Short Course in Photography, A: Digital (What's New in Art & Humanities)

240 Pages·2018·30.548 MB·English

by  Barbara London, Jim Stone

Fourth Edition
A Short Course in
PHOTOGRAPHY
Digital
- - - - - - - - - - - - - - - - - - - - - - - - -
AN INTRODUCTION TO PHOTOGRAPHIC TECHNIQUE
Barbara London JimS tone
@ Pearson
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Library ofC ongress Cataloging-in-Publication Data
I
London, Barbara Stone,Jim
A short courSe in photography. Digital : an introduction to photographic technique/ Barbara London,Jim Stone.
I
Fourth edition. Upper Saddle River, New JerSe)': Pearson Education, Inc., (2018]
I
LCCN 2017047S401 ISBN 9780134S25815 ISBN 0134S25817
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LCSH: Photograph)'--Digital techniques-Textbooks. Image processing--Digital ttthniques--Textbooks.
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LCC TR267 .L6472018 DDC 771--dc23
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18 Student Edition:
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ISBN 13: 978-0-13-452581-5
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ISBN 13: 978-0-13-452603-4
@ Pearson
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ISBN 10: 0-13-4S2601-5
ISBN 13: 978-0-13-452601-0

Contents
Preface vii
I Camera.2
Getting Started Getting your camera ready 4 ■ Focusing and setting the exposure
6 ■ Exposure readout 7 ■ Exposing images 8 ■ What will you photograph? 9
■ Types of Cameras Film cameras 10 ■ Digital cameras 12 ■ Basic Camera
Controls 14 ■ More about Camera Controls 16 ■ Inside a digital single-lens
reflex camera 17 ■ Shutter Speed Affects light and motion 18 ■ Use it creatively
20 ■ Aperture Affects light and depth off ield 22 ■ Use it creatively 24 ■
Shutter Speed and Aperture Blur vs. depth of field 26 ■ Getting the Most from
Your Camera and lens 28
2 Lens 830
lens Focal Length The basic difference becween lenses 32 ■ Normal Focal
Length The most like human vision 34 ■ Long Focal Length Telephoto
lenses 36 ■ Short Focal Length Wide-angle lenses 38 ■ Zoom, Macro, and
Fisheye lenses 40 ■ Focus and Depth of Field 42 ■ Automatic Focus 43
■ Depth of Field Controlling sharpness in a photograph 44 ■ More about
Depth of Field How to preview it 46 ■ Perspective How a photograph shows
depth 48 ■ lens Attachments Close-ups and filters SO
3 Light and Exposure
; s2
Sensors and Pixels 54 ■ Pixels and Resolution 55 ■ Color in Photography
Color Systems 56 ■ Color Characteristics 57 ■ White Balance 58 ■ Using
Histograms 60 ■ Exposure Meters What different types do 62 ■ How to cal
culate and adjust an exposure manually 64 ■ Overriding an Automatic Expo
sure Camera 66 ■ Making an Exposure of an Average Scene 68 ■ Exposing
Scenes that are lighter or Darker than Average 70 ■ Backlighting 72 ■
Exposing Scenes with High Contrast 73 ■ HOR High dynamic range 74
4 Digital Workplace Basics
( 76
Equipment and Materials You'll Need 78 ■ Pictures Are Files 80 ■ Digital
Color Modes, gamuts, spaces, and profiles 82 ■ Channels 83 ■ Calibrating for
accuracy 84 ■ Working with Camera Raw 85 ■ Stay organized Setting up a
Workflow 86 ■ Photographer's Workflow Programs: 87 ■ Importing an
Image 88 ■ Scanning 89
Im
5 Image Editing
90
Getting Started Editing an Image 92 ■ Adjusting an Image levels 94 ■
Curves 96 ■ Adjusting Part of an Image Selections 98 ■ More Techniques
Layers 100 ■ Retouching 102 ■ Sharpening 104 ■ Compositing 106 ■
Color into black and white 108 ■ Filters 109 ■ An Editing Workflow 110
■ Ethics and Digital Imaging 112
ov CONTENTS
6 Printing and Display
~ 114
Printers and Drivers 116 ■ Papers and Inks 117 ■ Soft Proofing 118 ■
Panoramic Photographs 119 ■ Presenting Your Wori< Framing 120 ■ Matting
a print 121 ■ Mounting a Print Equipment and materials you'll need 122
■ Dry Mounting a Print Step by Step 124 ■ Bleed Mounting/Overmatting 126
R
7 Organizing and Storing
128
Image Storage 130 ■ UsingMetadata 131 ■ SoftwareforOrganizing 132
■ Archiving Images and Prints 133
6'
8 Using Light
134
Qualities of Light From direct to diffused 136 ■ Existing Light Use what's
available 138 ■ The Main Light The strongest source of light 140
■ Fill Light To lighten shadows 142 ■ Simple Portrait Lighting 144 ■
Using Artificial Light Photolamp or Aash 146 ■ More about Flash How to
position it 148 ■ Using Flash 1 SO
9 Seeing Like a Camera •
152
What's in the Picture The edges or frame 154 ■ The background 156 ■
Focus Which parts are sharp 158 ■ Time and Motion in a Photograph 160 ■
Depth in a Picture Three dimensions become two 162 ■ Chaos into order 163
■ Photographing for Meaning 164 ■ Portraits Informal: Finding them 166 ■
Formal: Setting them up 168 ■ Photographing the Landscape 170 ■
Photographing the Cityscape 172 ■ Photographing Inside 174 ■ Assembled
to be Photographed 176 ■ Responding to Photographs 178
10 History of Photography
" 180
Daguerreotype "Designs on silver bright" 182 ■ Calotype Pictures on paper
184 ■ Collodion Wet-Plate Sharp and reproducible 185 ■ Gelatin Emulsion/
Roll-Film Base Photography for everyone 186 ■ Color Photography 187 ■
Early Portraits 188 ■ Early Travel Photography 190 ■ Early Images of War
191 ■ Time and Motion in Early Photographs 192 ■ The Photograph as
Document 193 ■ Photography and Social Change 194 ■ Photojournalism
196 ■ Photography as Art in the 19"' Century 200 ■ Pictorial Photography
and the Photo-Secession 201 ■ The Direct Image in Art 202 ■ The Quest
for a New Vision 203 ■ Photography as Art in the 1950s and 1960s 204 gTA llf YO IIR 01111
■ Photography as Art in the 1970s and 1980s 206 ■ Color Photography
Arrives- Again 208 ■ Digital Photography Predecessors 210 ■ Becomes
mainstream 212
)~5!.
How to Learn More 214 ■ Troubleshooting 215 ■ Photographers' Web Sites
220 ■ Glossary 222 ■ Bibliography 226 ■ Photo Credits 228 ■ Index 230
CONTENTS V
Penelope Umbrico. Sunset Portraits from Umbrico had 4 )( 6-inch machine prints mode As you make your own photographs, it is worth
8,462,359 Rickr Sunsets on 12/21/10, 2010. from an "appropriated" selection (this 2010 piett aslungyourse/f questions. What are the ways you
Photography con be your subject as well as includes on!r those sunsets with silhouetted figures), ain improve the photographs you are now making?
7
your medium. Umbrico began searching the Web in and uhibitl them in grid form, about 8 feet tA/1. For Ifo the.rs ha\'lt already photographed your subject,
2006 for the most-often-photographed subjed, find· a 2011 galle,y show, she showed 1,058 4 x 6-inch how will your pict.ures be different? Ify ou magnify
ing it to be sunsets (541J95 pidures posted on the sunset portraits; by then the total number ofs unsets the meaningyour images ha~ for you, will you also
popular photo-sharing site Rn.rat that time). on Flickrhad grown to 9,623,557. increase the impact they ha\'lt on others? Reod on.
Pre.face
I
f you don't know anything about photography and elernents that can make the difference between an ordinary
would like co learn,or ify ou wane to make betcer pictures than snapshot and an exciting photograph
che ones you are making now, A Short Co11rse in Phowgraphy: ■ Chapter 9, Seeing Like a Carnera, explores your choices
Digital will help you. This book is modeled after che widely used in selecting and adjusting the irnage and presents ways to
film-and-darkroom edition of A Short Course in Photography, bur phocograph subjeccs such as people and landscapes.
presencs che rnedium in ics current, electronic form. ■ An updaced Chapter 10, The Hiscoryof Phocography,
rraces the technical, social, and artistic development of the
We present here, in depth, che basic cechniques of phocography:
medium since its inception.
■ How co gee a good exposure
New in this fourth edition are:
■ How to adjust che focus, shutcer speed, and aperture {the
size oft he lens opening) co produce the results you want ■ The latest on ca.rnera technology and software, integration of
■ How co transfer your pictures co a cornputer and rnake sure workflow applications-including Capture One Pro-at eve1y
chey are organized and safe from loss step, and expanded coverage ofa Can1era Raw workflow.
■ How co use computer software co make your photographs ■ New phocographs by great contemporary arciscs, including
look their besc Edward Baternan, Ian van Coller, Sam Cornen,John Divola,
Filip Dujardin, Adam Ekberg, Kare Joyce, David Leven ti,
Alrnosc all of today's carneras incorporate automatic features,
Martina Lopez, Christoph Oberschneider, Todd Owyoung,
buc char doesn't rnean char they automatically produce che re•
Christian Richter, and Geoffrey Robinson.
sulcs you wane. This edition of A Short Co11rse ;,. Photography de
■ The 1970s explosion ofc olor photography is explained in che
votes special attention co:
Hisco,y ofP hocography, Chapter 10.
■ Aucornatic focus and autornacic exposure- what chey do ■ Current product and technical information throughout,
and, particularly, how co override them when it is better to wich updated demonscracion and example photographs.
adjust che camera manually
This book is designed co make learning photography as easy as
Some ofche book's highlighcs include: possible:
■ Geccing Scarred. Ify ou are brand new co phocography, chis ■ Every cwo facing pages completes a single topic
section will walk you through che firsc seeps ofs eleccing and ■ Detailed seep-by-step inscruccions clarify each srage of
installing a rnernory card, sec.ting the camera's rnenu options, extended procedures
focusing sharply, adjusting che exposure, and making your ■ Boldfaced headings make subtopics easy co spoc
firsc picrures. See pages 4-9. ■ Numerous phocographs and dra";ngs illuscrace each copic
■ Projects. These projeccs are designed co help develop your
technical and expressive skills. See page 136 or 155. Acknowledgments
■ Making Better Prints. This includes inforrnation about how
Many people gave generously of cheir rime and efforc in che pro
co adju se your phocographs wich image-editing software
duction of chis book. Feedback from inscruccors helps confirm
(pages 92-111),selecc ink and paper for chem (page 117),
the direction oft he book and detennine the new elements in each
prim chem (page 118), and chen display chem in a mac and
edition. The authors are grateful to all those who reviewed pre•
frame (pages 120-127).
vious editions and forwarded comrnents. At Pearson Education,
■ Types of lenses (pages 31-41), can,eras (pages 10-13),
Roch Wilkofsky provided edicorial support. Annemarie Franklin,
lighcing (pages 134-151) , and software for organizing and
Sceve Marcel, and che cean1 ac SPi Global supervised che produc
archiving (pages 131-133).
tion oft he book frorn rnanuscript to printer and caught our (ex•
■ Hisco,yof Phocography. The medium has been used for
cremely few, ofc ourse) errors. An1ber, Jade, and Skye Scone gave
docurnencation, persuasion, and personaJ expression since
their dad rime co finish che book. If you have suggestions, please
ics 19m-cencmy invention. See pages 180-213.
send chem co Photography Edicor, Pearson Educacion, 221 River
Screec, Hoboken, NJ 07030. They will be sincerely welcomed.
Photography is a subjective undertaking. A Short Co1<m in Jim Stone
Photography emphasizes your choices in piccure making: Barbara l.ot1dot1
■ How to look at a scene in the way a camera can record it
■ How to select the shutter speed, point ofv iew, and other
PREFACE VII
ANNIE LEIBOYITZ Getting Started ................. 4 Shutter Speed ................. 18
Yo Yo Ma, 1998. FNmi11g is o bask control JO" Mve Getti,,gyour camera ready ......... 4 Affects ligbt aPJd motion .......... 18
in making a fmOtOfToph. T1te two photographs on this Focusing and Sf'tting the exposure .... 6 Use itcreatively ................ 20
page and 0(11Hnite are dbout lffllSit. Would )"HI
center your S41bjecr or ust a corner? Do you 1WCOnt daion Exposure readout. ............... 7
or re{10se? 81,oc,k .,.,,d wliire or color? HoriZt.>ntal, Exposing images. ................ 8 Aperture ...................... 22
wrrica~ or square? Co.ndid or posed? Viewed from What u•ill you photograph? ......... 9 Affects ligbt a"d depth off ield ...... 22
dbo~, btlow, or stl'aigl,r on? More dbout (rdmi.ng Use itcreatively ................ 24
Types of Cameras. ............. 10
on pt,ges 154-15 5.
Film c.ameras .................. 10
Digital c.imeras ................ 12 Shutter Speed
and Aperture ................. 26
Basic Camera Controls ......... 14
Blur vs. depth off,e/d ............ 26
More about Camera Controls ... 16
Inside a digital singl~·lens Getting the Most from Your
refl~x camera ................. 17 Cantera and Lens ............. 28
1
Camera
A
/11 thi..i clwpur you" JI IParu ... II cameras have four things in common: an image-forming lens; a
light-sensitive surface (film or a digital sensor) co record the light that
• the: basic controls of your camera and what they do.
• the: categories of cameras, and their characteristics, forms an image; a light-tight container (the caniera's body) to keep
so you can choose the right one for your purposes. ocher light ouc; and cwo important concrols co adjust che amount of picture-
• the: first steps ofg etting a camera ready, focusing
making light (the exposure) that reaches the light-sensitive surface.
an image, and adjusting the camera's settings.
This chapter describes those light controls and how you can take charge
ofthern, instead of letting chem control you. Alrnosc all current cameras are
Project:
equipped wich automatic exposure and aucomacic focus, and many have
aucornatic flash. If you are inceresced in making better picrures, however, you
EXPOSE SOME PICTURES
should know how your camera rnakes its decisions, even if the automatic fea
YOU WILL NEED tures can't be turned off. Ifchey can, you will wane to override your camera•s
Camera. We suggest one w;m adjustable controls. aucornatic decisions from cirne to time and make your own choices.
Output. To evaluate your work, it's good to
see: exactly what you did. Your digital pictures ■ You may want co blur the morion ofa rnoving subject or freeze its
can be viewed on the camera's small monitor motion sharply. Pages 18-19 show how.
but they are easier to evaluate on a computer
■ You may want a scene sharp frorn foreground to background or che
screen. Pages 8 and 88 tell you how to download
foreground sharp but the background ouc of focus. See pages 44-45.
photographs from your camera to a computer.
Once they are on a computer, your unedited ■ You may want co override your carnera's automatic focus mechanism so
photographs can also be displayed large: with a chat only a certain part of a scene is sharp. Page 43 reJls when and how
digital projector or on a wide-screen television so
co do so.
you can easily see small details and imagine what
they might look like printed at a large size. If you ■ You may decide co silhouette a subject against a bright background, or
shoot 35mm film you can take it to the photo lab perhaps you want to make sure that you don't end up with a
in a drug store or supermarket chain for overnight silhouette. See page 72.
processing and printing.
Most professional photographers use cameras with automatic features,
Pencil and notepad or sma.rtphone to keep bur they know how their carneras operate manually as well as aucornatically so
track of what you do. Optional, but highly rec•
they can choose which is best for a particular situation. You will want co do
ommended for all the projects.
the sarne because che more you know about how your can1era operates, the
PROCEDURE See pages 4-9 if you are ju.st better you will be able co gee che results you wane.
beginning to photograph. Those pages walk you
through the first steps of setting up your camera,
focusing an image sharply, adjusting the camera
settings so your photographs won•t be too light or
too dark, and making your first pictures. See pages
10-13 for more about the kinds of cameras.
Have some variety in the scenes when you
shoot. For example, photograph subjects near and
far, indoors and outside, in the shade and in the
sun. Photograph different types of subjects, such
as a portrait, a landscape, and an action scene.
Page 9 gives some suggestions.
HOW DID YOU 00? Which pictures did you
like best? Why? Were some different from what
you expected to get? Did some of your camera's
operations cause confusion? It helps to read your
instruction book all the way through or to ask for
help from someone familiar with your camera.
Todd Owyoung. Drumm~r Qves-rkwe pttfor,ning with
tM fu>ots, Fox T1te11tu, Sr. Louis, Missouri, 2008.
3