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Fourth Edition

A Short Course in

HY AN INTRODUCT I 。 N TO P H 。 TOGRAPHIC TECHNIQUE

币2比 笔 霞a e A W 忽

3 ι E

Barbara London Jim Stone

＠民arson

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Acknowledgmen臼 of th ird-par ty content appear on the appropriate page in the text o r on page 228, which const,ru四s an extension of this copyright page.

Frontispiece: Edward Bateman, Landscape Photographer, 2012 Opposite page: Teun Hocks, Untitled, 2000. Courtesy of the ar tist a nd Torch Gallery, Amsterdam

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Library of Congress Ca时oging-in-Publication Data

London, Barbara I Stone, J,m A short course in photography. D igital an introduction to photograph ic technique / Bar bara London, Jim Stone Fourth edition. I Upper Saddle River, New J ersey Pearson Educa口on, Inc., (2018) LCCN 2017047540 I ISBN 9780134525815 I ISBN 0134525817 LCSH: Photography…Digital techniques…Textbooks. I Image processing…Digital techniques…T四tbooks LCCTR267 .L647 20 18 I DOC 771－位23

Copyright © 2019, 20 15, 2012 by Pearson Education, Inc. All Rights Reserved. Printed in the United States of America Th,s publication is protected by copyright, and permission should be obtained from the publisher prio r to any proh ib ited repro- duction, storage in a retrieval system, or 盯·ansmission in any form o r by any me.ans, electronic, mechanical, photocopying, recording, or otherwise For info rmation regarding permi臼ions, request fo rms and the appropriate contac臼within the Pe.arson Education G lobal Rights & Permissions Deparε盯Y、ent, p lease v’s’E飞叭ww.pe缸soned com/per盯T、 s阳，sfφ

1 18

＠民梢。n

Student Edi口on ISBN 10: 0-13-452581-7 ISBN 13: 978-0 -13-452581-5

A La Carte Ed，口on ISBN 10: 0-13-452603-1 ISBN 13: 978-0 -13-452603-4

Instructor's Review Copy. ISBN 10: 0-13-452601-5 ISBN 13: 978-0 -13-452601-0

曰 』~

Contents

iv CONT ENT S

Preface vii

I Camerα1111 2 Ge忧ing Star晦d Getting y。ur camera read y 4 • Focusing an d se忧ing t he exposure 6 • Exposure readout 7 • Exp。sing images 8 • What will you ph悦。graph? 9 • Types 。f Ca meras Film cameras 10 • Digital cameras 1 2 • Basic Camera c。ntrols 14 • M。re ab。utCamera c。ntrols 1 6 • Inside a d igital single-lens re自由came甩 17 • Shutter Speed A俄cts light a nd m。tion 18 • Use it creatively 20 • Apertt』re Affects light a nd de pt h 。f fi eld 22 • Use it creat ively 24 • Sh utter Speed and Aperture Blur vs. depth o f field 26 • Getting the Most from y。ur Camera and l ens 28

2 L ens 9 30 Lens Focal Length The basic di民rence between lenses 32 • Normal F民d Lengtl、 The m。st like hu man visi。n 34 • Long Focal Lengtl、 Telephoto lenses 36 • Short Focal Len萨 Wide-angle lenses 38 • Zoom, Maao, and Fisheye Lens国 40 • Focus and Depth of Field 42 • Automatic F。cus 43 • Dep由 of Field Controll ing sharpness in a ph。tograph 44 • M。陀 about Depth 。f Field H。wto preview it 46 • Perspective H。wa photograph sh。WS depth 48 • Lens Attachments Cl。se-ups and fi l回归 50

3 Li~ht αnd E x posure I 52 Sensors and Pixels 54 • Pixels and Resoluti。n 55 • Col。r in Phot。罗叩hy c。lor Systems 56 • Col。r Cha racteristics 57 • White Balan国 58 • Using Hist。grams 60 • Exp。sure Meters W ha t different types do 62 • How to cal- cula te and a句ust a n exposure manua lly 64 • Overrid ing an Automatic Exp。－ sure Camera 66 • Making an Exp。sure of an Average Scene 68 • Exp。sing Scenes that are Lighter or Darker than Average 70 • Backlighting 72 • Exposing Scenes with High Contrast 73 • H DR Hig h dyna m ic ra nge 74

4 Di互itαl Workplαce Bαsics ( 76 Equipment and Materials You’ II N时 78 • Pictures Are Files 80 • 时时 Col。r Modes, gam uts, spaces, and profil es 82 • Channels 83 • Cal ib阻ting for accu阻cy 84 • Working wi出 Camera Raw 85 • Stay organized Setting up a Worl

5 Im础e Editin~噩 90 Getting Started Edit ing an Image 92 • Adju叫ng an Image Lev由 94 • Curves 96 • Adj usting Part of an Image Sel ecti。ns 98 • More Techniques Layers 100 • Ret。uch i ng 1 02 • Sharpening 1 04 • C。mpositing 106 • c。lor into black and white 108 • Filters 1 09 • An Edit ing Workfl。w 1 10 • Ethics and Dig ital Imaging 1 12

6 Prin tin~ a n d Display 誓114 Prin国rs and Drivers 11 6 • Pape阳 and Inks 117 • Soft P roofing 118 • P四oramic Phot。，graphs 119 • Presenting Your Work Fram ing 120 • Matting a print 121 • M。unting a P rint Equipment a nd materials y。u’II need 122 • Dry Mou nting a Print Step by Step 1 24 • Bleed M。untingρvermatting 1 26

7οr~anizin~ αnd Storin~ 9 128 Image Storage 130 • Using Met adata 1 31 • S。玩ware fo r Organ izing 1 32 • Archivi ng Images and Prints 133

8 U sin互 Li~h t t; 134 Q ualit ies of Light From d irect to d i仔used 136 • Existing Light Use what’s available 1 38 • The Main Light The strongest s。urce of light 140 • Fill Light To lighten shadows 142 • Simple p。rtrait Lighting 144 • UsingArti行cial Light Ph。t。lamp 。r flash 146 • M。re ab。ut Flash How E。 p。sition it 148 • Using Flash 1 SO

9 Seein~ Lik e αCαmerα • 152 What ’s in the Picture T he edges 。r frame 154 • The background 1 56 • Focus Which parts are sharp 158 • Time and Moti。n in a Photograp h 1 60 • Depth in a Pict ure Three dimensio ns bee。me two 162 • Cha。s into order 163 • Photographing for Meaning 164 • P。rtraits Informal : Find ing them 166 • F。rmal : Setting them up 168 • Ph。tographing the Landscape 1 70 • Photographing the Citysca pe 1 72 • Ph。tographing Inside 1 74 • Assembled to be Ph。t。graphed 176 • Resp。nding t。 Ph。t。，graphs 178

10 History of Photo互raphy ffl 180 Daguerre。type “Design s 。n si lver bright” 182 • Cal。type P1ctu res 。n paper 184 • C。llod ion Wet - Plate Sharp and reproducible 185 • Gelatin Emulsi。n/ Roll- Film Base Ph。tography for every。ne 186 • C。lor Ph。tography 1 87 • Early p。rtraits 188 • Early T ravel Ph。tography 190 • Early Images of War 191 • Time and M。ti。n in Ea rly Ph。tographs 1 92 • The Phot。graph as Docu me nt 1 93 • Ph。t。graphy and Social Change 194 • Pho叫。urnalism 196 • Phot。graphy as Art in t he 1 9由 Century 200 • Pictorial Ph。t。graphy and the Ph。t。－Secessi。n 201 • The Direct Image in Art 202 • T he Quest f。r a New Vision 203 • Ph。tography as Art in the 1950s an d 1960s 204 • Ph。t。graphy as Art in the 1 970s and 1980s 206 • Color Phot。graphy Arrives- Again 208 • D ig ita l Ph。tography Predecessors 21 0 • Bee。mes mainstream 212

H。w to l ear n M。re 214 • Troublesh。。ting 2 1 5 • P hotograp hers' Web S ites 220 • Glossary 222 • Bibliograp hy 226 • Ph。to Credits 228 • Index 230

CONTEN T S v

Penelope Umbrico. Sunset Portraits from 8,462,359 Flickr Sunsets on 12/ 21/ 10, 2010. Photography 四” be your subjec皂剧 well as your medium. Umbrico began searching the Web in 2006for阶e most-often-photographed sut沪ct, find- ing it to be sunsets (541,795 pictures posted on the popular photo-sharing site Flickr at that timψ

Umbrico had 4 x 6-inch machine prints made from an "appropriated” selection (th且2010 piece includ，出on如those sun扭曲时阶 si/houet胆d figures), and exhibits them in grid form, about 8 feet tall. For a 2011 gallery sh仙台 she showed 1,058 4 × 6 -inch sunset portrai阳， by then the to臼I number of sunsets on Flickr had grown to 9,623,557.

As you make your own photographι it ι wort, askingyourself questions. What are the w吵得you can impro时阶e pho归•graphsyou are now making> If others have alrea命photographedyour subject, how will your pictures bed伊rent? If you magnifj, 伪e meaningyour images have for you, will you also increase the impact they have on others? Read on.

l川…叫川t photog吵nd would lik e to learn, or if you want to make better p ictures than the ones you are maki n g now, A Short Cot4rse in Photograp抄

D怨“I will h e lp you. T his book is modeled after the widely used fi lm-and-dark room edi tion of A Short Co1'r咒 in Photograp妙， but presents the medium in its cu rrent, e lectronic form.

We present her毡，mdep巾， the basic E旺hn iques of photography:

1 H。w to get a good四posure 1 How to a句ust the focus , s hutt er speed, and aperture (the

size of the lens openin g) to produ ce the results you want 1 Howton-血1sferyOL町 pictures to a computer血1dmal也sure they缸e organized and safe fro m loss

1 How to use com p uter software to ma!忧your ph。tographs look t h eir best

Alm ost all of today’s cameras i ncorp。rate automa tic fea tu res, b ut t hat doesn't mean t hat t h ey a u tomatically produ ce t he re- s ults you want. Th is edition of A Sh。时 Courτe in Photograp抄 de­ votes special atten tion to:

1 Au tomatic focus a n d a u tomatic exposu re-what they do and, part icularly, h ow to override them when it is better to adj us t the camera man ually

Some of t h e book’s h ighligh ts inclu de:

1 Getting Started If y口U缸e brand new to photography, this section w让l walk you through 出e first s teps of selecting and ins talling a mem01yαrd, settin g the camera's menu options, focus ing sh盯ply, adjusting the四posL町e, and making your 自rst piαures. S四pag臼4-9.

1 Projects. T h ese projects are designed to help develop your tech n ical and expressive skills. See page 136 or 155.

1 Making Bett er Prints. This includes informatio n abou t how to adjust your p h otographs with image咱diting sofn，.咀re (pages 92- 11 1), select ink an d paper for th e m (page 1 17), p rint them (page 1 18), and由en display them in a mat and frame (pages 120- 12乃．

1 Types oflenses (pages 31-4 1), cameras (pages 10- 13), ligh ting (pages 13 4- 15 1), and software for 。rganizing and arch ivi n g (pages 13 1- 133).

1 History of Photography. The medium has been used for docu men tatio n, persuasio n, and person al expressi。n sin ce its 19由－centu1y inventio n. See pag，臼 180-213.

Photography is a su均ective undertaking. A Sha时 Course in Photograp抄emphasizes your choices in p ictu re m aking:

1 How to look a t a scen e in th e way a camera can record it

1 How to select th e shutter speed, point of view, and 。ther

Pr巳fαce

elemen ts that can ma!但the differen ce between an ordin血y snapshot a n d m四citing p h otograph

1 Ch apter 9, Se凹ng Like a Camera, explores your ch。tees in selecting a n d adjusti吨the image and presents ways to p h otograph su同ects s u ch as people a n d landscapes.

1 An updated Chapter 10, T h e H istory of Photograph y, traces t h e technical, social, and artistic development of the mediu m since its incepti。n.

New in this fourth e d ition are:

1 The latest o n camera techno logy an d software, integratio n of workfl ow applications-includin g Capture On e Pro-at every step, and expanded coverage of a Camera Raw workfl ow.

1 Newph。tographs by g陀at con temporaiy artists, including Edward Bateman, Ian van Coller, S副11 Come1飞John Divola, Filip D ujardin, Adam Ekber忘Kate Joyce, David Leven ti, Marti na Lopez, Ch ristoph Oberschneider, Todd Owyoun g, Christia11 Richter, and Geoffrey Robins。n

1 The 1970s四plosion of color photography is四pl血nedin the Histo1yofPhocography, Chapter 10.

1 Cu rrent produce and technical information throu gh o u t , with updated demonstratio n and example ph。tographs.

This b。ok is designed to make learn in g photograph y as easy 出 possible:

1 Every two fac ing pages completes a single toptc 1 Detailed s叩句－sαp instructi。ns clari今each stage 。f

extended procedu res 1 Boldfaced h eadings ma!也subtopics easy to spot 1 Numerous p h o tographs and drawings illustrate each topic

Acknowledgmen臼

Many people gave generously of th e ir time and effort in the pro- duction 。f th is book. Feedback from ins tructors h elps con firm the d irection of th e book and determ ine the new elements in each

edition. The a u thors are grateful to all th。se wh o reviewed pre- vious editions and forwarded comments. At Pearson Educatio n, Roth Wilkof』ky provided editorial su pport. Annemarie Fr剖1klin, Steve Martel, a11d the team at SPi Global s u pervised th e produc- tion of the book from manuscrip t to prir treme ly few, of c。urse) errors. Atτ1ber, Jade, and Skye Ston e gave their dad 口me to fin ish ct、e bo。k Ify。u have suggesti口ns, pl回se sen d th em to Photograph y Editor, Pearson Educatio n, 221 Riv臼 Street, Hoboken，町07030. T h ey will be sincerely welcomed.

Jim Stone Barbara London

PREFACE vii

ANN I E LE’80V，τz

Yo Yo Ma, 1998 Framing is a b,uic control you 阳时

in making a p加tograph. The two photofaphs on 曲is page and opposi胆are about music. Would you

center your su句ect or use a corner? Do you want action or ，它pose? Black and white or color? Ho巾ontal,

vertical, or勾uare? Candid or po且d? Viewed from above, bel，酬，， or stra.以s on? More about framing

。” pages 154- 155.

Ge时ng Started ..... ...... ...... 4 Ge，时ingyo11r cam旷are叫y ••• •••••• 4 Fowsing and setting the exposure • ••• 6 Expomre reado11t •••• •••••• •••••• 7

Exposi，您images ••••• •••••• •••••• 8 What will yo11 photograph? • •• •••••• 9

T ypes of Cameras ... ...... ..... 10 Film cam旷-as ••••••• •••••• ••••• 10 D忽ital cameras ••••• •••••• ••••• 12

Basic Camera Controls .... ..... 14

More about Camera Con町ols ... 16 Inside ad也ital single-lens

F吃卢四 cam旷·a •••••• •••••• •••• • 17

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Ge时ngtheMost 命。m Your Camer a and Lens . ...... ...... 28

In this chapter yo,i'Ll leαrn ...

• the basic c。ntrols of your camera and what they d。 • the categones of cameras, and their charactenstics,

so you can ch。。se the right 。ne for your purposes. • the first S四ps of ♀etting a came用 ready, focusing

an image, and adjusting the camera飞坦白，ngs.

Project: EXPOSE SOME PICTURES

YOU Will NEED Camera. We suggest one with a句ustable c。ntrols Outpu t. To evaluate y。ur work, it’ s g。。d to see exactly what y。u did y。ur digita l p ictures can be viewed 。n the camera ' s small mon itor but they a re easier to evaluate on a computer screen . Pages 8 and 88 tell y。u h。w to d。wnload photographs from your camera t。 a computer Once they a re on a c。mputer, y。ur unedi四d ph。tographs can a lso be displayed large with a digital pr。，ject。r or on a wide-screen television s。 you can easi ly see small deta ils and imagine wh且 they might look like printed at a large s ize. If you shoot 3Smn、 fi lm you can take it to the photo lab in a drug store 。r supermarket cha in fo r 。vern ight pr。cessing and printing

Pencil a nd ”。tepad 。r smartph。”e to keep tra ck 。f what y。” d。. Optional, but highly rec- omme

PROCEDURE See pages 4-9 if y。u a re j ust beginning to photograph. Those pages walk y。u thr。ugh the 自陌t steps of setting up your camera, focus ing an image sharply, adjusting the camera settings s。your ph。t。g日phs won' t be too light 。r too dark, and making y。ur first pictures. See pages 10-13 fo r more about the kinds 。f cameras

Have some variety in the scenes when you sh。。t For example, photograph su同ects near and far , indoors and 。utside, in the shade and in the sun. Ph。tograph different types 。f subjects, such as a poπrait, a landscape, and an action scene Page 9 gives some suggestions

HOW DID YOU DO? Which pictures d id y。u like best? Why? Were s。me d i民rent from what you expected to get? Did some 。f your came日’s operati。ns cause c。nfusion? It helps to read y。ur instructi。n b。。k a ll the way through or ε。 ask 币or help from some。ne fam iliar with your camera

Todd O吃young. Drummer Quest/oνe pe，作rmingwith the Roots, Fox 7百eater, St. Louis, Missouri, 2008.

Cαmerα

All……伽i咿…m a n e-formi口内 light-sensitive surface (film or a digital sensor) to record the ligh t chat

forms a n image; a light-tigh t contain er (the camera’s body) to keep other lψE。ut; and w。 important con trols to a句ust the am。Unt 。fp肌ire

ma!《i口g lig ht (theεxposure) d、at reaches the light-sensi tive surf汪ce. T h is chapter describes those light controls and how you can ta!但charge

of them, instead of letting them control you. Almost all current cameras are

equipped with automatic 四posure and automatic focus, a n d many h ave

automatic flash. If you are interested in making better p ictures, however, you s h ould know how y。ur camera m冰es its decisions, even if the automatic fea-

tures can' t be turned off. If they can, you will want to override your camera’s automatic decisions from time to time a nd m汰e your 。叭响 choices.

’ You may want to blur the motion of a moving su均已ct o r freeze its motion sharply. Pages 18-19 sho即how.

• You may want a scene sharp from foreground to background or the

foregrou n d sharp but the backgroun d o u t of focus. See pages 44-45. • Y。u may want to override your camera’s automatic focus mechanism so

that only a certain part of a scene is s h arp. Page 43 tells when and how

to do so.

• You may de口ide to s ilhouette a subject against a b rig h t background，。g

perh aps you want to make s ure that you don’t end up with a s ilhouette. See page 72.

Most profi自sional phot o g r a phe rs use cam e ras wit h autom atic featu res,

but they know h。w their cameras operate manually as well as automatically so

they can ch。。se which is best fo r a particular situation. You will wane to do

the same because the more you know about how your camera operates, the

better you w ill be able to get the results you want.

3

Getting Stαγted GETTING YOUR CAMERA READY

A c amera’s m a in “ n ctio n s are t o help you v i e w the s ce n e so you can select what you want t o

p h otograph, focus t o get the scene s h a rp w h ere

you want i t to be, a nd exp o se t he picture so it is

n o t too l ig h t or t oo dark.

This illu stration div ides a came ra in half so it

s h ows p arts fo r b oth fil m a nd d ig ital cap ture. For

more abo ut s p ec i fic ca m eras, see p ages 10-13.

The lens mov田 ro.. 帽，d and back to bring 。同ects at d，陆rent dis

The ape

C hoose a Memory Card

The shu忧垒，。pens and d。S白白l imi t the length 。ftime that light strikes 由e I唱ht-sensi t

The sensor (in a digotal 日mera) converts 由e light from the lens ,nto electncal s,gnals that are 四川 回由emem。，ycard

The memo叩card (in a digotal cam肝·a) stores ,mages un til they can be printed 。川rans舱，red

to a comp皿er or 。the, storage d阳ce

Select a n ISO More about 田mero controls on pages 14-2 7.

CF ( C。mpact Flash)

SD (Se

睡 ．