Photography: Capture to Presentation, 2nd Edition Page 4 (4 of 672)

4
Section I THE BASICS
Table of Contents
Chapter
1
From Pitch to Pixels . . . . .
13
Photography Is Everywhere . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Development of Photography . . . . . . . . . . . . . . . . . . . . . . . . . . 20
The Future of Photography. . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Chapter
2
The Camera System . . . . .
41
Viewing/Focusing System . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Light Control System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Image Receiver System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Camera Varieties. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Chapter
3
Lenses . . . . .
67
How a Lens Works. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Camera Lens Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Chapter
4
Light and Exposure . . . . .
85
Basic Light Theory. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Controlling Light with Filters . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Controlling Exposure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
Measuring Light . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
The Zone System. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
Chapter
5
Image Capture Media . . . . .
121
Digital vs. Film Image Capture . . . . . . . . . . . . . . . . . . . . . . . . . 122
The Digital Imaging Process. . . . . . . . . . . . . . . . . . . . . . . . . . . 122
Traditional (Film) Image Capture . . . . . . . . . . . . . . . . . . . . . . . . 132
Film Types, Forms, and Sizes . . . . . . . . . . . . . . . . . . . . . . . . . . 140

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Extracted Text (may have errors)

4
Section I THE BASICS
Table of Contents
Chapter
1
From Pitch to Pixels . . . . .
13
Photography Is Everywhere . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Development of Photography . . . . . . . . . . . . . . . . . . . . . . . . . . 20
The Future of Photography. . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Chapter
2
The Camera System . . . . .
41
Viewing/Focusing System . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Light Control System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Image Receiver System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Camera Varieties. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Chapter
3
Lenses . . . . .
67
How a Lens Works. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Camera Lens Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Chapter
4
Light and Exposure . . . . .
85
Basic Light Theory. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Controlling Light with Filters . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Controlling Exposure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
Measuring Light . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
The Zone System. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
Chapter
5
Image Capture Media . . . . .
121
Digital vs. Film Image Capture . . . . . . . . . . . . . . . . . . . . . . . . . 122
The Digital Imaging Process. . . . . . . . . . . . . . . . . . . . . . . . . . . 122
Traditional (Film) Image Capture . . . . . . . . . . . . . . . . . . . . . . . . 132
Film Types, Forms, and Sizes . . . . . . . . . . . . . . . . . . . . . . . . . . 140

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5
Section II SHOOTING
Chapter
6
Camera Handling, Care, and Support . . . . .
153
Learning About Your Camera . . . . . . . . . . . . . . . . . . . . . . . . . . 154
Physical Care of Your Camera . . . . . . . . . . . . . . . . . . . . . . . . . . 164
Camera Carrying Methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
Camera Support Methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
Chapter
7
Making a Picture . . . . .
187
Seeing the Picture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189
Composition Considerations . . . . . . . . . . . . . . . . . . . . . . . . . . . 192
Using Visual Effects While Shooting. . . . . . . . . . . . . . . . . . . . . . 205
Chapter
8
Making Exposure Decisions . . . . .
215
Proper Exposure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216
Determining Exposure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218
Correcting Exposure Problems . . . . . . . . . . . . . . . . . . . . . . . . . 220
Exposure Alternatives. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222
Effect of ISO Settings on Exposure . . . . . . . . . . . . . . . . . . . . . . . 228
Capturing the Light . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228
Types of Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229
Chapter
9
Action and Event Photography . . . . .
243
Types of Action and Event Photography . . . . . . . . . . . . . . . . . . . . 243
Focus Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249
Sharp Focus vs. Motion Blur . . . . . . . . . . . . . . . . . . . . . . . . . . . 250
Photojournalism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252
Working with Flash . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265
Chapter
10
Outdoor Photography . . . . .
275
Landscape Photography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276
Water Photography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292
Animal Photography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296
Close-Up Photography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303
Chapter
11
Travel Photography . . . . .
313
Traveling with a Camera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313
What Will You Shoot?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317
When Will You Shoot? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323

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Extracted Text (may have errors)

5
Section II SHOOTING
Chapter
6
Camera Handling, Care, and Support . . . . .
153
Learning About Your Camera . . . . . . . . . . . . . . . . . . . . . . . . . . 154
Physical Care of Your Camera . . . . . . . . . . . . . . . . . . . . . . . . . . 164
Camera Carrying Methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
Camera Support Methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
Chapter
7
Making a Picture . . . . .
187
Seeing the Picture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189
Composition Considerations . . . . . . . . . . . . . . . . . . . . . . . . . . . 192
Using Visual Effects While Shooting. . . . . . . . . . . . . . . . . . . . . . 205
Chapter
8
Making Exposure Decisions . . . . .
215
Proper Exposure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216
Determining Exposure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218
Correcting Exposure Problems . . . . . . . . . . . . . . . . . . . . . . . . . 220
Exposure Alternatives. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222
Effect of ISO Settings on Exposure . . . . . . . . . . . . . . . . . . . . . . . 228
Capturing the Light . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228
Types of Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229
Chapter
9
Action and Event Photography . . . . .
243
Types of Action and Event Photography . . . . . . . . . . . . . . . . . . . . 243
Focus Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249
Sharp Focus vs. Motion Blur . . . . . . . . . . . . . . . . . . . . . . . . . . . 250
Photojournalism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252
Working with Flash . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265
Chapter
10
Outdoor Photography . . . . .
275
Landscape Photography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276
Water Photography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292
Animal Photography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296
Close-Up Photography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303
Chapter
11
Travel Photography . . . . .
313
Traveling with a Camera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313
What Will You Shoot?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317
When Will You Shoot? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323

3
Originally published as Photo & Digital Imaging in 2002, the second edition of this textbook has
been renamed as Photography—Capture to Presentation to refl ect the fact that digital imaging has been
accepted as the standard method of photography. The content of the book has been extensively revised
to meet the needs of both fi lm and digital equipment users. The textbook has been thoroughly updated
and reorganized, but still is designed for use as a fi rst course covering basic photographic principles
and the application of those principles to both digital and fi lm photography.
The text is divided into four sections: The Basics, Shooting, Digital Postprocessing, and Traditional
Processing. The Basics are just that: fi ve chapters that will provide you with a knowledge base that
includes development of the photographic medium and the essential tools of the photographer:
cameras, lenses, light, and image capture media (fi lm and digital sensors). While these chapters present
a fair amount of theory, practical “hands-on” elements (such as proper use of the handheld light meter)
are included wherever they are appropriate.
Chapters 6–13 are highly practical in nature, presenting many specifi c techniques in camera-
handling, image composition, exposure determination, and particular photographic situations. New
in this edition are chapters devoted to action and event photography, outdoor photography, travel
photography, and portrait and studio photography. The chapter on use of large-format cameras
has been retained from the previous edition. The content of these chapters will allow the beginning
photographer to build on and expand the basic skills introduced earlier in the text. These chapters
introduce a variety of specialized or advanced techniques for use in both the fi eld and the studio.
The Digital Postprocessing section, comprised of Chapters 14-17, explores the areas of fi lm-to-digital
fi le conversion (via scanning), electronic image input, image processing, and the devices and methods
used for digital-image output and presentation. The concept of the “digital darkroom” for processing
and enhancing (or manipulating) images is covered in chapters devoted to basic and advanced
techniques. Described are the many types of image manipulation and combination that can be carried
out to realize the photographer’s artistic vision.
The fi nal section of the text, Chapters 18-21, provides a thorough exploration of fi lm development,
darkroom setup and operation, and the techniques of both basic and advanced printmaking. Since basic
darkroom skills are usually easier to acquire and master when working with monochrome materials,
the emphasis in these chapters is on black and white. In most programs, color fi lm processing and
printing is an advanced course, so it is touched on only briefl y in this text.
Photography—Capture to Presentation is designed to provide the beginning photographer with a
blend of theory and practice that builds a solid foundation of photographic skills. While the continuing
development of digital cameras and related equipment and software will give photographers ever-
better and more convenient tools to use, the basic skills of photography will always be essential to the
effective use of those tools. The photographer’s need to produce a meaningful photograph that is well
composed, properly lighted, and correctly exposed is constant—whether the capture device uses a glass
plate covered with wet collodion, fi lm with a highly sensitive emulsion on a fl exible plastic base, or an
array of millions of tiny electronic sensors.
Jack Klasey
Introduction

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Page 11Section I The Basics click to expand contents

Page 151Section II Shooting click to expand contents

Page 375Section III Digital Postprocessing click to expand contents

Page 487Section IV Traditional Processing click to expand contents

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