Langford's Advanced Photography, Eighth Edition: The guide for Aspiring Photographers (The Langford Series) PDF
Preview Langford's Advanced Photography, Eighth Edition: The guide for Aspiring Photographers (The Langford Series)
Langford’s Advanced Photography This page intentionally left blank Langford’s Advanced Photography The guide for aspiring photographers Eighth Edition Michael Langford FBIPP, HonFRPS Royal College of Art, London Efthimia Bilissi MSc PhD AIS ARPS Senior Lecturer University of Westminster, London Contributors Elizabeth Allen BSc MSc Course Leader BSc (Hons) Photography and Digital Imaging University of Westminster, London Andy Golding Head of Department of Photography and Film University of Westminster, London Hani Muammar BSc MSc PhD MIET Imaging Scientist Consultant Sophie Triantaphillidou BSc PhD ASIS FRPS Leader Imaging Technology Research Group University of Westminster, London AMSTERDAM • BOSTON • HEIDELBERG • LONDON • NEW YORK • OXFORD PARIS • SAN DIEGO • SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an imprint of Elsevier Focal Press is an imprint of Elsevier The Boulevard, Langford Lane, Kidlington, Oxford, OX5 1GB 30 Corporate Drive, Suite 400, Burlington, MA 01803, USA First published 1969 Second edition 1972 Third edition 1974 Fourth edition 1980 Fifth edition 1989 Reprinted 1992, 1993, 1994, 1995 Sixth edition 1998 Reprinted 1999, 2001, 2003, 2004, 2005, 2006 Seventh edition 2008 Eighth edition 2011 Compilation copyright © 2011 Pamela Langford, Dr. Efthimia Bilissi. Published by Elsevier Ltd. All rights reserved. Contributors: Elizabeth Allen, Andy Golding, Dr. Hani Muammar and Dr. Sophie Triantaphillidou Published by Elsevier Ltd. All rights reserved The rights of Pamela Langford, Dr. Efthimia Bilissi, Elizabeth Allen, Andy Golding, Dr. Hani Muammar and Dr. Sophie Triantaphillidou to be identified as the authors of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988 No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in writing from the publisher. Details on how to seek permission, further information about the Publisher’s permissions policies and our arrangement with organizations such as the Copyright Clearance Center and the Copyright Licensing Agency, can be found at our website: www.elsevier.com/permissions This book and the individual contributions contained in it are protected under copyright by the Publisher (other than as may be noted herein). Notices Knowledge and best practice in this field are constantly changing. As new research and experience broaden our understanding, changes in research methods, professional practices, or medical treatment may become necessary. Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any information, methods, compounds, or experiments described herein. In using such information or methods they should be mindful of their own safety and the safety of others, including parties for whom they have a professional responsibility. To the fullest extent of the law, neither the Publisher nor the authors, contributors, or editors, assume any liability for any injury and/or damage to persons or property as a matter of products liability, negligence or otherwise, or from any use or operation of any methods, products, instructions, or ideas contained in the material herein. British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Number: 2010941149 ISBN: 978-0-240-52191-6 For information on all Focal Press publications visit our website at www.focalpress.com Printed and bound in Italy 10 11 12 13 12 11 10 9 8 7 6 5 4 3 2 1 Contents Picture credits xiii Introduction xv 1 Colour in photography 1 Light and colour 1 The human visual system 3 Methods of colour reproduction 4 Light sources and their characteristics 5 Colour temperature 6 Classification of colour 14 How we see colour 17 Summary 22 Projects 23 2 Camera equipment 24 The digital revolution 24 Camera design 25 Image format 27 The role of the camera in the imaging process 30 Features of digital cameras 32 Camera types: analogue and digital 37 Which one is best? 47 Specialized accessories 48 Avoiding camera failures 50 Comparing digital and silver halide camera equipment 52 Summary 53 Projects 55 v CONTENTS 3 Choosing lenses 56 The lens designer’s problems 56 Checking lens image quality 61 Understanding modulation transfer function 63 Buying lenses 70 Special lens types 71 Influences on image sharpness 82 Using lenses created for 35 mm systems on DSLRs 83 Summary 85 Projects 86 4 Lighting control 87 Size of light sources 87 Direction and angle of light 91 Distribution of light 92 Contrast and exposure 93 Colour and colour temperature 97 Practical control of colour 98 Guidelines for lighting 100 Lighting equipment 102 Lighting principles in practice 104 Still-life photography 110 Location Interior lighting 110 Flashguns 111 Summary 114 Projects 115 vi CONTENTS 5 Tone control 116 Practical influences 116 Tone control theory 119 Precision measurement of exposure 124 High dynamic range imaging 127 The zone system of exposure and development 129 Putting the zone system to work 133 Limitations to the zone system 135 Tone changes after film processing 136 Controls during enlarging 139 Summary 140 Projects 142 6 Image sensors 143 An introduction to image sensors 143 Alternative sensor technologies 155 Image artefacts associated with sensors 160 Summary 167 Projects 169 vii CONTENTS 7 Digital imaging systems 170 The computer workstation 170 Inputs 173 Types of scanners 174 Scanner characteristics 178 Setting up the scanner 180 Image outputting – Displays 183 Characteristics of display systems 186 Image outputting – Digital printers 189 Printer characteristics 193 Summary 196 Projects 197 8 Digital image management and manipulation 198 The digital image 198 Image workflow 205 General considerations in determining workflow 207 Image capture 213 Image co mpression 217 Choosing file format 221 Properties of common image file formats 223 Digital colour 225 Image processing 233 Image-processing workflow 235 Summary 244 Projects 246 viii CONTENTS 9 Films – types and technical data 247 Film design 247 Choosing films 249 Understanding technical descriptions 253 Film MTF 257 Characteristic curves 259 Spectral sensitivity 261 Reciprocity failure 263 Product coding 264 Special materials 265 Summary 270 Projects 271 10 Film processing management and colour printing 272 The processes themselves 272 Points to watch 277 Equipment 280 Making a choice 286 Process control 287 Silver recovery 291 Colour printing equipment 291 Print materials 294 Negative/positive colour printing 296 Positive/positive colour printing 297 Shading and printing-in (or dodging and burning-in) 299 Making a ring-around 299 Additional points to watch 301 Colour/exposure analysing aids 302 Other colour lab procedures 304 Summary 307 Projects 308 ix
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