Photography

432 Pages·2017·78.987 MB·English

by  London, Barbara;Stone, Jim;Upton, John

PHOTOGRAPHY
Barbara London I Jim Stone I John Upton
40th
Anniversary
TWELFTH EDITION
Edition
TWELFTH EDITION
PHOTOGRAPHY
| |
Barbara London Jim Stone John Upton
AA0011__SSttoonnee__1122ee--FFMM..iinndddd ii 55//1166//1166 77::1144 AAMM
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Library of Congress Cataloging-in-Publication Data
Names: London, Barbara, author. | Stone, Jim, author. | Upton,
John, author.
Title: Photography / Barbara London, Jim Stone, John Upton.
Description: Twelfth edition, student edition. | Boston : Pearson Education,
2016. | Includes bibliographical references and index.
Identifiers: LCCN 2016017150| ISBN 9780134482026 (student edition) | ISBN
0134482026 (student edition)
Subjects: LCSH: Photography--Textbooks.
Classification: LCC TR145 .L66 2016 | DDC 770--dc23
LC record available at https://lccn.loc.gov/2016017150
Student Edition
10 9 8 7 6 5 4 3 2 1
ISBN-10: 0-13-448202-6
ISBN-13: 978-0-13-448202-6
Books a la Carte
ISBN-10: 0-13-449061-4
ISBN-13: 978-0-13-449061-8
AA0011__SSttoonnee__1122ee--FFMM..iinndddd iiii 55//1166//1166 77::1144 AAMM
P . . . . . . . . . . . . . . . . . . . . . . xii
REFACE
Brief

1 G S . . . . . . . . . . . . . . . . 2
ETTING TARTED
2 C . . . . . . . . . . . . . . . . . . . . . . 14
contents AMERA
3 L . . . . . . . . . . . . . . . . . . . . . . . . . 38
ENS
4 E , S , F . . . . . 68
XPOSURE ENSORS AND ILM
5 L C . . . . . . . . . . . . . . 94
IGHT AND OLOR
6 D F N . . . . . 110
EVELOPING A ILM EGATIVE
7 P D . . . . . . . . 126
RINTING IN A ARKROOM
8 B D P . . . . . . 158
ASICS OF IGITAL ICTURES
9 I E . . . . . . . . . . . . . . . . 172
MAGE DITING
10 P D . . . . . . . . . . . . . 194
RINTING IGITALLY
11 O , S ,
RGANIZING TORING
P W . . . . . . . . . 206
AND RESENTING ORK
12 L . . . . . . . . . . . . . . . . . . . . 220
IGHTING
13 E I . . . . . . . . . . 254
XTENDING THE MAGE
14 V C . . . . . . . . . . . . . . . . . 280
IEW AMERA
15 S P . . . . . . . . . . 300
EEING HOTOGRAPHS
16 H P . . . . . . . 326
ISTORY OF HOTOGRAPHY
T . . . . . . . . . . . . . 386
ROUBLESHOOTING
G . . . . . . . . . . . . . . . . . . . . 397
LOSSARY
B . . . . . . . . . . . . . . . . . 402
IBLIOGRAPHY
C . . . . . . . . . . . . . . . . . . . . . 407
REDITS
I . . . . . . . . . . . . . . . . . . . . . . . 408
NDEX
Contents | III
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A01_Stone_12e_FM.indd 4 9/2/16 4:44 PM
RINKO KAWAUCHI
Untitled,
from the series Illuminance, 2007
Contents | V
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Contents
Preface . . . . . . . . . . . . . . . . .xii 3 L 38 The Histogram . . . . . . . . . . . . . . . . . . . . . . .80
ENS
Measures a Digital Photograph . . . . . . . . . . . . 80
Three Histograms for Color . . . . . . . . . . . . . . . 81
From Pinhole to Lens . . . . . . . . . . . . . . . . . .40 Exposure Latitude
1 GETTING STARTED 2 Lens Focal Length . . . . . . . . . . . . . . . . . . . . .42 and Dynamic Range . . . . . . . . . . . . . . . . . .82
Normal Focal Length . . . . . . . . . . . . . . . . . . . . 44 How Much Can Exposures Vary? . . . . . . . . . . . 82
Long Focal Length . . . . . . . . . . . . . . . . . . . . . . 46 Responding to Light . . . . . . . . . . . . . . . . . . .84
Introducing the Camera . . . . . . . . . . . . . . . . .4
Short Focal Length . . . . . . . . . . . . . . . . . . . . . 48 Silver and Pixels . . . . . . . . . . . . . . . . . . . . . . . 84
Getting Your Camera Ready . . . . . . . . . . . . . .5
Zoom Lenses . . . . . . . . . . . . . . . . . . . . . . . . . . 50 Selecting and Using Film . . . . . . . . . . . . . . .85
Focusing and Setting
Special-Purpose Lenses . . . . . . . . . . . . . . . .51 Film and Sensor Speed . . . . . . . . . . . . . . . . .86
the Exposure. . . . . . . . . . . . . . . . . . . . . . . . .6
Focusing Your Lens . . . . . . . . . . . . . . . . . . . .52 Speed and ISO . . . . . . . . . . . . . . . . . . . . . . . . 86
Taking Your Picture . . . . . . . . . . . . . . . . . . . . .8
Manual Focus . . . . . . . . . . . . . . . . . . . . . . . . . 52 Grain and Noise . . . . . . . . . . . . . . . . . . . . . . . 87
What Will You Photograph? . . . . . . . . . . . . . . .9
Automatic Focus . . . . . . . . . . . . . . . . . . . . . . . 54 Using Filters . . . . . . . . . . . . . . . . . . . . . . . . .88
Some Basic Guidelines
to Get You Started . . . . . . . . . . . . . . . . . . . . . 9 Focus and Depth of Field . . . . . . . . . . . . . . .56 Extending Beyond Visible Light . . . . . . . . . . .90
Photographing People . . . . . . . . . . . . . . . . . . . 10 Controlling Depth of Field . . . . . . . . . . . . . . . . 58 Infrared Photographs . . . . . . . . . . . . . . . . . . . . 90
Zone Focusing . . . . . . . . . . . . . . . . . . . . . . . . 60
Photographing Places . . . . . . . . . . . . . . . . . . . 12 Using Exposure . . . . . . . . . . . . . . . . . . . . . . .91
Focusing on the Hyperfocal Distance . . . . . . . . 61
photographer at work
■
Perspective . . . . . . . . . . . . . . . . . . . . . . . . . .62
Advertising Photographer
Guidelines for Buying a Lens . . . . . . . . . . . . .64
2 C 14 Clint Clemens . . . . . . . . . . . . . . . . . . . . . . .92
AMERA
Getting the Most
from Your Camera and Lens . . . . . . . . . . . .65
Basic Camera Controls . . . . . . . . . . . . . . . . .16 photographer at work
■
5 L C 94
The Shutter . . . . . . . . . . . . . . . . . . . . . . . . . .18 IGHT AND OLOR
Fine-Art Photographer Alec Soth . . . . . . . . .66
The Shutter and Light . . . . . . . . . . . . . . . . . . . 18
The Shutter and Motion . . . . . . . . . . . . . . . . . . 20
Color: Additive or Subtractive . . . . . . . . . . . .96
Conveying Motion
Color Photographs:
in a Still Photograph . . . . . . . . . . . . . . . . . . . 22 4 E , S ,
XPOSURE ENSORS
Three Image Layers . . . . . . . . . . . . . . . . . . .97
The Aperture . . . . . . . . . . . . . . . . . . . . . . . . .24
AND FILM 68 Color Characteristics . . . . . . . . . . . . . . . . . .98
The Aperture and Light . . . . . . . . . . . . . . . . . . 24
Color Balance . . . . . . . . . . . . . . . . . . . . . . .100
The Aperture and Depth of Field . . . . . . . . . . . 26
Color Changes throughout the Day . . . . . . . . . 100
Using Shutter Exposure Basics . . . . . . . . . . . . . . . . . . . . . .70
Color Temperature . . . . . . . . . . . . . . . . . . . . . 101
and Aperture Together . . . . . . . . . . . . . . . .28 Equivalent Exposures . . . . . . . . . . . . . . . . . . . 70
Color Casts . . . . . . . . . . . . . . . . . . . . . . . . . . 102
Choosing a Camera . . . . . . . . . . . . . . . . . . . .30 How Exposure Meters Work . . . . . . . . . . . . . . 71
Mixed Light . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Digital Cameras . . . . . . . . . . . . . . . . . . . . . . . 31 In-Camera Exposure Meters . . . . . . . . . . . . . . 72
Color Modes and Gamuts . . . . . . . . . . . . . .104
Film Cameras . . . . . . . . . . . . . . . . . . . . . . . . . 32 Automatic Exposure . . . . . . . . . . . . . . . . . . . . 73
Color Management . . . . . . . . . . . . . . . . . . .105
Keeping the Camera Steady . . . . . . . . . . . . .34 How to Meter . . . . . . . . . . . . . . . . . . . . . . . .74
An Overall Reading of a Scene Adjusting Color with Film . . . . . . . . . . . . . .106
photographer at work
■
with Average Tones . . . . . . . . . . . . . . . . . . . . 74 Filters to Balance Color . . . . . . . . . . . . . . . . . 106
Photojournalist Lynsey Addario . . . . . . . . . . .36 Using Different Types of Meters . . . . . . . . . . . . 75
photographer at work
■
Metering High-Contrast Scenes . . . . . . . . . . . . 76
Another Angle on Sports
Exposing for Specific Tones and Bracketing . . . 78
—Walter Iooss, Jr . . . . . . . . . . . . . . . . . . .108
Hard-to-Meter Scenes . . . . . . . . . . . . . . . . . . . 79
VI | Contents
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Archival Processing An Image-Editing Workflow . . . . . . . . . . . . .176
6 D
EVELOPING A
for Maximum Permanence . . . . . . . . . . . .151 A Step-by-Step Process . . . . . . . . . . . . . . . . 176
FILM NEGATIVE 110 Toning for Color and Other Effects . . . . . . .152 Adjusting Shape . . . . . . . . . . . . . . . . . . . . .178
Making a Color Print Crop and Rotate . . . . . . . . . . . . . . . . . . . . . . 178
from a Negative . . . . . . . . . . . . . . . . . . . .154
Adjusting Color
How to Process
Equipment and Materials You’ll Need . . . . . . . 154 and Value . . . . . . . . . . . . . . . . . . . . . . . . .180
Black-and-White Roll Film . . . . . . . . . . . . .112
Exposing a Test Print . . . . . . . . . . . . . . . . . . . 155 Different Approaches . . . . . . . . . . . . . . . . . . . 180
Equipment and Supplies You’ll Need . . . . . . . 112
Judging Color Balance in a Print Using Levels . . . . . . . . . . . . . . . . . . . . . . . . . 181
Processing Chemicals and
Made from a Negative . . . . . . . . . . . . . . . . 156
How to Handle Them . . . . . . . . . . . . . . . . . . 113 Curves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
Chemical Safety . . . . . . . . . . . . . . . . . . . . . . 114 Adjusting All or Part
of an Image . . . . . . . . . . . . . . . . . . . . . . .184
Processing Black-and-White
Roll Film Step by Step . . . . . . . . . . . . . . . .116 8 B Selection Tools . . . . . . . . . . . . . . . . . . . . . . . 184
ASICS OF
Using Layers . . . . . . . . . . . . . . . . . . . . . . . . . 185
How Film Processing Affects
D P 158
Your Picture . . . . . . . . . . . . . . . . . . . . . . .122 IGITAL ICTURES Other Editing Commands . . . . . . . . . . . . . . .186
Exposure and Development: High Dynamic Range . . . . . . . . . . . . . . . . . . . 186
Under, Normal, Over . . . . . . . . . . . . . . . . .124 Filters for Special Effects . . . . . . . . . . . . . . . 187
Hardware and Software . . . . . . . . . . . . . . . .160
Sharpening . . . . . . . . . . . . . . . . . . . . . . . . . . 188
An Overview . . . . . . . . . . . . . . . . . . . . . . . . . 160
Retouching . . . . . . . . . . . . . . . . . . . . . . . . . . 189
Capturing Detail . . . . . . . . . . . . . . . . . . . . .161
Compositing . . . . . . . . . . . . . . . . . . . . . . . .190
7 P Resolution and Bit Depth . . . . . . . . . . . . . . . 161
RINTING
Photographs Are Files . . . . . . . . . . . . . . . . .162 ■ photographer at work
D 126
IN A ARKROOM
File Formats . . . . . . . . . . . . . . . . . . . . . . . . . 162
RetouchShoppe—
Channels. . . . . . . . . . . . . . . . . . . . . . . . . . .164 Scalese and Villarreal . . . . . . . . . . . . . . . .192
Black-and-White Printing . . . . . . . . . . . . . .128 Color or Black and White? . . . . . . . . . . . . . . . 164
Equipment and Supplies for Printing . . . . . . . 128 Importing Your Images . . . . . . . . . . . . . . . .166
The Enlarger . . . . . . . . . . . . . . . . . . . . . . . . . 130 Downloading from a
10 P
Printing Papers . . . . . . . . . . . . . . . . . . . . . . . 132 Camera/Scanning . . . . . . . . . . . . . . . . . . . . 166 RINTING
Making a Black-and-White Making a Scan . . . . . . . . . . . . . . . . . . . . . . . 167 D 194
IGITALLY
Print Step by Step . . . . . . . . . . . . . . . . . . .134 Setting Up a Workflow . . . . . . . . . . . . . . . .168
A Contact Sheet: A Whole Roll at Once . . . . . 134
Workflow Applications . . . . . . . . . . . . . . . . .169
Printers and Printing . . . . . . . . . . . . . . . . . .196
Setting Up an Enlargement . . . . . . . . . . . . . . 136
■ photographer at work Printer Choices . . . . . . . . . . . . . . . . . . . . . . . 196
A Test Strip for Your Print . . . . . . . . . . . . . . . . 138
Drivers and RIPs . . . . . . . . . . . . . . . . . . . . . . 197
A Trial Print—and Then a Final Print . . . . . . . . 139 Online Impresario Jim Casper . . . . . . . . . . .170
Profiles and Soft Proofing . . . . . . . . . . . . . . . 198
Processing a Black-and-White Print . . . . . . . . 140
Papers and Inks . . . . . . . . . . . . . . . . . . . . . . 199
Evaluating Density
and Contrast in a Print . . . . . . . . . . . . . . .144 Printing Options . . . . . . . . . . . . . . . . . . . . .200
9 I E 172
MAGE DITING Panoramic Photographs . . . . . . . . . . . . . . . . . 200
Controlling Contrast . . . . . . . . . . . . . . . . . .146
Printing in Black and White . . . . . . . . . . . . . . 202
Graded-Contrast
and Variable-Contrast Papers . . . . . . . . . . . 146 Digital Post-Processing: Displaying Your Work . . . . . . . . . . . . . . . . .204
Dodging and Burning. . . . . . . . . . . . . . . . . .148 Getting Started . . . . . . . . . . . . . . . . . . .174 The Internet—Gallery
Spotting to Remove Minor Flaws . . . . . . . . .150 Choosing Software . . . . . . . . . . . . . . . . . . . . .174 and Resource . . . . . . . . . . . . . . . . . . . . . . . 204
Your Work Area and Tools . . . . . . . . . . . . . . . 175 Ethics: How Far Can You Go? . . . . . . . . . . .205
Contents | VII
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Multiple-Light
11 O , S , 14 V C 280
RGANIZING TORING IEW AMERA
Portrait Setups . . . . . . . . . . . . . . . . . . . . .246
AND PRESENTING Lighting Textured Objects . . . . . . . . . . . . . .248
W 206 Lighting Reflective Objects . . . . . . . . . . . . .249 Inside a View Camera . . . . . . . . . . . . . . . . .282
ORK
Lighting Translucent Objects . . . . . . . . . . . .250 The Zone System . . . . . . . . . . . . . . . . . . . .283
Using Lighting . . . . . . . . . . . . . . . . . . . . . .251 View Camera Movements . . . . . . . . . . . . . .284
Image Storage . . . . . . . . . . . . . . . . . . . . . .208
Rise and Fall . . . . . . . . . . . . . . . . . . . . . . . . 284
photographer at work
Size Matters . . . . . . . . . . . . . . . . . . . . . . . . . 208 ■
Shift . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286
Metadata: Data About Your Files . . . . . . . . .209 Dance Photographer Tilt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288
Lois Greenfield . . . . . . . . . . . . . . . . . . . . .252
Software to Keep You Organized . . . . . . . . .210 Swing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290
Archiving Digital Images . . . . . . . . . . . . . . .211 Using a View Camera
Archiving Film and Prints . . . . . . . . . . . . . .212 to Control the Image . . . . . . . . . . . . . . . . .292
Mounting a Print . . . . . . . . . . . . . . . . . . . .214 13 EXTENDING Controlling the Plane of Focus . . . . . . . . . . . . 293
Controlling Perspective . . . . . . . . . . . . . . . . . 294
Equipment and Supplies You’ll Need . . . . . . . 215
I 254
Dry Mounting . . . . . . . . . . . . . . . . . . . . . . . . 216 THE MAGE Equipment You’ll Need . . . . . . . . . . . . . . . .296
Cutting an Overmat . . . . . . . . . . . . . . . . . . . . 218 What to Do First—and Next . . . . . . . . . . . . .297
Framing and Glazing . . . . . . . . . . . . . . . . . .219 Using Scale . . . . . . . . . . . . . . . . . . . . . . . .256 Loading and Processing
Pictures Very Large Sheet Film . . . . . . . . . . . . . . . . . . . . . . . .298
and Very Small . . . . . . . . . . . . . . . . . . . . . . 256
Multiple Images . . . . . . . . . . . . . . . . . . . . .258
12 L 220
IGHTING More is Better . . . . . . . . . . . . . . . . . . . . . . . . 258
15 S
EEING
Fabricated to be Photographed . . . . . . . . . .260
Direction of Light . . . . . . . . . . . . . . . . . . . .222 Text and Image . . . . . . . . . . . . . . . . . . . . . .262 PHOTOGRAPHS 300
Degree of Diffusion: The Photograph as Object . . . . . . . . . . . . . .264
From Hard to Soft Light . . . . . . . . . . . . . .224
Using Projections . . . . . . . . . . . . . . . . . . . .266 Basic Choices . . . . . . . . . . . . . . . . . . . . . . .302
Available Light—Outdoors . . . . . . . . . . . . . .226 Making a Book . . . . . . . . . . . . . . . . . . . . . .267 Content . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302
Available Light—Indoors . . . . . . . . . . . . . . .227 Framing the Subject . . . . . . . . . . . . . . . . . . . 304
Alternative Processes . . . . . . . . . . . . . . . . .268
Artificial Light . . . . . . . . . . . . . . . . . . . . . . .228 Cyanotype Printing . . . . . . . . . . . . . . . . . . . . 268 Backgrounds . . . . . . . . . . . . . . . . . . . . . . . . 306
Lights and Other Lighting Equipment . . . . . . . 228 Platinum and Palladium Printing . . . . . . . . . . 269 Basic Design . . . . . . . . . . . . . . . . . . . . . . . .308
Qualities of Artificial Light . . . . . . . . . . . . . . . 229 Gum Bichromate Printing . . . . . . . . . . . . . . . . 270 Spot/Line . . . . . . . . . . . . . . . . . . . . . . . . . . . 308
The Main Light: Collodion and Tintypes . . . . . . . . . . . . . . . . . 271 Shape/Pattern . . . . . . . . . . . . . . . . . . . . . . . 310
The Dominant Source . . . . . . . . . . . . . . . .230 A Photogram: A Cameraless Picture . . . . . . . . 272 Emphasis/Balance . . . . . . . . . . . . . . . . . . . . 312
The Fill Light: Pinhole Photography . . . . . . . . . . . . . . . . . .274 More Choices . . . . . . . . . . . . . . . . . . . . . . .314
To Lighten Shadows . . . . . . . . . . . . . . . . .232 Using Contrasts of Sharpness . . . . . . . . . . . . 314
How to Make
Lighting with Flash . . . . . . . . . . . . . . . . . . .234 a Close-Up Photograph . . . . . . . . . . . . . . .276 Using Contrasts of Light and Dark . . . . . . . . . 316
Flash Equipment . . . . . . . . . . . . . . . . . . . . . . 235 Close-Up Exposures . . . . . . . . . . . . . . . . . . . 277 Placing the Subject within
Basic Flash Techniques . . . . . . . . . . . . . . . . . 236 the Frame . . . . . . . . . . . . . . . . . . . . . . . . . . 318
Copying Techniques . . . . . . . . . . . . . . . . . .278
Manual Flash Exposures . . . . . . . . . . . . . . . . 238 Perspective and Point of View . . . . . . . . . . . . 320
Automatic Flash Exposures . . . . . . . . . . . . . . 239 Looking at—and Talking About—
Fill Flash: To Lighten Shadows . . . . . . . . . . . . 240 Photographs . . . . . . . . . . . . . . . . . . . . . . .322
Controlling Background Brightness . . . . . . . . 242 Showing Your Work to Editors
and Others . . . . . . . . . . . . . . . . . . . . . . . .324
Simple Portrait Lighting . . . . . . . . . . . . . . .244
VIII | Contents
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16 H The Photograph as Document . . . . . . . . . . .339 Troubleshooting . . . . . . .386
ISTORY OF
Photography and Social Change . . . . . . . . .340
Glossary . . . . . . . . . . . . . . .397
P 326
HOTOGRAPHY Photojournalism . . . . . . . . . . . . . . . . . . . . .342
Bibliography . . . . . . . . . . .402
Photography as Art
in the 19th Century . . . . . . . . . . . . . . . . .346
The Invention of Photography . . . . . . . . . . .328 Credits . . . . . . . . . . . . . . . .407
Pictorial Photography
Daguerreotype:
Index . . . . . . . . . . . . . . . . .408
and the Photo-Secession . . . . . . . . . . . . .347
“Designs on Silver Bright” . . . . . . . . . . . .329
The Direct Image in Art . . . . . . . . . . . . . . . .348
Calotype: Pictures on Paper . . . . . . . . . . . .330
The Quest for a New Vision . . . . . . . . . . . . .350
Collodion Wet-Plate: Sharp
and Reproducible . . . . . . . . . . . . . . . . . . .331 Photography as Art in the 1950s
and 1960s . . . . . . . . . . . . . . . . . . . . . . . .352
Gelatin Emulsion/Roll-Film Base:
Photography for Everyone . . . . . . . . . . . . .332 Photography as Art in the 1970s
and 1980s . . . . . . . . . . . . . . . . . . . . . . . .354
Color Photography . . . . . . . . . . . . . . . . . . . .333
Color Photography Arrives— Again . . . . . . . .356
Early Portraits . . . . . . . . . . . . . . . . . . . . . . .334
Digital Photography
Early Travel Photography . . . . . . . . . . . . . . .336
Becomes Mainstream . . . . . . . . . . . . . . . .358
Early Images of War . . . . . . . . . . . . . . . . . .337
A Gallery of Contemporary
Time and Motion
Photography . . . . . . . . . . . . . . . . . . . . . . .360
in Early Photographs . . . . . . . . . . . . . . . . .338
Contents | IX
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