THE COMPLETE PHOTOGRAPHER

AUTHOR'S NOTE = v DEAR READER = 1 ABOUT THIS BOOK = 4 Part Ⅰ. THE IMPORTANCE OF ATTITUDE = 6 Common pitfalls and how to avoid them = 7 Working toward a whole = 9 Black-and-white or color = 10 Photographic seeing = 11 Light and lighting = 11 Conclusion = 12 Part Ⅱ. EQUIPMENT AND MATERIAL = 14 Suitability = 15 Simplicity = 16 Indispensable equipment = 17 The camera = 17 Viewing controls = 18 Focusing controls = 22 Exposure controls = 24 Types of camera design = 25 Cameras designed for general photography = 26 Rangefinder cameras = 26 Single-lens reflex cameras = 26 Twin-lens reflex cameras = 27 Semi-specialized cameras = 27 View cameras = 27 Instant-picture cameras = 28 Simple rollfilm and box-type cameras = 29 Highly specialized cameras = 29 How to select your camera = 30 Summary relating camera design and purpose = 36 The lens = 39 Lens characteristics = 39 Focal length = 39 Relative aperture or "speed" = 40 Covering power = 42 Lens performance = 44 Sharpness = 45 Color correction = 47 Flare and fog = 48 Evenness of light distribution = 48 Distortion = 49 Lens types = 51 Standard lenses = 51 High-speed lenses = 51 Wide-angle lenses = 52 Process lenses = 53 Soft-focus lenses = 53 Telephoto lenses = 54 Binoculars, monoculars, and prism scopes = 54 Catadioptric lenses = 55 Aerial lenses = 56 Zoom lenses = 56 Convertible lenses = 57 Supplementary lenses = 57 Lens shade = 60 Cable release = 60 Light (exposure) meters = 61 Exposure tables = 61 Extinction-type exposure meters = 61 Photo-electric light meters = 61 Reflected-light meters = 61 Incident-light meters = 61 Light meters for spotreading = 62 Strobe meters = 62 Color filters = 62 The designation of filters = 63 The material of filters = 63 The effects of reflection = 64 Color stability of filters = 64 Filters for black-and-white photography only = 65 Correction filters = 65 Contrast filters = 65 Infrared filters = 66 Filters for color photography only = 66 Lightbalancing filters = 67 Color compensating filters = 68 Filters for color and black-and-white photography = 68 Ultraviolet filters = 68 Polarizing filters = 68 Neutral density filters = 69 Gadget bag = 70 The film = 70 Type and base = 71 Rollfilm and 35-mm film = 71 Sheet film = 71 Filmpack = 71 Glass plates = 72 Size = 72 Speed = 74 Definition = 75 Grain = 75 Acutance = 76 Sharpness = 76 Gradation = 77 Color sensitivity = 78 How to choose black-and-white film = 79 Thin-emulsion films = 80 General-purpose films = 80 High-speed films = 80 Special-purpose films = 81 Color films = 81 Positive or reversal color film? = 82 Negative or nonreversal film? = 83 Small film size or large? = 84 Daylight type, Type A, or Type B film? = 84 Mode of processing = 85 Make of film = 86 The variables = 87 Testing = 90 Ten do's and don'ts for film care = 92 Equipment to widen the scope of your work = 94 Additional cameras = 94 Additional lenses = 94 Extension tubes and auxiliary bellows = 95 Lighting equipment = 95 Photo-lamps = 96 Spotlights = 97 Fluorescent lamps = 97 Lamps producing discontinuous light = 98 Flashbulbs = 99 Electronic flash or speedlights = 99 Reflectors = 103 Light stands = 103 Tripod = 104 Part Ⅲ. HOW TO TAKE A PICTURE = 106 Photography at the basic level = 106 Photography at the second level = 108 This is what happens when you make a photograph = 109 Viewing = 111 Focusing = 111 Definition and sharpness = 111 Causes of unsharpness = 112 How to create sharpness in depth = 115 The hyperfocal distance = 117 Exposing = 119 The interrelation between diaphragm and shutter = 120 How to use a light meter correctly = 121 How to use a reflected-light meter = 123 Gray card reading = 125 White card reading = 125 Hand reading = 126 How to use an incidentlight meter = 126 How to adjust the exposure = 127 Bracketing = 130 Subjects that cannot be "measured" by an exposure meter = 131 The importance of intelligent compromise = 132 Useful tips = 134 Part Ⅳ. HOW TO DEVELOP AND PRINT = 135 The darkroom = 136 Minimum requirements = 137 Which darkroom space is best? = 138 Basic darkroom equipment = 141 Equipment and material for negative processing = 143 Negative developers = 143 Standard developers = 144 Rapid developers = 144 Fine-grain developers = 144 Tropical developers = 144 High-contrast developers = 144 Equipment and material for print processing = 145 The enlarger = 145 Other recommended equipment and material for print processing = 147 Photographic paper = 149 How to develop a black-and-white film = 151 The how-to's of successful film development = 152 Preparations = 153 Rollfilm development = 156 Sheet film tank development = 159 Filmpack and sheet film tray development = 159 How to develop a color film = 160 How to make a black-and-white print = 161 The negative = 161 The paper = 162 Focusing = 163 The exposure = 163 The development = 167 Practical print processing = 168 Creative enlarging = 171 How to make a color print = 176 How to select color negatives for printing = 177 The printing process = 178 PICTURE SECTION = 183 Part Ⅴ. SEEING IN TERMS OF PHOTOGRAPHY = 223 Why it is important to see reality in photographic terms = 223 Positive camera lies = 224 Differences in seeing between camera and eye = 226 How to see in terms of photography = 229 Design = 230 Light = 231 Color = 232 Perspective = 233 The practice of seeing as a camera sees = 235 Thoughts about the photogenic = 237 Unpho-togenic qualities and techniques = 239 The concept of total seeing = 242 Summary and conclusion = 243 Part Ⅵ. HOW TO CONTROL THE PICTURE = 244 The concept of the photographic symbol = 247 The concept of photographic control = 249 The range of photographic control = 251 Subject selection = 252 Subject approach = 253 The illustrative approach = 253 The interpretive approach = 254 The physical aspects of subject approach = 254 Subject distance = 255 The overall shot = 255 The medium long shot = 256 The close-up = 256 Direction of view = 257 Subject rendition = 259 Light = 260 Brightness = 261 Direction = 262 Frontlight = 262 Sidelight = 262 Backlight = 262 Toplight = 263 Light from below = 263 Color = 263 The Kelvin scale = 264 True and false color temperature = 265 How to select the correct light-balancing filter = 266 Contrast = 268 Direct light = 270 Reflected and filtered light = 273 Natural light = 274 Artificial light = 276 Advice on the use of electric power = 278 How to expose by artificial light = 280 Light illuminates the subject = 281 Light symbolizes volume and depth = 282 The principles of good lighting = 284 Light sets the mood of the picture = 286 Light creates designs of light and dark = 289 The functions of the 1 shadow = 290 Color = 292 The nature of color = 292 The spectrum = 293 How color is produced = 294 Additive color mixture = 296 Subtractive color mixture = 298 Complementary colors = 300 The terminology of color = 302 The nature of color perception = 303 The eye = 303 Day vision = 304 Night vision = 305 Subjective seeing = 306 Adaptation to brightness = 307 Adaptation to color = 310 The psychological effects of color = 313 Three different approaches to color = 318 Color rendition in terms of black-and-white = 321 Contrast = 324 Contrast control at the subject level = 325 Lighting ratio = 326 Reflectance ratio = 326 Subject contrast = 326 The f-stop substitution method = 327 How to control contrast outdoors = 328 Contrast control at the negative level = 330 Contrast control at the print level = 331 Space and depth = 332 Contrast between light and shadow = 332 Contrast between large and small = 333 Rectilinear perspective = 334 Perspective control in two dimensions = 336 Perspective control in three dimensions = 341 The typical wide-angle perspective = 344 The typical telephoto perspective = 345 Nonrectilinear perspectives = 346 Space definition and scale = 350 Contrast between sharp and unsharp = 352 Selective focus = 352 Contrast between light and dark = 354 Motion = 356 The purpose of the picture = 356 The nature of the subject = 357 The kind and degree of motion = 358 The symbols of motion = 359 "Stopping" motion = 360 Directional blur = 361 Panning = 362 Motion graphs = 363 Combination time and flash exposures = 364 Picture sequence = 364 Multiple exposure = 365 Multiple printing = 365 Composition = 366 Timing = 367 The psychological moment = 368 Motion relative to composition = 369 Light, weather, and season = 370 Composition and style = 372 Clarification and organization = 373 Picture proportions = 374 Static or dynamic? = 375 Subject position = 376 Framing = 376 Contrast and shock = 377 The horizon = 377 Symmetry and asymmetry = 378 Patterns and repetition = 378 Faults and fallacies = 379 Self-criticism and analysis = 380 Merits and faults of a photographer = 381 The personality of a photographer = 382 Analysis of a photograph = 382 Personality and style = 384 INDEX = 389

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