Fourth Edition A Short Course In PHTGRAPHY

Fourth EditionA Short Course inPHOTOGRAPHYDigitalAN INTRODUCTION TO PHOTOGRAPHIC TECHNIQUEEdward BatemanBarbara LondonJim Stone

Publisher: Roth WilkofskyEditorial Assistant: Kaylee NavarraProduct Marketing Manager: Nicholas BoltExecutive Field Marketing Manager: Wendy AlbertManaging Content Producer: Donna DeBenedictisProject Coordination, Text Design, and Electronic PageMakeup: SPi GlobalCover Designer: Lumina DatamaticsCover Image: Adam Ekberg, Vacuum on a Frozen Lake, 2005. Adam EkbergManufacturing Buyer: Mary Ann GloriandePrinter/Binder: LSCC-KendallvilleCover Printer: Phoenix ColorAcknowledgments of third-party content appear on the appropriate page in the text or on page 228, which constitutes anextension of this copyright page.Frontispiece: Edward Bateman, Landscape Photographer, 2012Opposite page: Teun Hocks, Untitled, 2000. Courtesy of the artist and Torch Gallery, AmsterdamPEARSON and ALWAYS LEARNING are exclusive trademarks owned by Pearson Education, Inc. or its affiliates in the UnitedStates and/or other countries.Unless otherwise indicated herein, any third-party trademarks that may appear in this work are the property of their respectiveowners and any references to third-party trademarks, logos, or other trade dress are for demonstrative or descriptive purposesonly. Such references are not intended to imply any sponsorship, endorsement, authorization, or promotion of Pearson’s products by the owners of such marks, or any relationship between the owner and Pearson Education, Inc., or its affiliates, authors,licensees, or distributors.Library of Congress Cataloging-in-Publication DataLondon, Barbara Stone, JimA short course in photography. Digital : an introduction to photographic technique / Barbara London, Jim Stone.Fourth edition. Upper Saddle River, New Jersey : Pearson Education, Inc., [2018]LCCN 2017047540 ISBN 9780134525815 ISBN 0134525817LCSH: Photography--Digital techniques--Textbooks. Image processing--Digital techniques--Textbooks.LCC TR267 .L647 2018 DDC 771--dc23Copyright 2019, 2015, 2012 by Pearson Education, Inc. All Rights Reserved. Printed in the United States of America. Thispublication is protected by copyright, and permission should be obtained from the publisher prior to any prohibited reproduction, storage in a retrieval system, or transmission in any form or by any means, electronic, mechanical, photocopying,recording, or otherwise. For information regarding permissions, request forms and the appropriate contacts within the PearsonEducation Global Rights & Permissions Department, please visit www.pearsoned.com/permissions/.1  18Student Edition:ISBN 10: 0-13-452581-7ISBN 13: 978-0-13-452581-5A La Carte Edition:ISBN 10: 0-13-452603-1ISBN 13: 978-0-13-452603-4Instructor’s Review Copy:ISBN 10: 0-13-452601-5ISBN 13: 978-0-13-452601-0

ContentsPreface vii1 Camera   2Getting Started Getting your camera ready 4 n Focusing and setting the exposure6 n Exposure readout 7 n Exposing images 8 n What will you photograph? 9n Types of Cameras Film cameras 10 n Digital cameras 12 n Basic CameraControls 14 n More about Camera Controls 16 n Inside a digital single-lensreflex camera 17 n Shutter Speed Affects light and motion 18 n Use it creatively20 n Aperture Affects light and depth of field 22 n Use it creatively 24 nShutter Speed and Aperture Blur vs. depth of field 26 n Getting the Most fromYour Camera and Lens 282 Lens   30Lens Focal Length The basic difference between lenses 32 n Normal FocalLength The most like human vision 34 n Long Focal Length Telephotolenses 36 n Short Focal Length Wide-angle lenses 38 n Zoom, Macro, andFisheye Lenses 40 n Focus and Depth of Field 42 n Automatic Focus 43n Depth of Field Controlling sharpness in a photograph 44 n More aboutDepth of Field How to preview it 46 n Perspective How a photograph showsdepth 48 n Lens Attachments Close-ups and filters 503 Light and Exposure    52Sensors and Pixels 54 n Pixels and Resolution 55 n Color in PhotographyColor Systems 56 n Color Characteristics 57 n White Balance 58 n UsingHistograms 60 n Exposure Meters What different types do 62 n How to calculate and adjust an exposure manually 64 n Overriding an Automatic Exposure Camera 66 n Making an Exposure of an Average Scene 68 n ExposingScenes that are Lighter or Darker than Average 70 n Backlighting 72 nExposing Scenes with High Contrast 73 n HDR High dynamic range 744 Digital Workplace Basics    76Equipment and Materials You’ll Need 78 n Pictures Are Files 80 n DigitalColor Modes, gamuts, spaces, and profiles 82 n Channels 83 n Calibrating foraccuracy 84 n Working with Camera Raw 85 n Stay organized Setting up aWorkflow 86 n Photographer’s Workflow Programs: 87 n Importing anImage 88 n Scanning 895 Image Editing   90Getting Started Editing an Image 92 n Adjusting an Image Levels 94 nCurves 96 n Adjusting Part of an Image Selections 98 n More TechniquesLayers 100 n Retouching 102 n Sharpening 104 n Compositing 106 nColor into black and white 108 n Filters 109 n An Editing Workflow 110n Ethics and Digital Imaging 112ivCO N T EN T S

6 Printing and Display    114Printers and Drivers 116 n Papers and Inks 117 n Soft Proofing 118 nPanoramic Photographs 119 n Presenting Your Work Framing 120 n Mattinga print 121 n Mounting a Print Equipment and materials you’ll need 122n Dry Mounting a Print Step by Step 124 n Bleed Mounting/Overmatting 1267 Organizing and Storing    128Image Storage 130 n Using Metadata 131n Archiving Images and Prints 133nSoftware for Organizing 1328 Using Light   134Qualities of Light From direct to diffused 136 n Existing Light Use what’savailable 138 n The Main Light The strongest source of light 140n Fill Light To lighten shadows 142 n Simple Portrait Lighting 144 nUsing Artificial Light Photolamp or flash 146 n More about Flash How toposition it 148 n Using Flash 1509 Seeing Like a Camera    152What’s in the Picture The edges or frame 154 n The background 156 nFocus Which parts are sharp 158 n Time and Motion in a Photograph 160 nDepth in a Picture Three dimensions become two 162 n Chaos into order 163n Photographing for Meaning 164 n Portraits Informal: Finding them 166 nFormal: Setting them up 168 n Photographing the Landscape 170 nPhotographing the Cityscape 172 n Photographing Inside 174 n Assembledto be Photographed 176 n Responding to Photographs 17810 History of Photography    180Daguerreotype “Designs on silver bright” 182 n Calotype Pictures on paper184 n Collodion Wet-Plate Sharp and reproducible 185 n Gelatin Emulsion/Roll-Film Base Photography for everyone 186 n Color Photography 187 nEarly Portraits 188 n Early Travel Photography 190 n Early Images of War191 n Time and Motion in Early Photographs 192 n The Photograph asDocument 193 n Photography and Social Change 194 n Photojournalism196 n Photography as Art in the 19th Century 200 n Pictorial Photographyand the Photo-Secession 201 n The Direct Image in Art 202 n The Questfor a New Vision 203 n Photography as Art in the 1950s and 1960s 204n Photography as Art in the 1970s and 1980s 206 n Color PhotographyArrives—Again 208 n Digital Photography Predecessors 210 n Becomesmainstream 212How to Learn More 214 n Troubleshooting 215 n Photographers’ Web Sites220 n Glossary 222 n Bibliography 226 n Photo Credits 228 n Index 230CONTENTSv

Penelope Umbrico. Sunset Portraits from8,462,359 Flickr Sunsets on 12/21/10, 2010.Photography can be your subject, as well asyour medium. Umbrico began searching the Web in2006 for the most-often-photographed subject, finding it to be sunsets (541,795 pictures posted on thepopular photo-sharing site Flickr at that time).Umbrico had 4 6-inch machine prints madefrom an “appropriated” selection (this 2010 pieceincludes only those sunsets with silhouetted figures),and exhibits them in grid form, about 8 feet tall. Fora 2011 gallery show, she showed 1,058 4 6-inchsunset portraits; by then the total number of sunsetson Flickr had grown to 9,623,557.As you make your own photographs, it is worthasking yourself questions. What are the ways youcan improve the photographs you are now making?If others have already photographed your subject,how will your pictures be different? If you magnifythe meaning your images have for you, will you alsoincrease the impact they have on others? Read on.