Acknowledgements;
Chapter 1: Communication Through Photography;
1.1 Enthusiasm;
1.2 Judging Your Own Personal Response;
Chapter 2: What is Composition?;
2.1 How the Human Eye Sees;
2.2 Unified Thought;
2.3 Simplicity;
2.4 Expressing Your Own Point of View;
2.5 Simplicity vs. Complexity;
Chapter 3: Elements of Composition;
3.1 Contrast and Tone;
3.2 Line;
3.3 Form;
3.4 Line, Form, Contrast, and Emotion;
3.5 Pattern;
3.6 Balance;
3.7 Movement;
3.8 Positive/Negative Space;
3.9 Texture;
3.10 Camera Position;
3.11 Focal Length of Lens and Cropping;
3.12 Depth of Field;
3.13 Shutter Speed;
3.14 Relationships;
3.15 Involvement with the Scene;
3.16 Rules, Formulas, and Other Problems and Pitfalls;
Chapter 4: Visualization;
4.1 Step 1: Photographic Looking and Seeing;
4.2 Step 2: Composing an Image;
4.3 Step 3: Envisioning the Final Print;
4.4 Step 4: Planning a Strategy for a Final Print;
4.5 How Your Eye Differs from Your Camera;
4.6 Alternative Approaches;
Chapter 5: Light;
5.1 Looking at Light;
5.2 Exercises in Learning to See Light More Accurately;
5.3 Light Determines Form;
5.4 Types of Lighting/Quality of Light;
5.5 Light as Seen by the Eye and by Film or Sensors, and the Inverse Square Law;
Chapter 6: Color;
6.1 The Color Wheel and Color Sphere;
6.2 Color Composition;
6.3 Color and Emotion;
6.4 Color Contrast and Tone;
6.5 Choosing A Color Film;
6.6 Color Digital Methods;
6.7 Light and Color Control;
6.8 Subjectivity and Mood of Color;
6.9 In Summary;
Chapter 7: Filters;
7.1 Black-and-White Filters;
7.2 Examples with a Hypothetical Landscape;
7.3 Contrast Control with Filters;
7.4 Digital Filtration for Black-and-White;
7.5 Infrared Film and Filters;
7.6 Filters for Color Images;
7.7 Neutral Density and Polarizing Filters;
7.8 Problems Associated with Polarizers;
Chapter 8: The Zone System of Exposure for Film;
8.1 A Brief Overview;
8.2 Film’s Response to Light: Building the Zone System;
8.3 Translating Negative Densities to Print Tonalities;
8.4 The Light Meter—How it Works;
8.5 Review of Negative Exposure Procedure;
8.6 Using the Zone System to Depart from Reality;
8.7 The Zone System for Color;
8.8 The Zone System and the Inverse Square Law;
8.9 In Summary;
Chapter 9: The Black-and-White Negative and Contrast Control—The Extended Zone System;
9.1 Chapter 9 Overview;
9.2 The Negative During Development;
9.3 The Bellows Analogy;
9.4 Putting Higher Zones to Work;
9.5 Reciprocity Failure;
9.6 Examples of Decreasing and Increasing Contrast;
9.7 The Exposure/Density Curve and Zone 4 Shadow Placement;
9.8 Differences Between Photography and Sensitometry: Texture vs. Tone and Zone 4 Shadow Placement;
9.9 Pre-Exposure—What It Is, Where It Works, Where It Fails;
9.10 Developing the Exposed Negative;
9.11 Explanation of Compensating Development;
9.12 Two-Solution Compensating Development for Negatives;
9.13 Development Procedures for Sheet Film and Roll Film;
9.14 The Zone System and Roll Film;
9.15 Negative Materials and Developers;
Chapter 10: The Print;
10.1 Black-and-White Enlarging Papers;
10.2 Variable Contrast vs. Graded Papers;
10.3 Fiber Base Papers vs. Resin Coated (RC) Papers;
10.4 Black-and-White Paper Developers;
10.5 Making Contact Proof Prints;
10.6 Preliminary Work Toward a Final Print;
10.7 Make Test Prints, Not Test Strips;
10.8 Two-Solution Development for Graded and Variable Contrast Papers;
10.9 Dodging and Burning;
10.10 Integrating the Entire Process: Visualization, Exposure, Development, and Printing;
10.11 Burning with Variable Contrast Papers;
10.12 Advanced Darkroom Techniques;
10.13 Inspection, Evaluation, and the Myth of “Dry-Down”;
10.14 Potassium Ferricyanide Reducing (Bleaching);
10.15 Final Fixing of the Image;
10.16 Local vs. Overall Contrast Control;
10.17 Scale;
10.18 Selenium Toning Prints;
10.19 Other Toners;
10.20 Chemical Coloration;
10.21 Full Archival Processing of Prints;
10.22 Toning, Intensifying, and Reducing Negatives;
10.23 Cold, Neutral, and Warm Tone Papers;
10.24 Review of Contrast Controls;
10.25 Color Printing;
10.26 Color Contrast Reduction Masking;
10.27 Masking to Alter Color Intensities;
10.28 The Shadow Mask;
10.29 Spotting and Rebalancing Color for Color Prints;
10.30 Washing and Drying Color Prints;
10.31 Achieving Proper Color Balance;
Chapter 11: The Digital Zone System;
11.1 Basics of Digital Capture;
11.2 The Sensor’s Useful Brightness Range;
11.3 The Histogram—The Heart of the Digital Zone System;
11.4 The RAW Converter—Processing the RAW Capture;
11.5 High Dynamic Range Images—The Extended Zone System for Digital Photography;
11.6 Practical Considerations, Cautions, and Recommendations;
Chapter 12: Presentation;
12.1 Dry Mounting Prints;
12.2 Making Positioning Guides for Print Placement;
12.3 Spotting, Etching, and Correction of Defects;
12.4 Print Finishing;
Chapter 13: Exploding Photographic Myths;
13.1 Myth #1: The zone system gives you a negative that yields a straight print of exactly what you saw in the field, with no burning or dodging required;
13.2 Myth #2: There are 10 zones in the zone system;
13.3 Myth #3: Shadows should be placed at Zone 3 in the zone system;
13.4 Myth #4: Negative densities should be within a fixed density range, and negatives that don’t fit into that range are useless;
13.5 Myth #5: All contact proof prints of negatives should be made at the same exposure;
13.6 Myth #6: The best landscape photographs are made within an hour and a half of sunrise or sunset;
13.7 Myth #7: All black-and-white photographs need a good black, a good white, and tones in between;
13.8 Myth #8: Two More Persistent Myths;
Chapter 14: Photographic Techniques and Artistic Integrity;
14.1 Art, Communication, and Personal Integrity;
Chapter 15: Photographic Realism, Abstraction, and Art;
15.1 Photography as Fine Art;
15.2 Photography and Painting—Their Mutual Influence;
15.3 The Strength of Abstraction;
15.4 Inwardly and Outwardly Directed Questions;
15.5 The Power of Photography;
Chapter 16: Thoughts on Creativity;
16.1 Obstacles to Creativity;
16.2 Prerequisites for Creativity;
16.3 Producing Something New—Its Real Importance;
16.4 Be Prepared for Imagination, Innovation, and Creativity;
Chapter 17: Approaching Creativity Intuitively;
17.1 Intuition in Science;
17.2 Avoiding Intuition;
17.3 Understanding and Misunderstanding Intuition;
17.4 Examples of the Intuitive Approach;
17.5 Applying Intuition to Your Photography;
17.6 Conclusion;
Chapter 18: Toward A Personal Philosophy;
18.1 Flexibility;
18.2 Visual Arts;
18.3 Nonvisual Arts;
18.4 Expanding and Defining Your Interests;
18.5 Limitations of Photography;
18.6 Developing a Personal Style;
18.7 Self-Critique, Interaction, and Study;
Testing Materials and Equipment for Traditional Photography;
ASA (ISO) Test;
Contrast Development Test;
Lens Sharpness and Coverage Test;
Bellows Test;
Safelight Test;
Enlarger Light Uniformity Test;
Enlarger Lens Sharpness Test;
Enlarger Light Sources
· · · · · · (收起)