rike a sharpest when this point coinc coincidesides with the object in focus when the lens is focused focused on in-
light-sensitive surface. 2. The amount of of light focal
focal plane. 2. To change the lens-to-sensor finity.
finity. Setting the lens to focus on this distance
reaching that surface, controlled by the combi- (or lens-to-film)
lens- t o-film) distance (or the t he camera-to- instead ofof on infinity will
wi ll keep the farthest ob-
nation of
of aperture and shutter speed. subject distance) until the image is sharp. jects in focus as well as extend the depth of of field
field
Exposure meter (light meter) An instrument that Focusing
Focus ing ring The band on the th e camera lens that, to include objects closer to the camera.
measures the amount of light and provides aper-
oflight when turned, moves the t he lens in relation
re lation to the
ture and shutter-speed combinations for correct focal
focal plane,
plane , focusing the camera for specific
exposure. Exposure meters may be built into the distances.
distances. Incident-light meter A hand-held exposure meter
camera or they may be separate instruments. Focusing
Focus ing screen See Viewing screen. that measures the t he amount
amoun t ofof light falling
fall ing on the
Exposure
Expos ure mode The type of of camera operation Frame 1. A single exposure or image. 2. The edges subject. See also Reflected-light
Reflected- light meter.
(such as manual,
manua l, shutter-priority, aperture- of
of an image. Infinity Designated ∞ oo.. The farthest
fart hest distance
priority) that
t hat determines which controls you F-stop
F-sto p (f-number) A numerical designation (f/2, marked on the focusing ring of of the
t he lens, gener-
which ones the camera sets automati-
set and which f/2.8, etc.) indicating the size of of the aperture ally
a lly about
abou t 50 feet. When the camera is focused focused
cally. Some cameras operate in only one mode. (lens opening). on infinity, all objects at that distance or farther
Others may be used in a variety of of modes. away will be sharp.
Extension tubes Metal rings attached between Gamma The rate of of brightness change, a measure Infrared Wavelengths of of electromagnetic radia-
the camera lens and the body to allow closer- of
of visual contrast. The line
li ne in a graphic display tion, like light but slightly longer than those in
than-normal
~han-n~rmal focusing in order to increase the of
of the tones of
of an image (like
( like Photoshop’s
Photos hop's the visible spectrum. Photographs can be made
image size. Curves dialog box) has a higher gamma when it from
from reflected infrared radiation
rad iation with special
has a steeper slope.
slope. equipment or film.
fi lm.
Fast 1. Describes a sensor when it is set to a Gamut The range of of colors that can be seen or Inkjet A digital printer that t hat sprays microscopic
high ISO. 2. Describes a lens that opens to a that a particular device can capture or repro- droplets
d roplets of
of ink onto a receptive surface (see
very wide aperture. 3. Describes a short shutter duce.
duce . For example, the range of of colors
co lors that a Media) to create the appearance of of a continu-
contin u-
speed. The opposite of
of slow. digital camera can record. ous-tone photograph.

G LOSSARY
GLOSSARY 223
22 3
Interchangeable lens A lens that can be removed Main light The primary source of of illumination,
illumination , Optical storage A data storage medium,
medium , such as
from the camera
ca mera and replaced by anothera nother lens. casting
cast in g the dominant shadows. Sometimes Someti mes a CD, DVD, or BD,
BO , that
chat uses light (usually
( usually a la-
Interpolation Estimating
Estimating the t he data between
betwee n two called key light. ser) to read and write information.
in fo rm ation.
known
kn own points. UsedUsed to create a finer grid of of pix-
pix- Manual exposure A nonautomatic mode of of cam- Overexpose To make an exposure with too much
els than what was captured operatio n in which
era operation wh ich the photographer
photograp her sets light, making a picture that is too
coo light.
IPTC International
In ternational Press Telecommun
Telecommunications
ications both the aperture and the shutter speed. Overmat See Mat.Mat .
Council. A A form ofof metadata that can be added Manual flash A A nonautomatic mode of of flash
flash op-
to an image
im age file after capture. eration in which the t he photographer controls the Palette A data box that appears on a computer’s computer's
Iris diaphragm
diaphrag m See Diaphragm. exposure
exposu re by adjusting the size of of the camera’s
camera 's monitor.
mo n itor. Palettes
Palettes displayed by image-editing
ISO A A numerical rating
rat ing that indicates the sensitiv- lens aperture.
aperture . software
softwa re offer tool options,
o ptions, provide informa-
ity (speed)
(speed ) of a sensor or film. film. The rating dou- Mat A cardboard rectangle with an a n opening cut cu t tion,
t ion, and so on.
bles
b les each time the sensitivity
sensi t ivity doubles. in it that is placed over a printpri nt to frame it. Also Pan To move the camera during the exposure in
called an overmat.
overmac. the
t he same direction as a moving subject. su bject. The ef-
JPEG A “lossy”
JPEG " lossy" format for saving digital
digita l pho- Mat cutter A short knife blade (usually replace- fect is that
th at the subject stays relatively sharp and
tographs (see File) that compresses data to able) set in a large, easy-to-hold
easy-co-hold handle. Used Used for the background becomes blurred. bl urred.
preserve
p reserve space in the computer’s
computer's memory. See cutting cardboard mounts for prints. Parallax The difference in point of of view that oc-
Compression.
Compressio n. Matte Describes a printing paper with a relatively relative ly curs when the lens (or other device) device ) through
thro ugh
dull,
dul l, nonreflective
non reflective surface.
su rface. The opposite of of which the eye views a scene is separate from from the
Key
Key light See Main light. glossy. lens that exposes the film.film.
Kilobyte
Kilobyte Approximately one thousand
t housand bytes
bytes (ac- Media A A loose term for the various papers, papers, inks,
inks , Pentaprism A five-sided
five-sided optical
optica l device used in
tually 1,024). A measure of of computer file size and other materials used in a digital printer, or the eye-level viewfinder of of a single-lens-reflex
sin gle- lens- reflex
or device storage capacity. Abbreviated KKor
or KB. for the various
va ri ous cards, tapes,
capes, disks, and other ocher camera to correct the image from the focusing
items used for storing digital data. screen so that it appears right side up and cor-
Latitude The amount of of over- or underexposure Megabyte Approximately one million million bytes (ac- rect left to right.
possible
p ossible without a significant change in the tually 1,048,576).
1,048,576 ). A measure of of computer file Perspective The optical illusion illusio n in a two-dimen-
two-dim en-
quality of the image. size. Abbreviated M Moror MB. sional image of of a three-dimensional
three-dimensio nal space sug-
LCD Liquid
Li quid Crystal Display. The kind of of thin,
thin , flat
fla t Memory card An in-camera, removable, and reus- gested primarily
prim aril y by converging lines and the
visual display screen often used for fo r on-camera
able storage device that recordsrecord s and saves im- decrease in size of of objects farther from the th e cam-
monitors and data displays, displays , as well as com- ages captured by the camera until you transfer era.
puter
p uter monitors and televisions.
the files to
co a computer or other storage device Photoflood A tungsten lamp designed especially
Leaf
Leaf shutter A A camera mechanism that admits
and erase (reformat) it. for use in photographic studios. It emits light at
light to expose film by opening openi ng and shutting a
Menu A list of of choices, like commands or adjust- 3400 K K color temperature.
circle of of overlapping metal leaves.
ments, that is displayed
disp layed by an application or Photo-micrography Photographing
Pho tographing through a
LED See Light-emitting diode. diode .
operating
operati ng system on a computer screen. microscope.
microscope .
Lens One or more pieces pieces of of optical glass used to
Metadata Information about information. In In Photomontage A composite image im age made by as-
gather and focus light rays to form an image.
digital photography, the camera, exposure, and sembling parts of of two or more photographs.
Lens cleaning fluid A liquid made for cleaning
subject data stored in the image file. file. Pinhole A small clear spot on a negative usually
lenses.
Meter 1. See Exposure
Exposure meter. 2. 2 . To take a light light caused by dust on the film during exposure or
Lens coating A thin, transparent coating on the
reading with an exposure meter. development.
surface of of the lens that reduces light reflections.
Lens element A single piece of Middle gray A standard,
stan dard, average gray tone of of 18
18 Pixel Short for pi cture
pictu re el ement. The smallest
element. sma ll est unit,
of optical glass that chat
acts
aces as a lens or as part of a lens.
percent reflectance. See Gray card. usually square, of of a digital image that can be
Lens hood (lens shade) A A shield that fits around Midtone An area of medium medi u m brightness, neither displayed or changed.
cha nged.
a very dark shadow nor a very bright highlight. highl ight . Plane ofof critical focus The part of of a scene that is
the
t he lens to prevent unwanted light ligh t from
from entering
the lens and a nd causing flare. Mirror A polished,
pol ished, metallic reflector set inside an most sharply focused.
focused.
Lens tissue A A soft, lint-free tissue made mad e specifi-
spec ifi- SLR camera body at a 45° angle to co the lens to co Plug-in An add-on software module for an appli-
cally for cleaning camera lenses. Not the same reflect the image up onto the focusing screen. cation that extends its capabilities. Some appli-
as eyeglass cleaning tissue.
ti ssue. When a picture is taken, the mirror moves out cations (such as Photoshop)
Photoshop ) are made so that
Light-emitting diode (LED) A display in the of
of the way so that light can reach the sensor. third-party developers can ca n produce and market
viewfinder of of some cameras that gives you infor- plug-ins.
mation about aperture
apertu re and
a nd shutter-speed set- Negative 11.. An image with
wi th colors or dark and light Polarizing screen (polarizing filter) A filter fi lter placed
tings or other exposure data. tones that
chat are the opposite ofof those in the origi- in front of
of the camera lens to reduce reflections
Light meter See Exposure meter. nal scene. 2. Film that was exposed in the camera from nonmetallic surfaces like glass or water, or
Long-focal-length lens len s A A lens that provides a and processed to form a negative image. to darken the sky.
narrow angle of of view of of a scene, including
in cluding less Neutral-density
Neutral-den s ity filter A piece
p iece of
of dark glass or Positive An image with colors or o r light and dark
of
of a scene
sce ne than a lens
le ns of
of normal focalfoca l length plastic
pl astic placed in front of
of the camera lens to de- tones that
tha t are similar to those t hose in the originalorigi nal
and therefore magnifying objects in the image. crease the intensity ofof light entering the lens. It scene. See Negative.
Often called telephoto lens. affects exposure but not
not color. Ppi Pixels per per inch,
inc h, a measure
measu re of of the
t he resolution of of
Luminance A relative measure of of brightness, re- Noise Pixels
Pixels of
of random colors and brightnesses,
brightnesses , an image that has a physical size, like one that ch at
flectance, or value, independent of of color (hue)
( hue ) most often appearing
a ppearing in the dark areas of
of a digi- has been printed or is displayed on a monitor. monitor.
and saturation.
satu ration. tal image. Primary colors A A set of
of basic colors that th at can be
Normal-focal-length lens (standard lens) A lens mixed to match any other color.
Macro lens A lens specifically designed for fo r close- that provides about the same angle of view of of a Print 1. A two-dimensional image, usually on an
up photography and capablecapab le ofof good optical scene as the human eye. opaque surface like paper, made from a cap-
performance when used very close to co a subject. tured, scanned, or drawn image file. fi le. 2. To pro-pro-
Macro-photography Production
Production of of images on the Open up To increase the size of of the lens aperture. duce such an image.
sensor
se nsor or film that
chat are life size or larger. The opposite ofof stop down. Profile The data d ata for a digital device, such suc h as a
Macro-zoom lens A A lens that
t hat has close-focusing Operating system
syste m or Disk
Disk Operating System printer or monitor, that ch at describes its gamut, gam ut, or
capability
capabi lity plus variable focal length. (DOS). Management software, usually supplied range ofof colors. Used to match the gamut from
Magnification Th Thee size of
of an object as it appears with the computer, that starts when whe n you boot one device to another. See Color management, management,
in an image. Magnification of of an image taken
ta ken up (turn on the power to) to ) the
t he computer and Gamut.
by a camera
ca mera is determined by the lens focal performs such operations
operatio ns as reading from anda nd Programmed automatic A mode of of automatic
length. A long-focal-length lens makes an object writing to hard drives, and opening and manag- exposure
exposu re in which
wh ich the camera sets both b oth the
t he
appear larger (provides greater magnification) ing application
app lication software. Common operating shutter speed and the aperture for a normal
than a short-focal-length lens.
lens . systems are Mac
Mac OS X, Windows 8, and Unix. exposure.

224 G LOSSARY
GLOSSARY
Proof A test print made for the purpose
p urpose of
of evalu- Sidecar file A file with the t he same name as a Telephoto lens See Long-focal-length lens.
ating density, contrast, color balance, subject Camera Raw file (but having the extension extens ion Terabyte Approximately one trillion bytes byres (actu-
composition,
composi t ion, and the like. .xmp) that contains added metadata. Created ally 1,099,511,627,776). Approximately one
by programs that cannot write new information information thousand Gigabytes. A measure of of computer
Quartz lamp An incandescent lamp that has high to a proprietary raw file file size or device storage capacity. Abbreviated
intensity,
intens ity, small size, long life, and constant Silhouette A dark shape with little or no detail ap- T ororTB.
TB.
color temperature. pearing against a light background.
background. Through-the-lens meter (TTL meter) An expo-
Single-lens reflex (SLR) A type of of camera with one sure meter built into the camera that takes light
Raw file A digital camera file or scan that con- lens that is used
used both for viewing and and for taking readings through the lens.
tains picture information
informa t ion exactly
exac t ly as it is ac- the picture.
picture. A mirror inside the camera reflects the TIFF A Ann open-souce
open-sauce (not
( not proprietary) format for
quired.
quired. Most raw file fi le formats used
used in cameras image up into the viewfinder.
viewfi nder. When the picture is
saving digital
d igital photographs (see File format)
are proprietary, or specific to the camera manu- taken,
taken , this mirror moves out of of the way, allowing
that is readable by most graphic software run-
facturer,
facture r, and
a nd must be interpreted before edit- the light entering
enteri ng the lens to travel directly to the
ning on most computers.
ing.
ing. See Camera Raw.Raw. sensor or film.
film.
Reflected-light meter An exposure meter (hand Transparency (slide)
(s lide) A positive image on clear
cl ear
( hand Slide A transparency
t ransparency made in the size of of 35mm
held or built into the camera) that t hat reads the film. See Transparency.
film. film
film viewed by passing light through from be-
amount
a mount of light reflected from from the subject. See Slow See Fast. hind with a projector or light box.
also Incident-light meter.
meter. SLR See Single-lens reflex. Tripod A three-legged support for the camera.
Reflector Any surface—a
surface- a ceiling, a card, an um- Soft 1. Describes an image that is blurred blu rred or out TTL Abbreviation for through the lens, lens , as in
brella, for example—used
examp le- used to bounce light onto o nto of
of focus.
focus. T Thehe opposite of of sharp. 2. Describes a through-the-lens viewing or metering.
a subject. scene or print of of low contrast.
con trast. The opposite of of
Reflex camera A camera with a built-in mirror mirro r hard or high
high contrast. Umbrella reflector
reflecto r An apparatus constructed like
that reflects the scene being photographed onto Software A computer program designed to per- a parasol
paraso l with a reflective surface on the inside.
a ground-glass viewing screen. See Single-lens form
form a specific purpose or task, for example Used to bounce diffused light onto a subject.
reflex. image editing or word processing (application Underexpose To make an exposure with too little
Resampling Changing a file to create the same software) or an operating system. light, making a picture that is too dark.
image with more or fewer pixels to achieve a dif- di f- Spectrum The range of of radiant energy from from ex-
ferent resolution. Called upsampling for more tremely short wavelengths to extremely long View camera A camera in which the taking ta king lens
pixels, downsampling for fewer.fewer. ones.
ones. The visible spectrum includes only the forms an image directly on a ground-glass view-
Resin-coated paper Printing paper with a water- wavelengths to which the human eye is sensitive. screen. A film
ing screen. fi lm holder or digital
digita l adapter is
resistant coating
coati ng that absorbs less moisture Speed 1. T The
he relative ability of of a lens to transmit inserted in front of of the viewing screen before
than a fiber-
fiber-base
base paper. Abbreviated RC paper. light.
light. Measured by the largest aperture at which exposure. T The
he front and back ofof the camera can
Resolution 1. The total number of of pixels in a the lens can be used. used. A fast lens has a larger be set at various angles to change the plane of of
camera
came ra sensor, for exampleexa m ple a 2000 x 3000 maximum aperture and can transmit more light focus and
and the perspective.
perspective.
pixel grid has a resolution of of 6 megapixels. than a slow one. one. 2.2. The relative
re lative sensitivity to Viewfinder eyepiece An opening in the t he camera
2.
2. The number of pixels per unit length, gener- light
ligh t of
of a sensor or film.
fi lm. See ISO. through
th ro ugh which the photographer can see the
ally a measure of of maximum image quality. See Spot meter An exposure meter with a narrow
scene to be photographed.
photographed .
Ppi.
Ppi. angle ofof view, used
used to measure
measu re the t he amount of of
Viewing screen The surface on whic whichh the image
Retouch To remove small imperfections in an im- light from
from a small portion of of the scene being
age caused by dust specks or flaws in the pro- in the camera appears for viewing. This image
photographed.
cess.
cess. Also, to remove perceived imperfections or Stop 1. An apertureapertu re setting that indicates the
appears upside down and reversed left to right
flaws in the subject.
subject. size of
of the lens opening. 2. A change in in expo- unless the camera contains a pentaprism to
RGB A co color
lor mode that uses the additive primary sure
su re by a factor of of 2.2. Changing the aperture correct it.
colors (red, green, and blue) to match any other from
from one setting to the next doubles or halves Vignette To shade the edges of of an image so they
color.
color. See CMYK.
CMYK. the
th e amount of of light reaching the sensor senso r or
or are underexposed. A lens hood that is too long
film.
film. Changing the shutter sh utte r speed from one for the lens will cut into the angle of of view and
Scanner A device that optically
optica lly reads a conven- setting to the next does the same thing. Either cause vignetting.
vignetting.
tional negative, slide, or print, converting it to changes the exposure one stop. Visible sspectrum
pectrum See Spectrum.
digital form
form for
fo r use in digital imaging. Stop down To decrease the size of of the lens aper-
Sharp Describes an a n image or part of of an image ture. The opposite of of open up. White balance 1. Th Thee color balance ofof a white
that shows crisp, precise texture
textu re and
and detail. The Strobe See Electronic flash. flash. light source. 2. A setting or adjustment on a
opposite ofof blurred or soft.
soft. Substitution reading An exposure meter reading camera or in an image editor that adjusts the
Sharpening A software manipulation of of an image taken from
from something other than the subject, overall image colors for the light source in
that increases contrast in areas of of tone transi- such as a gray card or the photographer’s
photographer's hand. which it was captured.
tion and creates the visual sensation of of a more Subtractive color A set of of primary colorsco lors (cyan, Wide-angle distortion An unusual perspective
sharply focused
focused image. magenta, and yellow) that can be mixed as pig- caused by using a wide-angle (short-focal-
(short -focal-
Shoe A clip on a camera for attaching a flash flash ments to match matc h any other color. co lor. The CMYK length) lens very close to a subject. Objects ap-
unit. See also Hot shoe. color mode adds black (K) to compensate for fo r pear stretched out or farther apart than they
Short-focal-length lens (wide-angle lens) A lens le ns imperfections in manufacturing the other three really
rea lly are.
that provides a wide angle-of-view of of a scene, colors. See Additive color. Wide-angle lens See Short-focal-length lens.
including more of of the subject area than a lens of of Sync (or synchronization) cord A wire that
Workflow A repeatable series of of steps leading to
normal
normal focal
focal length. links a flash
flash unit to a camera’s
camera 's shutter-release
shutter-re lease
a desired
desired result or product. A digital photogra-
Shutter A device in the camera that opens ope ns and mechanism.
mechanism .
Synchronize To cause a flash phy workflow includes, at minimum, the steps
closes to expose the sensor or film film to light for a flash unit
un it to fire while the
measured length of of time.
time. camera shutter is open. between image capture andand output.
Shutter-priority mode An automatic exposure
system in which the photographer sets the shut- Tacking iron A small, electrically heated tool
cool used Zone focusing Presetting the focus to photo-
ter speed and the camera selects the aperture (f- to melt the adhesive in dry-mount tissue,
t issue , at- graph action
act ion so that the entire area in which the
stop) for normal
normal exposure.
exposu re. taching it partially to the
t he back of
of the print and action may take place willwill be sharp.
sharp .
Shutterr release The mechanism, usually a but-
Shutte to the mounting surface. This keeps the print in Zoom lens A lens with several moving elements
ton on the top of of the camera, that activates the place during the mounting procedure. that
t hat can be used to produce a continuous range
shutter to expose the sensor or film. film. Telephoto effect A change in perspective caused of
of focal
focal lengths.
lengths.
Shutter-speed control The camera contro controll that by using a long-focal-length lens very far fromfrom
selects the
th e length of of time the sensor or film fi lm is all parts of
of a scene.
scene . Objects appear closer to- co-
exposed to light.
light. gether than they really are.
are.

GLOSSARY
GLOSSARY 225
Bibliography
A vast
vase number of of books on photography are avail- London, Barbara, John Upton,
Upton,JimJim Stone. Essays, Collections, and Histories
able, whether your interest is in its technique or its \Vay. Upper Saddle River,
Photography: The Essential Way.
history, its use for art or for commerce. Look for Adams, Robert. Beauty in Photography: Essays in
NJ: Pearson Education, 2009. Comprehensive
Compreh en sive text
Defense of Values. New York: Aperture,
Traditional Values.
ofTraditional
them online,
on line, or
o r in your local library, bookstore, or oriented toward digital photography.
2005. New edition of of 1981
198 1 edition.
camera
came ra store.
sto re.
Long, Ben. Complete Digital Photography. 7th ed.
Barrett, Terry. Criticizing Photographs: An Introduction
If
If you want a broader selection of of books than you Independence, KY: Course
Cou rse Technology, 2012.
Images. 5th ed. New York: McGraw-
to Understanding Images.
can find locally, try Photo-Eye,
Photo-Eye, 376 Garcia Street, Extensive
Extens ive information,
information , clearly written.
Hill, 2011. Widely-used as a text to help develop
Santa Fe, NM 87501 (505-988-5152). This photo- ———.
- . Getting Started with
1Vith Camera Raw:
RalV: How
Ho1V to Make techniques for discussing photographs.
only bookstore has an immense selection of of new Elements.
Better Pictures Using Photoshop and Photoshop Elements.
and used photo books sold by mail and through 2nd ed. Berkeley: Peachpit Press, 2009. Barthes, Roland. Camera
Camera. Lucida. New York: Hill and
its online bookstore, photoeye.com.
photoeye.com. Other
Ocher online
on line Wang, Reprint
Repri nt edition, 2010.
photobook specialists
speciali sts are vincentborrelli.com and McKenzie, Joy,
Joy, and Daniel
Dan iel Overturf. Artificial
Lighting for Photography. Clifton Park, NY: Delmar
Lighting/or Benson, Richard.
Ri chard. The Printed Picture. New York:
dashwoodbooks.com.
dashwoodbooks.com.
Cengage Learning, 2009. Clear explanation of of light- Museum of of Modern Art, 2008. Eloquent
Eloq uent descrip-
Light Impressions,
Impress ions, 2340 Brighton
Brighton Henrietta Town ing techniques with visual examples.
examples . tions of
of the way meaning is affected by printing
Line Road, Rochester, NY 14623 (800-975-6429) is technologies.
an excellent
excellenr source ofof photographic storage, pres- McMahon, Ken, and Nik Rawlinson. Apple Aperture
3: A Workflow for Digital Photographers. Boston,
\Vorkjlow Guide for Berger, John. Ways of Seeing. New York: Penguin
\VaysofSeeing. Penguin
ervation, and display materials. Catalogs are free. Modern Classics, Reprint,
Reprint, 2009.
You can buy online
on lin e or request a printed catalog at MA: Focal Press, 2010. A complete
co mplete guide to the
lightimpressionsdirect.com..
lightimpressionsdirect.com Apple workflow application. Burgin, Victor. Thinking Photography. London:
Rodney, Andrew. Color Management for Photographers: Macmillan, 1982
1982 and 1990.
1990.
Technical References Users. Boston, MA:
Hands on Techniques for Photoshop Users. Coleman, A. D. The Digital Evolution: Photography in
Focal Press, 2005. Age. Portland, OR: Nazraeli, 1998.
the Electronic Age. 1998.
Adobe Creative Team. Adobe Photoshop CC Classroom
in a Book. Berkeley, CA: Adobe Press, 2013. Links Russotti, Patricia, and Richard Anderson. Digital
Digi.tal Cotton, Charlotte. The Photograph as Contemporary
to a Web site containing tutorial images. A good Photography Best Practices and Workflow
\VorkjlolV Handbook. Art. New York: Thames & Hudson,
Hudson , 2009.
way to learn the basics of
of the most popular image- Boston, MA: Focal Press, 2009.
Frizot, Michael,
Michael , ed. A New
NelV History of
of Photography.
editing software. Wilhelm, Henry. The Permanence
Pennanence and Care of
ofColor Köln,
K0ln , Germany: Könemann,
K0nemann , 1999.
1999. Massive,
Ang, Tom. Digital Photographer’s
Photographer's Handbook. th ed.
Handbook. 55th Photographs: Traditional and Digital Color Prints, Color beautifully
?eautiful_ly produced, thorough, and relatively
New York: DK Publishing, 2012. Negatives, Slides, and Motion Pictures. A comprehensive
Negatives, Slides, inexpensive.
1nexpens1ve.
conservation
conservatio n guide.
gu ide. The entire book may be down-
Evening,
Even ing, Martin.
Martin . The Adobe Photoshop Lightroom 5 Grundberg,
G rundberg, Andy. Crisis of
ofthe Real: Writings on
loaded free at wilhelm-research.com/book_toc.html
wilhelm-research .com/book_toc.html
Book 2013. Berkeley,
Berkeley, CA: Peachpit Press, 2012. A Photography Since 1974. 2nd ed.
ed . New York: Aperture,
Apertu re,
complete guide to the t he Adobe workflow application. Reissue 2010. Readable,
Readab le, stimulating
sti mul ating essays on con-
———.
- . Adobe Photoshop CC for Photographers: A profes- Business Practices temporary issues in photography.
sional image editor’s
editor's guide to the creative use of
ofPhotoshop for American
Am erican Society of of Media Photographers. ASMP Gustavson, Todd. Camera: A History ofofPhotography
PC. Boston, MA: Focal
the Macintosh and PC. Focal Press,
Press, 2013. BttSiness Practices in Photography. 7th ed.
Professional Business ed . from Daguerreotype to Digital. New York: Sterling
from
Fraser, Bruce, Chris Murphy, and Fred Bunting. New York: Allworth Press, 2008. Signature, 2012. From the Curator of Technology
ofTechno logy
Real World Management. 2nd ed. Berkeley:
\Vorld Color Management. Berkeley: at the George Eastman House.
Bostic, Mary Burzlaff. 2013 Photographer’s
Photographer's Market:
Peachpit
Peachp it Press, 2004. The Most Trusted
Tmsted Guide to Selling Your Photography. Heiferman, Marvin, ed. Photography
Photography Changes
Hirsch, Robert. Light and Lens: Photography in the New York: North Light Books, 2012. Everything. New York: Aperture, 2012.
Digital Age 2nd ed. Boston, MA: Focal Press, 2012.
20 12. Crawford, Tad. Business and Legal Forms for
Fonnsfor Hirsch, Robert
Roberr J. Seizing the Light: A Social History
Profusely illustrated, detailed
detai led compendium of of pro-
pro· Photographers. 4th ed. New York: Allworth Press, ofPhotography. 2nd ed. New York: McGraw-Hill,
of
cesses and techniques. 2009. 2008. Thorough and contemporary
co ntemporaty survey of of the
Horenstein, Henry. Beyond Basic Photography: A medium’s
medium's history.
DuBoff, Leonard D. English)for
D. The Law (in Plain English) for
Manual, rev. ed.
Technical Manual, ed . Boston: Little, Brown, Photographers. 3rd ed. New York: Allworth Press, Papageorge, Tod. Core Curriculum: Writings on
1977.
1977. A next step, only for analog black and white, 2010. Photography. New York: Aperture, 2011.
after
afte r learning the
t he basics.
Himes, Darius D., and Mary Virginia
Vi rginia Swanson. Rosenblum,
Rosenblu m, Naomi. A World History of ofPhotography.
Kobré,
Kobre, Kenneth. Photojournalism: The Professionals’
Professionals' Publish Your Photography Book. New York: Princeton 4th ed. New York: Abbevi
Abbeville,
lle, 2008. Comprehensive
Comprehen sive
Approach.. 6th ed. Boston, MA: Focal Press, 2008.
Approach Architectural Press, 2011.
201 1. and profusely illustrated.
Complete coverage of of equipment,
equip men t, techniques,
techn iques, and
approaches used by photojournalists. Kieffer, John. The Photographer’s
Photographer's Assistant: Learn the Shore, Stephen. The Nature of
ofPhotographs: A Primer.
Primer.
Inside
lnside Secrets of
ofProfessional Photography and Get Paid 2nd ed. London: Phaidon Press, 2010.
Krogh, Peter. The DAM Book: Digital Asset It. New York: Allworth
for It. All worth Press, 2001.
Management for Photographers. 2nd ed. Cambridge: Sontag, Susan. On Photography. New York: Farrar,
O’Reilly
O 'Reilly Media, 2009. How to organize, keep, ar- Oberrecht,
Obcrrecht, Kenn. How
HolV to Start a Home-Based Straus and Giroux, 1977.
1977.
chive,
ch ive, and find digital photographs. Photography Business. 6th ed.
ed . Old Saybrook, CT: Szarkowski, John. The Photographer’s
Szarkows ki, John. Photographer's Eye. New York:
Globe Pequot Press, 2010. Museum of of Modern Art, 2008. Landmark exhibi-
London, Barbara, John Upton, Jim Stone.
tion catalog with essays from the medium’s
medium's most
Photography. 11th
11 ch ed. Upper Saddle River, NJ: Swanson, Mary Virginia.
Virgin ia. Finding Your Audience: An
influential curator.
Pearson Education, 2014.
20 14. Complete
Comp lete information Introduction to Marketing Your Photographs. mvswan-
about both film-based and digital photography, son.com: Self-published, 2013. How How to market Wells,
\Veils, Liz.
Liz. Photography: A Critical Introduction. 4th ed.
widely used as a text. Very comprehensive.
comp rehensive. yourself
yourself as a photographer in thet he Internet
Internet age. New York: Routledge, 2009.

226
226 B IBLIOGRAPHY
BIBLIOGRAPHY
Periodicals Photographic
Phot ographic Organizations Space constrains this list li st of
of organizations
organizatio ns and
periodicals to those in the United States. Many
American Photo, 2 Park Ave., New York, NY 10016.
10016. Most of
of these nonprofit membership organiza-
other
oth er countries
cou ntri es have organizations
o rganizations and publica-
Photography in all its forms,
forms , including the fashion-
fashio n• tions publish magazines and newsletters and have tions devoted to photography,
ph otography, which can be found
able and the famous. ((americanphotomag.com)
americanphotomag.com) informative Web sites. If If you
yo u live near one, you
yo u may
online,
o nlin e, through
t h rough a public library,
libraty, or
o r by contacting
co n tacting
also wish to join for their
t heir sponsored workshops, the
th e nonprofits listed here.
here .
Aperture, 20 East 23rd Street, New York, NY 10011.
1001 1.
lectures, or exhibitions.
ex h ibit ion s.
A superbly printed magazine dealing
d ealing with photog-
raphy as an art form. Published
Publ ished at irregular inter-
inter· American
Ame rican Society of
of Media Photographers, 150150 Online Video Tutorials
Vid eo Tuto rials and More
vals. ((aperture.org)
aperture.org) North Second Street, Philadelphia,
Phil adelphi a, PA 19106.
19106.
Publishes ASMP Bulletin, a guide for the working tv.adobe.com Adobe Web site with free tutorials for
& White, PO Box 1529,
Black & 1529, Ross, CA 94957. each of
of their applications.
appli cations.
professional (distributed only to ASMP members.
((bandwmag.com)
bandwmag.com)
((asmp.org)
asmp.org) aperture/tutorials Apple
apple.com/aperture/tutorials
apple.com/ App le Web site with free
Spot, 210 Eleventh Ave., New York, NY 10001.
Blind Spot, 1000 1. training videos for Aperture.
Center for Photography at Woodstock, 59 Tinker
A semi-annual
sem i-an nual art jou
journal
rnal that publishes unseen
Street, Woodstock, NY 12498.
12498. Publishes Photography dpreview.com Tests and reviews of of digital cameras,
work by living photographers. (blindspot.com)
Quarterly.. (cpw.org)
Quarterly (cp1v.org) lenses, printers,
prin ters, and software, plus forums, photo
Photo, Werner Publishing Corporation, 12121
Digital Photo, 12 12 1 sharing, and contests.
conrests.
Wilshire
Wi lshire Boulevard, 12th
12th Floor, Los Angeles, CA
CENTER, P.O. Box 2483, Santa Fe, Fe, NM
NM 87504.
90025. (dpmag.com)
(dpmag.com) Organizes portfolio-review events (Review
(Review Santa jkost.com Adobe Photoshop
Ph otos hop “Evangelist” Julieanne
"Evangelist" Juli eann e
Fe)) and sponsors juried awards for photographers.
Fe Kost provides free hints and tutorials on Photoshop
Photosho p
LensWork, 909 3rd Street,
Srreet, Anacortes,
Anaco rtes, WA 98221.
9822 1. (visitcenter.org) and Lightroom.
Lightroom .
A bimonthly publication about photographs, not
cameras. High-quality
High -quality black-and-white reproduc-
CEPA Gallery, 617 Main Street, Buffalo, NY 14202.
14202. lynda.com Software training site,
si re, some
som e content is
tions, articles, and interviews. (lenswork.com) Exhibitions, lectures, and an artist project program. free, some
so me by subscription.
(cepagallery.com)
Ne,vs, 770 Broadway, New York, NY
Photo District News, photo.net Online peer-to-peer
peer•to•peer forums, photo shar-
shar•
10003.
10003. Directed toward professionals
pro fessiona ls in photogra- George
Geo rge Eastman House, 900 East
Eas t Avenue, ing, and critiques.
cri tiques.
phy.
p hy. ((pdnonline.com)
pdnonline.com) Rochester,
Rochester, NY 14607. A museum of of photography
and cameras, as well as the restored mansion and strobist.com All about location
locatio n lighting
li ghting with
wit h porta-
porta•
———.
- . pdn.edu, an online and print periodical for
fo r stu-
Stu·
ble equipment, with
gardens
gard ens of
of Kodak’s
Kodak's founder.
fo under. Publishes Image. wi th tips
ti ps for inexpensive solutions.
dent photographers, the printed magazine is distrib-
uted directly to schools. (digitalmag.pdnedu.com) (eastmanhouse.org)
(eastmanhouse.org) visitcenter.org See
Sec entry under Photographic
Houston
Housto n Center for
fo r Photography, 1441
1441 West
Wesr Organizations, left; their Web site has a Resources
Photographer's Forum, 511
Photographer’s 51 1 Olive Street, Santa
page with links to other
ot her useful
usefu l sites.
Barbara, CA 93101. Geared toward students and Alabama, Houston, TX 77006. Publishes Spot.
others seeking
seekin g photographic
ph otographic careers; includes (hcponline.org)
school profiles. (serbin.com/Photo_Forum)
(serbin.com/ Photo_Forum) The Light
Lighr Factory, 1817
18 17 Central Avenue,Suite
Aven ue,Suite
The Photo Review, 140
140 East Richardson
Richard son Avenue, Suite C200, Charlotte,
Charl otte, NC 28205. A museum of of photog-
photog·
301, Langhorne, PA 19047. Fine-art photography raphy and film,
film , offers
o ffers classes. (lightfactory.org)
(fightfactory.org)
exhibition and book reviews with portfolios. Light
Light Work, 316 Waverly Avenue, Syracuse, NY NY
((photoreview.org)
photoreview.org) 13244.
13244. A community-access
com m un ity-access lab, several galleries,
User, Kelby Media, 333 Douglas Road
Photoshop User, and an artist’s
artist's residency program, publishes Contact
East, Oldsmar, Florida 34677. The official publi-
publ i- Sheet and exhibition catalogs. (lightwork.org)
(/ightwork.org)
cation of
of the National Association ofof Photoshop National Press Photographers Association, 3200
Professionals (NAPP).
(NA PP). (photoshopuser.com) Croasdaile Drive, Suite
Su ite 306, Durham, NC 27705.
Photo Techniques, Preston Publications, 6600 W. An organization ofof working and student
stude nt photojour-
photojour·
Touhy
Tou hy Ave., Niles, IL 60714. Tech
Technical
n ical information nalists; publishes the
th e monthly News Photographer.
on photographic
photogra phi c materials, equipment,
equipme nt, and pro- (nppa.org)
cesses. (phototechmag.com) Photographic Resource Center, 832
Popular Photography, 2 Park Ave., New York, NY Commonwealth
Co mmonwealth Avenue,Aven ue, Boston, MA 02215. A gal-
10016. A magazine
magazin e for hobbyists that mixes infor- lery, library,
li brary, lecture
lectu re series,
se ries, and portfolio reviews.
mation about equipment with portfolios and how- Publishes
Publis hes Loupe. (bu.edu/prc)
(btt.edu/ prc)
to articles. ((popphoto.com)
popphoto.com) San Francisco
Francisco Camerawork,
Cam era work, 1011IO 11 Market Street,
Professional Photographer, 229 Peachtree St NE,
N E, Suite San Francisco, CA 94103. Publishes Camerawork: A
2200, International Tower, Atlanta, GA 30303. For Journal of
journal ofPhotographic Arts. (sfcamerawork.org)
(sfcamera1vo rk.org)
commercial
commerci al and industrial
indu strial photographers with
wi th em-
Society for Photographic
Ph otographic Education, 2530253 0 Superior
phasis
p hasis on electronic
electro nic imaging. (ppmag.com)
Avenue,
Avenu e, #403, Cleveland, OH 44114.
44 114. An organiza-
o rganiza•
/Vmgefinder, 1312
The Rangefinder, 13 12 Lincoln Boulevard, Santa tion centered around the teaching and practice
Monica,
Mon ica, CA 90406. Oriented toward professionals of
of photography as a fine
fin e art. Publishes
Pub lishes Exposure.
in the
th e fields of
of wedding and portrait photography. (spenational.org)
((rangefindermag.com)
rangefindermag.com)
Visual Studies Workshop, 31 3 1 Prince
Prin ce Street,
Shutterbug, 1419
1419 Chaffee Drive, Suite
Su ite #1,
# 1, Titusville, Rochester,
Roch este r, NY 14607.
14607. Incorporates
Inco rporates a degree-grant-
degree-grant•
FL 32780. A classified ad magazine for new, used, ing school with workshops, gallery, and artist’s
artist's
and vintage camera
cam era equipment.
equi pment. ((shutterbug.net)
shutterbug.net) book
boo k studio.
stud io. Publishes
Pub lishes Afterimage.
Afterimage. (vsw.org)

B IBLIOGRAPHY
BIBLIOGRAPHY 227
227
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
Annie Leibovitz/ContactPress
Leibovitz/ ConcactPress Images; pp. p p. 9 (bottom right), 73, 159 (bottom) Courtesy
Laurence
Lau rence Miller Gallery; p. 10 (top) Panasonic Panaso nic Corporation of of North America;
Ameri ca; p. 10 (bottom
left) Pentax Imaging Company; pp. 10 (right), 11 11 (right),
(righ t ), 12 (bottom right), 59 (top right), 62
(top right), 84 (bottom) Courtesy of of MAC Group; p. 12 12 (top) Courtesy of of Samsung
Electronics
Electronics America; p. 12 (center) Courtesy of of Panasonic
Panason ic North America; p. 13 (top) (top)© © Sony
Electronics,
Electronics, Inc.; pp. 14 (bottom), 85 (bottom left), 146 Courtesy of of Nikon Inc., Melville,
Melvill e,
New York; pp. 14 (top), 112 (top) Courtesy of of Canon USA; p. 20 © Steve Bloom/stevebloom.
Bloom/ stevebloom.
com; p. 21 2 1 (top) Josef Koudelka, Magnum Photos;
(top)JosefKoudelka, Ph otos; p. 21 21 (bottom) Courtesy of Naoya
CourtesyofNaoya
Hatakeyama
Hatakeyama and Taka Ishii Ishii Gallery, Tokyo; p. p . 24 Joel
Joel Sternfeld, Courtesy of of the artist and
Luhring
Luhring Augustine, New York; pp. 33, 118 Courtesy Co urtesy xRez Studios, Inc.; p. p. 35 Henri
Henri Cartier-
Bresson,
Bresson, Magnum Photos; Photos; p. 36 Ed Jones/ Jones/Getty
Getty Images; p. 37 Andreas Feininger/Getty
Feininger/ 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
University Art Museum. © T Trustees
rustees of of Princeton University; p. 59 Gueorgui Pinkhassov, Pinkh assov,
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
Liebling Family Trust; pp. 86, 89 (top), 116 Courtesy Cou rtesy of of Epson America, Inc.; Inc .; p. 89 (bottom
right) Hasselblad Bron,Bron, Inc.; p. 112 (bottom) Library of of Congress LC-DIG-cwpbh-03225; p. p.
114 Teun Hocks, Courtesy of o f the
t he artist and P•P•O•W
P·P·O·W Gallery, New York; p. 115 (left) © The
Museum of of Modern Art/Licensed
Art/ Licensed by SCALA/Art
SCALA/ Art Resource,
Resource, NY; p. p. 131
131 Alex WebWebb, b , Magnum
Magnum
Photos;
Photos; p. 134 © The Estate of Garry Winogrand, Courtesy Fraenkel Gallery, San Francisco;
ofGarryWinogrand,
p. 136 Library of of Congress LC-DIG-fsa-8b32434;
LC-OIG-fsa-8b32434; p. 137 (left) Courtesy Janet Janet Borden, Inc.;
p. 137 (right) Courtesy Foley Gallery, New York; p. 138 Library of of Congress; p. 139 139 (bottom)
David
David Alan Harvey,
Haivey, Magnum Photos; Photos; p. 145 (top) {top) www.martinbenjamin.com; p. p . 150 Bruce
Gilden, Magnum Photos; p. p. 151
151 Carl De Keyzer, Magnum Magnum Photos; p. 155 Library Library of of Congress,
American Folklife Center; p. 157 © Lee Friedlander, Courtesy Fraenkel Gallery, San Francisco;
p.158
p. 158 © 1990 Amon Carter Museum of of American Art, Fort Worth, Worth , Texas, Bequest
Bequest of of the art-
ist, P1990.51.5094; p. 159 (top) Elliott Erwitt, Magnum Photos; p. 159 159 (bottom) Courtesy
Laurence
Lau rence Miller Gallery; p. 161 16 1 (top)
(to p ) Library of of Congress LC-DIG-fsa-8b37302; p. p. 162 (bot-
tom)
tom ) Courtesy of of Minneapolis Institute
Insti t ute of
of Arts, Gift of the William R. Hibbs Hibbs Family; p. p. 164
(top) Collection
Col lection Center for Creative Photography © 1981 1981 Arizona Board of of Regents; pp.
164–5
164- 5 (bottom) Hallmark Photographic Collection, Co ll ection, Hallmark Cards, Inc., Kansas Kansas City,Ci ty, MO ©
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
Library ofof Congress LC-USF342-001167-A;
LC-USF342-001167-A; p. 175 Image © Edward Burtynsky, Courtesy
Hasted
Hasted Hunt Kraeutler,
Kraeutler, New York/ York/Nicholas
Nicholas Metivier, Toronto; p. 171 Jeff Wall,
171 Jeff Wall , Transparency
in lightbox 174.0 x 250.5 cm, Courtesy of of the artist; p. 180 Library of of Congress LC- LC-
USW36-950; pp.181,pp. 181, 185, 188, 200 (bottom) (bottom ) Harry Ransom Ra nsom Humanities Research Center,
The University of Texas at Austin; p. 182 Bayerisches Nationalmuseum
ofTexas National museum München;
MUnchen ; p. 183 183
Courtesy Amherst College Archives and Special Collections; p. 184 Universal History Archive/ Archive/
UIG/The
UIG(The Bridgeman Art Library; p. 186 Courtesy of of George Eastman House, House , International
Museum of of Photography and Film; p. 187 Library of of Congress LC-USW36-950; p. 190 Library Li brary
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;
p. 192 (top)
(top ) Library of of Congress LC-USZC4-477; p. 192 (bottom) Library Library of of Congress
Co ngress LC- LC-
USZ62-103037;
USZ62-103037 ; p. 193 (top) Abbott-Levy Collection. Co ll ection. Partial
Partial gift of
of Shirley
Shi rl ey C. Burden
Burden
(1.1969.4589) Digital Image © The Museum of of Modern Art/Licensed
Art/ Licensed by SCALA/Art
SCALA/ Art
Resource,
Resource, NY; p. 193 (bottom) Die Photographische Sammlung/SK Stifting Stift ing Kultur—August
Kultur~ August
Sander Archiv, Cologne/ARS,
Cologne/ ARS, NY; p. 194 (top) Museum of of the City of
of New
New York; p. p. 194 (bot-
tom)
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-DIG-
LC-D IG-
fsa-8b29516;
fsa-8b29516 ; p. 195 (bottom)
( bottom) Library
Library ofof Congress LC-USZ62-11491;
LC-USZ62-1149 1; p. 196 196 (top) Bildarchiv
Bildarchiv
Preussischer
Preussischer Kulturbesitz/Art
Kul tu rbesitz/ Art Resource, NY; p. 197 W. Eugene Eugene Smith/Getty
Smith/ Getty Images; p. 198
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) (top )© © 2010 Man Man Ray Trust/
Trust/Artists
Artists Rights Society (ARS),
(ARS ), NY/ADAGP,
NY/ ADAGP,
Paris;
Paris; p.
p . 203 (bottom) Courtesy of of Hattula Moholy-Nagy;
Moho ly-Nagy; p. 204 (top) © The Estate of of Harry
Harry
Callahan, Courtesy of of Pace/MacGill
Pace/ MacG ill Gallery; p. 204 (bottom) Courtesy the Aaron Siskind
Foundation; p. 205 © Robert Frank, Frank , from The Americans,
Americans, courtesy Pace/MacGill
Pace/ MacG il l Gallery, New
York; p. 206 (top) Courtesy of of Cindy Sherman and Metro Metro Pictures Gallery, New York; p. 207
© 1980 The Richard
Richard Avedon Foundation; p. 208 (right) © Artforum, January 1979 [cover]; [ cover];
p. 208 (bottom) © Eggleston Artistic Trust. Courtesy Cheim & Read, Read , New York; p. 210
Science & & Society Picture
Pictu re Library;
Li brary; p. 214 (bottom left) Innova In nova Art Ltd.;
Ltd.; p. 214 (bottom
( bottom center)
cen ter)
Smithsonian American Art Museum; p. 214 (bottom right) Light Work, Syracuse, Syracuse , New York.

228 P HOTO C
PHOTO REDITS
CREDITS
James Henkel. Volume 1-7,
James 1-7, 2004.

229
229
Index
Abbott, Berenice,
Berenice, 162 162 blurring close-ups, 5050 panoramic mode mode in, in, 119
119
aberrations, 31 31 camera motion
motion and,
and, 28
28 Cloud storage,
storage, 78 78 Photography exhibition,
Digital Photography exhibition, 212212
acid-free inkjet
inkjet paper,
paper, 133133 for emphasis, 160–61
160-61 CMOS, 54 54 digital photography
photography history,
hi story, 198,
198,
Adams, Ansel, 47, 202, 204, 206, 208
47,202,204,206,208 shutter speed
speed and,
and, 15,
15, 19
19 CMYK mode,
mode, 56,56, 82,
82, 83,
83, 87
87 210–13
210-13
Adams, Shelby Lee,
Shelby Lee, 174 174 vs. depth ofoffield,
field, 26–27
26- 27 cold-mount
cold -mount tissues,
tissues, 122
122 digital single-lens
single-lens reflex
reflex (DSLRs)
(DSLRs) cam-
cam-
additive primaries,
primaries, 56, 56, 83
83 bottom lighting,
lighting, 141
141 Collier, John, 138
Collier,John, 138 eras, 10,
10, 17,
17, 2929
Adobe bounce flash,
flash, 147,
147, 149
149 collodion wet-plate
wet-plate process,
process, 185
185 digital zoom, 40 40
Camera Raw, Raw, 8585 bracketing, 64–65
64- 65 color direct image
image in in art,
art, 202
202
DNG
ONG converter,
converter, 88 88 Brady, Matthew,
Matthew, 112, 191
112,191 additive and
and subtractive
subtractive processes
processes directional/diffused light, light, 137
137
RGB (1998), 82, 82, 118
118 Brezhnev, Leonid,
Leonid, 213
213 and, 56 56 direct light,
light, 136,
136, 140140
see also Bridge
Bridge software;
software; Lightroom
Lightroom Briand, Aristide, 196196 balance, 57–59
57- 59 Disdéri,
Disderi, André
Andre Adolphe,
Adolphe, 189 189
software; Photoshop
Photoshop software
software Bridge software,
software, 85,
85, 88,
88, 132
132 characteristics,
characteristics, 57 57 display, printing
printing and,
and, 114–27
114- 27
angle ofof view, 32–33,
32- 33, 156–57,
156-57, 162, 170
162,170 brightness of of papers,
papers, 117
117 digital, 82–84
82 - 84 distance scale,
scale, 31,
31, 4646
aperture, 4, 4, 6,
6, 77 Bubley, Esther,
Esther, 180
180 modes, 56,56, 8282 distortion, 39 39
bracketing
bracketing and, and, 74 74 built-in
built-in meters,
meters, 7,7, 62,
62, 63,
63, 69
69 photography, 187, 187, 208–209
208-209 .dng
dng (Digital
(Digital Negative)
Negative) files,
files, 81,
81, 85,
85,88
88
control, 15 15 burning,
burning, 9898 wheel, 56 documents, photographs
photographs as, as, 193,
193,204
204
creative useuse of, 24-25
of, 24–25 Burson,
Burson, Nancy,
Nancy, 213
213 ColorChecker
ColorChecker Passport,
Passport, 59,59, 85
85 dodging, 98 98
depth-of-field and, and, 23,
23, 44–45
44- 45 Burtynsky,
Burtynsky, Edward,
Edward, 175175 colorimeter, 84 84 dots per
per inch
inch (dpi),
( dpi), 116
11 6
exposure and, and, 54,
54, 62,
62, 64
64 bytes, 80 command dial,dial, 1717 downloading
downloading images,
images, 8, 8, 86,
86, 88
88
f-stops, 23 23 compact cameras,
cameras, 5, 5, 12
12 downsampling, 55 55
high contrast
contrast and,and, 7373 cable connections,
connections, 17, 17, 88
88 compositing, 106–107
1 06- 1 07 drivers, printers
printers and,
and, 116116
light, 22
22 cable release,
release, 28 28 compressed perspective,
perspective, 48 48 drives/disks, 8, 8, 78,
78, 130
130
maximum, 31 31 Callahan, Harry,
Harry, 204,204, 208208 computers, 8, 8, 78
78 dry mounting,
mounting, 121, 12 1 , 122,
12 2, 124–25
12 4- 25
priority mode,
mode, 7, 7, 16
16 calotypes, 184 184 conservation board, 121
board, 1 2 1 dust, 29,
29, 89,
89, 102
102
shutter speed
speed and,
and, 26–27
26-27 camera obscura,
obscura, 181 181 continuous-tone
continuous-tone photograph,
photograph, 54 54 DVDs, 78,78, 130,
130, 133
1 33
aperture
apertu re ring,
ring, 17,
17, 22,
22, 31,
31, 46
46 Camera Raw Raw files,
files, 58,
58, 70,
70, 81,
81, 86,
86, 130
130 contrast, 72,
72, 73,
73, 74–75,
74- 75, 136–37,
136- 37,179
179 dye-based inks,
inks, 117
11 7
Aperture software,
software, 78, 78, 87, 118, 132
87,118, 132 black-and-white
black-and-white images images and,and, 108
108 copyright laws,
laws, 112–13
112- 13 dye-sublimation printers,
printers, 116
116
color and, 83, 83, 8585 sharpening and, and, 104104 corrupted storage
storage devices,
devices, 130
130 dynamic range,
range, 73,
73, 8989
editing and,
and, 108
108 working with, with, 85,85, 133
133 cover sheet, 122122 high
h;gh (HDR),
(HOR), 74–75
74-75
Apple. See Aperture
Aperture software
software camera(s),
camera{s), 2–29 2- 29 Crafton, Billy
Billy L.,
L., 75
75
appropriation of ofcopyrighted
copyrighted mate-
mate- aperture of, of, 4,
4, 6,
6, 7,
7, 15,
15, 16,
16, 22–25
22- 25 craquelure filter,
filter, 109
109 Eastman,
Eastman, George,
George, 186186
rial,
rial , 113
113 ((see
see also aperture)
aperture) cropping, 92,92, 110,
110, 154
154 Eastman
Eastman KodakKodak Company,
Company, 186 186
Arbus, Diane,
Diane, 206 206 automatic, 14, 14, 66–67
66- 67 Cros, Charles,
Charles, 187 187 edges, 154–55
1 54- 55
archival mounting
mounting materials,
materials, 120, 121
120,121 care for, 28–2928- 29 Cumming, Robert,
Robert, 206206 editing, 86,
86, 90–113
90- 113
archiving, 86,86, 133
133 controls, 14–17 14- 1 7 Cummins, Rebecca,
Rebecca, 30 30 black and whitewh ite images
images and,
an d ,
art, photography
photography as, as, 200–207
200- 207 exposure and, and, 6–86- 8 ((see also exposure)
see also exposure) Cunningham, Imogen,Imogen, 202202 108
artificial lighting,
lighting, 146–47
146- 47 focusing of, of, 66 ((see also focusing)
see also focusing) Curves, 96–97,
96- 97, 100,
100, 110
110 compositing
compositing in, in, 106–107
106- 107
Associated PressPress (AP),
(AP), 198
198 functions, 44 Curves in, in, 96–97
96- 97
Atget, Eugène,
Eugene, 193 193 getting started
started with,
with, 4–9
4-9 Daguerre,
Daguerre, LouisLouis Jacques
Jacques Mandé,
Mande,182 182 equipment, 78 78
Autochrome process,
process, 187 187 lens of, 4, 28–2928- 29 ((see also lens(es))
see also lens(es)) daguerreotypes, 182–83 182- 83 ethics and, 112–13
112-13
autofocus (AF),(AF), 6,6, 10,
10, 43
43 sensors of, of, 4,
4, 13,
13, 17,
17, 18,
18, 22,
22, 29
29 (see
((see
see D’Amato,
D'Amato, Paul, Paul, 5252 filters, 109
109
Avedon, Richard,
Richard, 206,206, 207
207 also sensors) data panel,
panel, 7, 7, 14,
14, 16,
16, 17,
17, 2222 getting started, 92–93 92-93
averaging
averaging meter,
meter, 63 63 shutter of, of, 7,7, 16,
16, 1717 ((see also shutter
see also shutter De Keyzer,
Keyzer, Carl,
Carl, 151
151 Layers in,in, 100–101
100- 101
Avery, Joseph, 192
Avery,Joseph, 192 speed) Delano, Jack, 65 65 Levels
levels in,
in, 94–95
94-95
types of, 10–1310- 13 Demachy, Robert,
Robert, 201 201 non-destructive,
non-destructive, 87 87
Babbage,
Babbage, Charles,
Charles, 210
210 see also digital cameras
cameras depth inin photographs,
photographs, 48–49, 48- 49, 162–63
162- 63 resolution and, and, 5555
Babbitt,
Babbitt, Platt
Platt D.,
D., 192
192 Work (magazine),
Camera Work (magazine), 201, 201, 202202 depth-of-field retouching
retouching in, in, 102–103
102-103
background, 156–57
156-57 Cameron, Julia Margaret,Margaret, 188 188 aperture and, 23 23 saving, 92 92
backlight button,
button, 6666 Caponigro, Paul, Paul, 202
202 blurring vs., 26–2726-27 selections
selections in, in, 98–99
98-99
backlighting, 72,
72, 141, 142
141,142 capturing an an image,
image, 78, 78, 80,
80, 82,
82, 83,
83,8686 close-ups and, and, 50
50 sharpening
sharpening in, in, 104–105
104-1 05
backup, 86, 130,
130, 133
1 33 Carey, Alison, 34 34 focusing and, and, 42,
42, 44–45,
44-45, 47, 47, 158–
158- workflow, 110–111
110-111
balance, 179
179 cartes-de-visite,
cartes-de-visite, 188, 188, 189189 59, 179 179 Eggleston,
Eggleston, William,
William, 208, 209
208,209
banner
banner mode,
mode, 119119 Cartier-Bresson, Henri, Henri, 35 35 previewing, 46–47 46-47 Eiler,
Eiler, Terry
Terry E.,E., 155
155
Barney, Tina, 137137 cartridges, ink, ink, 117
11 7 scale, 31,
31, 46 46 Eisenstaedt,
Eisenstaedt, Alfred,
Alfred, 199
199
Barrett, Elizabeth,
Elizabeth, 188
188 cataloging
cataloging applications,
applications, 132 132 tables, 47 Ektachrome,
Ektachrome, 187 187
batteries,
batteries, 5,
5, 28
28 CCD, 54 54 derivative files,
fi les, 86,
86, 130
130 electronic flash,
flash, 146
146
Bauhaus, 203203 CDs, 133
133 design, elements
elements of, of, 178–79
1 78- 79 electronic viewfinder EVF), 13
viewfinder ((EVF), 13
Bayer
Bayer array, 8585 cell
cell phone cameras,
cameras, 13 13 desktop printers,
printers, 116 116 Elements (Photoshop),
(Photoshop ), 78 78
Bayer
Bayer filter mosaic,
mosaic, 85 85 Center
Center for
for Creative
Creative Photography,
Photography, 206 206 dialog boxes,
boxes, 78 78 Ellison, Ralph,
Ralph, 177 177
bellows, 50
50 center-weighted meter, meter, 63 63 diaphragm, 17, 17, 22,
22, 3131 Emerson,
Em erson, PeterPeter Henry,
Henry, 200
200
Benjamin,
Benjamin, Martin,
Martin, 145
145 CF (Compact
(Com pact Flash),Flash), 4, 4, 88
88 diffused light,
light, 68,
68, 137,
137, 166166 equipment
Berger,
Berger, Paul,
Paul, 212
212 channels, 83, 83, 94,
94, 97,97, 108
108 digital cameras,
cameras, 12–13,12- 13, 17,17, 29,
29, 78
78 digital,
d igital, 7878
bits/bit depth, 80,
80, 81,
81, 89
89 chaos and order order in in photography,
photography, 163 163 color temperature
temperature and, and, 58 58 for mounting,
mounting, 122 122
black and white
white images,
images, 108108 Chicago style,
style, 204
204 development
development and and sale
sa le of,
of, 210–13
210-13 Erwitt, Elliott,
Ell iott, 159
159
black points,
points, 94,
94, 97
97 Chin, Christine, 60 60 histograms and, and, 6161 ethics,
eth ics, 112–13
112- 13
bleed mounting,
mounting, 126–27
126- 27 chrome filter,
filter, 109
109 internal data block block of,o f, 131
131 Ethridge, Roe,Roe, 178
178
Bloom,
Bloom, Steve,
Steve, 20
20 Church, Fredrick,
Fredrick, 186 186 ISO and, 66 66 Evans, Walker, 173, 195
173,195
Bloom, Suzanne,
Suzanne, 212212 cityscape photography,
photography, 172–73 172-73 light-sensitivity
light-sensitivity of, of, 53
53 exhibitions, 115,115, 206,
206, 209,
209, 212
212
Blu-ray (BD) disks,
disks, 78,
78, 130,
130, 133
133 clipping, 61, 61, 7373 noise and, 75 75 see also galleries, photographs
photographsinin

230 IINDEX
NDEX
Exif (Exchangeable image
Exif(Exchangeable image file
file format),
format), scanners and,
and, 8989 illumination sources, 57 57
131
131 zone, 46 compositing
compositing and, and, 106
106 lighting, 134–51
134- 51
expanded perspective,
perspective , 48 48 focusing ring,
ring, 14,
14, 17,
1 7, 31
31 see also lighting
see also lighting close-ups
close-u ps and,
and, 5050
exposure, 6–8,
6- 8, 52–75
52- 75 Fontcuberta, Joan, 113 11 3 illustrated newspapers,
newspapers, 196 196 existing, 138–39
138-39
automatic, 6, 6, 7,
7, 16
16 forced perspective,
perspective, 177
177 image database, 132 132 fill light, 142–43
142-43
overriding, 66–67
66-67 framing, 120,
120, 154–55,
154- 55, 179179 image quality, 66 flash ((see
see flash)
flash )
of
of average scenes,
scenes, 68–69
68- 69 Frank, Robert,
Robert, 204–206
204-206 importing
importing of ofimages,
images, 86,86, 88
88 indoor, 142,
142, 144,
144, 174–75
174- 75
backlighting
backlighting and,and, 7272 Friedlander, Lee,
Lee, 157,
157, 206
206 incandescent
incandescent lamps, lamps, 146
146 main source of, of, 140–41
140-41
close-ups and,
and, 5050 Frith,
Frith , Francis,
Francis, 106
106 incident-light
incident-light meter,meter, 63,
63, 69
69 outdoor, 142, 142, 144
144
color photography
photography and, and, 56–57
56- 57 frontlighting, 140,
140, 142,
142, 166
166 indirect light,
light, 144,
144, 145
145 portrait, 144–45
144-45
filters and, 5151 f-stops, 23,
23, 26,
26, 6464 infrared black
black andand white,
white, 108
108 qualities of,of, 136–37
136- 37
of
of high
high contrast
contrast scenes,
scenes, 72,
72, 73,
73, full frame, 13
13 infrared blocking
blocking filters,
filters, 108
108 Lightroom software,
software, 78,
78, 87,
87, 88,
88, 118,
118,
74–75
74-75 ingesting of of images,
images, 8686 132
high dynamic range range (HDR)
(HOR) and,and, galleries, photographs
photographs in, in, 201,
201, 204,
204, inkjet printers,
printers, 116,
116,1117,
17, 119
119 color and, 85 85
74–75
74-75 206, 208
208 inks, for
for printing, 117
printing, 117 editing and, 108 108
histograms and, and, 60–61
60- 61 Galvan, Laurisa,
Laurisa, 50
50 input values, 96 96 line,
line , as visual element,
element, 178–79
178- 79
images, 88 gamma, calibrating,
calibrating, 84
84 International
In ternational CenterCenter for
for Photography,
Photography, loading, 98 98
of
of lighter
lighter or
or darker
darker scenes,
scenes, gamuts, 82 82 206 London, Barbara,
Barbara , 171
171
70–71
70-71 Gardner, Alexander,
Alexander, 190
190 Internet, 78 78 Long Exposure
Exposure Noise
Noise Reduction, 75
Reduction, 75
manual, 7, 7, 16,
16, 64–67
64- 67 gelatin-emulsion, 186,186, 192
1 92 resolution, 89
interpolated resolution, 89 Lorant, Stefan, 196 196
meters and,
and, 61,
61, 62–65
62- 65 gigabytes, 8080 inverse square law, law, 147
147 Lumière,
Lumiere, Antoine,
Antoine, 187187
pixels and resolution
resolution and,
and, 5555 Gilbertson, Ashley, 198 198 inverting, 98 98 Lumière,
Lumiere, Louis,
Lou is, 187
187
readout, 77 Gilden, Bruce, 1 SO
Bruce, 150 Iooss,
looss, Walter, 48 48 luminance, 82, 82, 83,
83, 85
85
recording of,of, 88 glass filter, 109
109 IPTC (International
(International Press Press
sensors andand pixels
pixels and,
and, 54
54 glazing, 120
120 Telecommunications Council)
Telecommunications Council) fields,
fields, macro lenses,
lenses, 40–41,
40-41, 50 50
white balance
balance and,
and, 57–59
57- 59 Godowsky, Leopold,
Leopold, 187
187 131
131 macro-photography,
macro-photography, 50 50
exposure lock
lock and
and compensation
compensation dial,dial, González,
Gonzalez, Dionisio,
Dionisio, 90
90 ISO (International Organization
Organization for for magazines, picture,
picture, 196–97
196-97
66 Gossage, John, 121
Gossage,John, 121 Standardization), 4,
Standardization), 4, 6,
6, 64,
64, 66,
66, Magic Wand, 99 99
external hard
hard drives/disks,
drives/ disks, 78,
78, gray card, 58,
58, 73
73 75, 138–39,
138- 39, 158158 main lighting, 140–41
140-41
130 grayscale, 56,
56, 82,
82, 83,
83, 108
108 Mandel, Mike,
Mike, 160160
eyedroppers, 94, 94, 9797 Grayscale Mix,
Mix, 108
108 Jackson, William Henry,
Henry, 190
190 Mannes, Leopold,
Leopold, 187 187
ground glass screen,
screen, 66 Jones, Ed,
Ed, 36
36 MANUAL, 212 212
fair use, 113 113 Grundberg, Andy, 208 208 Jones,, Lou,
Jones Lou, 46,
46 , 72,
72, 161
161 Manzano, Javier, 38 38
Farm Security
Security Administration
Admin istration photogra-
photogra- guide number,
number, 147 147 Jones, Peggy
Jones, Peggy Ann,
Ann, 116 116 Mapplethorpe, Robert,
Robert, 206206
phers, 195195 Josephson, Kenneth,
Kenneth , 135 135 Marquee Tool, 99 99
fault-tolerant systems,
systems, 133133 halftone
hal~one process,
process, 1961 96 .jpeg (JPEG)
UPEG) files,
files , 61,
61, 81,
81, 85,
85, 88, 104
88,104 masks, 83
Feininger, Andreas,
Andreas, 37 37 hand-held meters,
meters, 62,
62, 64,
64, 69,
69, 72
72 Jude,, Ron,
Jude Ron, 115
115 mat cutter and
and board,
board, 122122
Fenton,
Fenton , Roger,
Roger, 191191 hard drives/disks,
drives/ disks, 8,8, 78,
78, 130,
1 30, 133
133 matting a print,
print, 121
121
fiber based papers,
papers, 117,
11 7, 124
124 Harker,
Harker, Santiago, 153 1 53 Karsh, Yousuf,
Yousuf, 1681 68 Maxwell, James
James Clerk,
Clerk, 187
187
figure/ground
figure/ ground relationship,
relationship, 156156 Harvey,
Harvey, David
David Alan,
Alan, 139
139 Kerouac, Jack, 205 205 McCoy, Dan,
Dan, 162
162
files Hatakeyama, Naoya, Naoya, 21 21 key light, 144
144 McFarland,
McFarland , Lawrence,
Lawrence, 97 97
data versus application,
application, 92 92 Hauron,
Ha uron, Louis
Louis Ducos
Ducos du,du, 187187 Killip, Chris, 167
167 meaning and
and photography,
photography,
derivative, 86,86, 130130 Heartfield, John, 210 210 kilobytes, 80
80 164–65
164- 65
flattening, 100 100 heliography, 181 181 Klett, Mark,
Mark, 101
1 01 medium-format
medium-format DigitalDigital SLR
SLR cameras,
cameras,
formats of, of, 81
81 Herschel, SirSir John, 210210 Kodachrome,
Kodachrome, 187 1 87 10
raw ((see
see Camera
Camera Raw Raw files)
files ) Hido, Todd, 67 67 Kodacolor, 187 1 87 megabytes,
megabytes , 8080
renaming, 88 88 High Art, 200200 Kodak boxbox camera,
camera, 1861 86 Meiselas, Susan, 199 199
saving, 130130 high dynamic range range (HDR),
(HOR), 74–75,
74-75, 142142 Koo, Bohnchang,
Bohnchang, 61 61 memory card reader,
reader, 8, 8, 78,
78, 88
88
sizes of, 80 high lighting, 140 140 Kost, Julieanne
Julieanne,, 107
107 memory cards, 4, 4 , 5,
5, 17,
17, 29,
29, 88, 130
88,130
fill light,
light, 142–43,
142-43, 151 151 High-Pass filters,
filters, 104
104 Koudelka, Josef, 21
Koudelka , Josef, 21 memory stick, 4, 4, 88
88
film, 4, 133, 186, 187
4,133,186,187 high speed sync,
sync, 146
146 Kruger,
Kruger, Barbara,
Barbara, 206206 menus, 5,5, 78,
78, 92–93
92-93
film cameras, 10–11 10-11 Hill,
Hill , Ed,
Ed, 212
212 metadata,
metadata , 131
131
film scanners, 89 89 Hine,
Hine , Lewis
Lewis W., 193, 194
193,194 landscape photography,
photography, 51, 51, 170–71
170-71 metal ruler, 122
122
filters, 51,
51, 85, 100, 104, 109
85,100,104, 109 hinges,
hi nges, 127
127 Lange, Dorothea,
Dorothea, 136, 1 36, 195
1 95 metamerism,
metamerism , 117 117
Fink, Larry,
Larry, 163
163 histograms,
histograms, 7, 7, 60–61,
60-61, 68,68, 95 95 Lasso
Lasso Tool, 98–99
98-99 metering cell,
cell, 17
17
fisheye
fish eye lenses,
lenses, 40–41
40-41 history of
of photography,
photography, 180–213180-213 latitude, 5454 meters, 7,
7, 61,
61, 62–65
62-65
flash
flas h calotypes and, 184 184 Layers, 100–101
100-101 manual exposures
exposures and, and, 64–65
64- 65
as artificial light,
light, 146–47
146- 47 collodion wet-plate
wet-plate and,
and, 185 185 LCD monitor,
monitor, 8, 8, 13,
13, 154
154 weighing
weigh ing of,
of, 63
63
automatic, 146 146 color photography
photography and, and, 187,187, leaf
leaf shutter, 19 19 Metzker, Ray
Ray K.,
K., 73,
73, 159
159
bounce, 147, 147, 149149 208–209
208~209 Lee,
Lee , Russell,
Russell , 161, 195
161 ,195 microprism, 66
direct, 140,
140, 147,
147, 149
149 daguerreotypes
daguerreotypes and, and, 182–83
182- 83 Leibovitz, Annie,
Annie, 22 middle gray, 62,62 , 70,
70, 73,
73, 96–97
96- 97
electronic, 146 146 digital photography
photography and, and, 210–13
210- 13 lens(es), 4,4, 12,
12, 17,
17, 30–51
30- 51 Miralle, Donald,
Donald, 41 41
fill light and,
and, 142–43,
142-43, 151 151 early portraits
portraits and,
and, 188–89
188- 89 attachments for, for, 50–51
50- 51 mirror (camera),
(camera), 17 17
motion and, and, 161
161 early travel
travel photos
photos and,
and, 190190 barrel, 3131 mirroring, 133
133
portrait lighting
lighting and,
and, 144,
144, 148 148 early war images
images and,
and, 191 191 basic differences
differences between,
between, 32–33
32- 33 mirrorless cameras, 12–13 12- 13
positioning, 148–49148-49 gelatin-emulsion/roll-film
gelatin-emulsion/ roll -film base base and,
and, cleaning, 29 29 Misrach, Richard,
Richard, 170 170
flatbed scanners, 89 89 186 compound, 31 31 mode dial, 1717
focal length,
length, 15,
15, 18,
18, 31–39
31 - 39 photograph as as document
document in, in, 193
193 interchangeable,
interchangeable, 14, 14, 32
32 model release,
release , 168
168
depth and,and , 48–49,
48-49, 162162 photography
photography as as art
art in,
in , 200–207
200-207 range of f-stops of,
off-stops of, 23
23 modem, 78 78
depth-of-field and, and, 42, 44-45
42, 44–45 photojournalism and, and, 196–99
196- 99 speed, 31 modes, color, 56 56
long, 36–37
36- 37 social change
change and,
and, 194–95
1 94-95 types of, 36–41
36- 4 1 Moholy-Nagy, László,
L3.szl6, 203, 210
203,210
normal, 34–35
34- 35 time and motion
motion in, in, 192
192 see also depth-of-field;
see also depth-of-field; focal focal length;
length; monitors,
monitors , 78,
78, 84,
84, 87,
87, 92,
92, 118
118
short, 38–39
38 - 39 Höch,
Hoch , Hannah,
Hannah, 210 210 focusing Monochrome Mixer, Mixer, 108
108
focal-plane shutter,
shutter, 1818 Hocks,
Hocks , Teun, 114 114 lens-to-subject
lens-to-subject distance,
distance, 44, 44, 48,
48, 49
49 motion, 18–19,
18- 19, 160–61,
160- 61, 179, 192
179,192
focus peaking, 13 13 Holmes, Oliver
Oliver Wendell,
Wendell, 191 191 Levels,
Levels, 94–95,
94- 95, 100,
100, 110110 mount board,
board, 122, 124- 27
122, 124–27
focusing, 15 15 horizontal photographs,
photographs, 88 Liebling, Jerome, 71
Liebling, Jerome, 71 mounting aa print,
print, 122–27
122-27
automatic,
automatic, 6, 6, 43
43 hot lights, 146146 light, 52–75,
52 - 75, 179
179 mounting press,
press, 122
122
depth-of-field and, and, 42,
42, 44–45,
44-45, 47,47, hot shoe, 17 17 aperture and,and, 22 22 multiscanning, 89 89
158–59,
158-59, 179 179 and exposure (see ((see
see exposure)
exposure) multi-segment
multi-segment meter,
meter, 63 63
manual, 66 icons, 92
92 shutter speed
speed and,
and, 18 18 museum board,
board, 121 121

IINDEX
NDEX 231
23 1
museums, photography
photography and,
and, 206, 208,
206,208, introduction of, of, 212
212 Rowin,
Rowin , Stanley,
Stanley, 41
41 straight photography,
photography, 201, 202
201,202
209 Merge
Merge to HDR HOR feature
feature of,of, 74
74 royalties, 113
113 Strand, Paul,
Paul, 202
202
Muybridge, Eadweard,
Eadweard, 192
192 see also Bridge
Bridge software;
software; Lightroom
Lightroom Strembicki, Stan,
Stan, 128, 129
128, 129
software Sabattier
Sabattier effect,
effect, 203
203 strobe flash,
flash, 146
146
National Daguerrian
Daguerrian Gallery,
Gallery, 188
188 photosites,
photosites, 54, 54, 75,
75, 85 85 Salomon, Erich,Erich, 196
196 Stryker, Roy,
Roy, 195
195
naturalism,
naturalism , 200
200 pictorial
pictorial photography,
photography, 201 201 Sander, August,
August, 193 193 style(s), 163,
163, 204,
204, 205
205
naturalistic
naturalistic photography,
photography, 200200 pigmented inks, inks, 117
117 saturation, 57 57 subcompact
subcompact digital
digital cameras,
cameras, 12 12
neutral-density
neutral-density (ND)
(ND) filters,
filters, 51
51 Pinkhassov,
Pinkhassov, Gueorgui,
Gueorgui, 59 59 scanners/scanning,
scanners/ scanning, 78, 78, 86,
86, 8989 subjects,
su bjects, photographic
photographic
New
New York, social
social documentation
documentation and, and, pixels, 54, 55,
55, 80,80, 83,83, 85,
85, 116
116 Schäfer,
Schafer, Michael,
Michael, 103 103 exposing
exposing main,
main, 73
73
204 see also value of ofpixels
pixels Scheinbaum, David, David, 33 of
of portraits,
portraits, 166
166
Newman, Arnold,
Arnold, 169
169 pixels per
per inch
inch (ppi),
(ppi), 116116 Scherer,
Scherer,Jim,Jim, 105
105 substitution reading,
reading, 72,
72, 73
73
newspapers, photography
photography in,in, 196,
196,199
199 plane ofof critical
critical focus,
focus, 42 42 SD (Secure Digital),
Digital), 4, 4, 88
88 subtractive primaries,
primaries, 56,
56, 83
83
Niépce, Joseph Nicéphore,
Niepce,Joseph Nicephore, 181181 plug-ins, 9393 selections, in in digital
digital editing,
editing, 98–99
98-99 sun, lighting
lighting and,
and, 136,
136, 140,
140, 144
144
Nix, Lori,
Lori, 176
176 Plumb’s
Plumb's National
National Daguerrian
Daguerrian Gallery,
Gallery, sensors, 4, 13, 13, 17,
17, 18,
18, 22,
22, 29,
29, 32,
32,45
45 “Sun Drawn Miniatures,” 181,
"Su n Drawn Miniatures," 181,182 182
noise, 54,
54, 75
75 188
188 cleaning, 29 29 sync speed, 146146
pocket drives/disks,
drives/ disks, 130 130 color and, 85 85
object distance, 42 42 point, as
as element
element of ofdesign,
design, 178178 exposure and, and, 53,
53, 54,
54, 61
61 tacking iron,
iron, 122122
OEM papers
papers and
and inks,
inks, 117
117 point-and-shoot
point-and-shoot cameras, cameras, 10 10 full-frame, 32 32 tagging, 131,
131, 133 133
Photography (Sontag),
On Photography (Sontag), 206 206 PoKempner, Marc, Marc, 44, 44, 152,
1 52, 153
153 infrared blocking
blocking filter
filter of,
of, 108
108 Talbot, William Henry Henry Fox,
Fox, 184, 210
184,210
open shade,
shade, lighting
lighting and,
and, 144–45
144- 45 polarizing
polarizing filters,
filters, 51 51 limits of,
of, 74
74 tape, 122122
optical disk
disk storage,
storage, 130,
130, 133
133 Polaroid camera,
camera, 210, 210,211 211 shadows Tarnowski,, Tom, 95
Tarnowski 95
optical resolution,
resolution, 8989 portable hard
hard drives/disks,
drives/disks, 8, 8, 130
130 HDR
HOR and, 74 74 Taylor, David,
David, 80 80
optical storage
storage medium,
medium, 78 78 Porter, Eliot,
Eliot, 158
158 lighting and,
and, 140,
140, 142–43,
142- 43, 151151 telephoto lenses,
lenses, 36–37
36- 37
options menu,
menu, 5,5, 66 portraits, 213
213 Shahn, Ben,Ben, 195195 temperature
organizing
organizing and
and storing,
storing, 86,
86, 128–33
128- 33 early, 188–89
188-89 shape, as element
element of ofdesign,
design, 178178 color, 58–59
58- 59
O’Sullivan,
O'Su llivan, Timothy
Timothy H., H. , 190, 191
190,191 formal, 168–69
168- 69 sharpening, 89, 89, 104–105,
104- 105, 110 110 mounting press press and,
and, 124–25
124- 25
output, 78,
78, 82,
82, 86,
86, 104
104 informal, 166–67
166-67 Sherman, Cindy,Cindy, 206206 terabytes,
terabyces, 80 80
output values,
values, 96
96 lighting for,
for, 144–45,
144- 45, 166 166 Shore, Stephen,
Stephen, 209 209 texture, 178,
178, 179179
overexposed pictures,
pictures, 6,6, 61,
61, 73
73 post-processing, 86 86 shutter
shutter through-the-lens (TTL) (TTL) meter,
meter, 6262
overmatting, 121,
121 , 126–27
126-27 power brick,
brick, 130130 priority mode,
mode, 7, 7, 16,
16, 1717 thumbnails, 92 92
prime lens,
lens, 32,
32, 34 34 release, 1717 .tif (TIFF) files,
.tif(TIFF) files, 81,
81, 85,
85, 89, 104
89,104
Padula,
Padu la, Warren,
Warren, 165 165 printers, 56,
56, 78, 116, 119
78,116,119 shutter
shutter speed,
speed, 4, 4, 6,
6, 77 time and motion,
motion, 160–61,
160- 61, 192
192
palettes, 92–93
92-93 printing and
and display,
display, 114–27
114- 27 aperture and, 26–27 26- 27 time of of day, light
light and,
and, 172
172
Palmer,
Palmer, Alfred T., T., 187
187 framing in, in , 120
120 bracketing and, and, 64–65
64- 65 tone, 70,70, 81
81
panning, 19 19 matting in, in , 121
121 control, 15 15 Curves and,
and, 96 96
panoramic
panoramic cameras,
cameras, 11 11 mounting
mounting and, and, 122–27
122- 27 creative use
use of,
of, 20–21
20- 21 dynamic
dynam ic range
range and,
and, 73
73
panoramic photographs,
photographs, 119, 119,164–65
164- 65 panoramic photographs
photographs and, and, exposure and, and, 53,
53, 54,
54, 62,
62, 6464 histograms and, and, 6060
papers for printing,
printing, 117, 117, 133
133 119
119 flash and, 146–47
146- 47 Levels and,
and, 94 94
Parada,
Parada, Esther,
Esther, 212 212 papers andand inksinks in, 117
in, 117 light, 18
18 warm, 164 164
parallax error,
error, 10 10 printers
printers and driversdrivers in,in, 116
116 motion, 18–1918- 19 toolbox and and tool options bar,
tool options 92-93
bar, 92–93
Parks, Gordon,
Gordon, 195 195 soft proofing
proofing in, in, 118
118 portraits and,
and, 166166 top lighting,
lighting, 141
141
patch tool,
tool, 102
102 prints, storing,
storing, 133 133 side lighting,
lightin g, 141, 166
141 ,166 transmission equipment,
equipment, 78 78
Penn, Irving,
Irving, 206206 profiles, 82,
82, 84,84, 118118 silhouettes,
si lhouettes, 72 72 transparencies,
transparencies, scanning,
scanning, 89 89
pentaprism, 17 17 programmed (fully (fu lly automatic)
automatic) expo-
expo -
expo- SilverFast, 89 89 travel photography,
photography, 190 190
Pen Tool,
Tool , 99
99 sure, 7, 7, 16
16 single-lens
single-lens reflex
reflex (SLRs)
(SLRs) cameras,
cameras,10, 10, tripods, 8, 8, 28, 160-61
28, 160–61
perspective, 48–49,
48-49, 179 179 .psd files, 81
81 17, 29, 75
17,29,75 Tugwell, Rexford
Rexford G., G., 195
195
Peterson, Rolf,
Rolf, 115 11 S public domain,
domain , 113 113 Sinsabaugh, Art, Art, 165
165 Tunbjörk, Lars,
Tunbj6rk, Lars, 139139
photo corners, 127 127 “puck”
"puck" (spectrophotometer
(spectrophotometeror colorim-
orcolorim-
colorim - Siskind, Aaron,
Aaron, 204 204 Turner, Pete,
Pete, 163163
photodiodes,
photodiodes, 54, 54, 85 85 eter), 84 sliders, 9494 twin-lens reflex
reflex (TLRs) cameras, 11
(TLRs) cameras, 11
photo
photo essays, 196, 196, 197 197 “slide
"slide show” displays, 132
show" displays, 1 32
photoflood light,
light, 142–43,
142-43, 144–45
144-45 quartz lamps,
lamps, 146
146 smart filters,
filters, 100
100 Umbrico,
Umbrico, Penelope,
Penelope, iii
iii
“photographic
"photographic conceptualism,”
conceptualism," 206 206 Quick Mask,
Mask, 99
99 Smith, W. Eugene,
Eugene, 197, 197,206206 underexposed pictures,
pictures, 6,
6, 61,
61, 70,
70, 73
73
photographic laser laser printers,
printers, 116
116 social change,
change, photography
photographyand, and, underwater
underNater cameras,
cameras, 1111
photography, 152–79 152-79 RAID (redundant
(redundant array
array of
ofinexpensive
inexpensive 194–95,
194- 95, 204 204 unsharp masking
masking (USM),
(USM), 104104
assembled to, to, 176–77
176-77 disks), 133
133 soft proofing,
proofing, 110,110, 118
118 upsampling, 55
55
background in, in, 156–57
156- 57 RAM (memory), 78 78 software
cityscapes in, in, 172–73
172-73 rangefinder
rangefinder cameras,
cameras, 10–11
10-11 image-editing, 78, 78, 82–84,
82- 84, 86,86, value of
of pixels,
pixels, 54,
54, 60,
60, 82,
82, 85
85
depth in,in, 162–63
162-63 Ray, Man,
Man, 203, 210
203,210 92–113
92 - 113 (see
(see also
also by
by software
software values, input
input and
and output,
output, 9696
depth-of-field in, in, 158–59
158- 59 reflected-light
reflected-light meter,
meter, 62–63,
62-63, names))
names Vanderwarker,
VanderNarker, Peter,
Peter, 100
100
edges oror frame
frame in, in, 154–55
154- 55 68–69,
68-69, 72 72 organizing and and storing,
storing, 132132 vertical photographs,
photographs, 88
focus in,
in, 158–59
158-59 reflection-control
reflection-control glass,
glass, 120
120 scanning, 89 89 view cameras, 11 11
history of, 181–213
181 - 213 reflections, polarization
polarization and,
and, 51
51 Sohier, Sage, 137 137 viewfinder, 4,4, 7,
7, 15,
15, 16,
16, 17,
17, 22, 154
22,154
landscapes in, in , 170–71
170-71 reflectors, 142–43
142- 43 solarization, 203 203 viewing
viewing screen,
screen, 1717
meaning
mean ing and,
and, 164–65
164- 65 Rejlander, Oscar
Oscar G.,G., 210
210 Sontag, Susan, 206 206 viewpoint, 179179
portraits and,
and, 166–69
166- 69 release paper,
paper, 122
122 Soth, Alec, 166 166 visual elements, 179
visual 179
responding
respond ing to, to, 178–79
178-79 repairing damaged
damaged photographs,
photographs, 102 102 space VueScan, 89 89
time and motion
motion in, in , 160–61
160- 61 resampling, 55 55 positive and
and negative,
negative, 156 156
photojournalism,
photojournalism, 196–99 196- 99 resin-coated papers,
papers, 117,
117, 124
124 working, 82 82 Wall, Jeff, 177
Wall,Jeff, 177
Photo League,
League, 204 204 resizing, 110
110 spectrophotometer,
spectrophotometer, 84 84 war photographs,
photographs, 191 191
photo-micrography,
photo-micrography, 50 SO resolution, 6,6, 13,
13, 55,
55, 89,
89, 116
116 split image, 10 10 watercolor
watercolor filter,
filter, 109
109
photomontage, 203 203 retouching, 102–103,
102-103, 11011 0 spot meter,
meter, 63 63 Watkins, Carleton
Carleton Eugene,
Eugene ,190
190
photo-secession,
photo-secession, 201 201 RGB
RGB mode,
mode, 56,56, 82,
82, 83
83 stamp filter,
filter, 109
109 Webb, Alex, 131131
Photoshop
Photoshop software,
software, 78, 78, 86,
86, 87,
87, 89,
89, Riis, Jacob,, 194
Riis,Jacob 194 Stein, Amy, 144 144 Web site, 78, 113, 210
78,113,210
100,
100, 118,
118, 119, 119, 132132 RIPs
RIPs (raster
(raster image
image processors),
processors), 116116 stereo (3-D)
(3-0) cameras,
cameras, 11 11 sRGB printing
printing for,
for, 82
82
Adobe Camera
Camera Raw Raw and,and, 85
85 Robinson,
Robinson , Henry
Henry Peach,
Peach , 200, 210
200,210 stereographic
stereographic photographs,
photographs, 192 192 Weifenbach, Terri, 25 25
color and,
and, 83,83, 85 85 Robledo,
Robledo , Maria,
Maria, 5757 Sternfeld, Joel,
Joel, 2424 Weiss, John, 14514S
editing and, 92, 92, 98,98, 100,
100, 102,
102,108,
108, roll-film base,
base, 186
186 Stieglitz, Alfred,
Alfred, 172, 201, 202
172,201, 202 West Coast
Coast style,
style, 204
204
110–111
110- 111 Rome, Stuart, 171 171 stitching, 119119 Weston, Edward,
Edward, 164, 202, 206, 208
164,202,206,208
Elements,
Elements, 78 78 Rosler,
Rosier, Martha,
Martha, 76, 212
76,212 Stone, Jim, 211 211 Whaley, Jo, 123
123
filters menu,
menu, 109 109 Rothstein, Arthur, 195 195 storage. See See organizing
organizing and and storing
storing White, Minor,
Minor, 53,53, 202,
202, 204
204

232
23 2 IINDEX
NDEX