A – B – C – D – E – F – G – H – I – J – K – L – M – N – O – P – Q – R – S – T – U – V – W – XYZ
Contents
List of figures
Preface
Acknowledgments
Online resources
Part 1 Vision
Theory 1: Seeing. Perceiving, and Mediating Vision
Photography and the anatomy of sight
Conventions of seeing
Mediated vision: Photography and optical devices
The viewer as distant or enmeshed observer: The camera obscura The natural eye: Direct experience and photography
Nineteenth-century viewing devices and their optical legacy
The camera as mechanical eye
New views: Experiments in space and time
Practice 1: Vision: Tools, Materials, and Processes
Exploring human vision
The camera as viewer
The camera as recorder
Part 2 Light and Shadow
Theory 2: Light and Shadow
Introduction
The void
Writing with light
“Light is radiation”
Qualities of light
The symbolism of light and dark
Modern light and shadow
Reflection, shadow, and the self
Projected light
Shadow plays
Practice 2: Light and Shadow: Tools, Materials, and Processes
The source of light
The path of light
Light’s terminal point
Part 3: REPRODUCTIVE PROCESSES
Theory 3: Copying, Capturing, and Reproducing
Possessing the subject: The photographic copy
Mass media and reproduction
Mass reproduction and artworks
Reproduction and ethics
Reenacting as a photographic act
Practice 3: Reproductive Processes: Tools, Materials, and Processes
Low-tech positives and negatives
Rubbings
Infinite ways to generate images
Recording images: Film and digital sensors
Digital sensors
Filters
Processing images: Developing film
Small tank film processing
Black and white film processing
Evaluating negatives
Printing images: Traditional processes
Black and white photographic paper
Black and white print processing
The Photogram
Printing a context sheet in the darkroom
Non-silver and historic processes
Screen printing
Processing digital images: Digital workflow
Adobe Bridge
Adobe Lightroom
Pr•inting images: Digital printing
Color management
Digital printing: Printing black and white on a color printer
The digital contact sheet
Other printing options
Reproducing photographs with other materials
Part 4: EDITING, PRESENTATION, AND EVALUATION
THEORY 4a: Series and Sequence
Introduction
Pictures at an exhibition
Typology
The body in the archive
Images in sequence
The passing of time
Documenting artistic process
Photo books
Slide shows
Motion
Sculpting with time
THEORY 4b: Text and Image
Introduction
Is a picture worth a thousand words?
Telling a story: The documentary tradition
Selling the story: Picture magazines and the photo essay
Personal stories
Questioning the story
Instructions
peech
Pictures of words: A forest of signs
Word as image
Photomontage
Practice 4: Editing, Presentation, and Evaluation: Tools, Materials, and Processes
Editing: Resizing digital images
Digital tools: Adobe Photoshop Tools panel
Contrast and tone
Adjusting image contrast in the darkroom
Digital tonal adjustments
Levels and curves
Adjusting brightness locally: Burning and dodging
Color
Digital color casts
Digital color corrections
Color conversions: Toning and handcoloring print effects
Print retouching techniques
Digital photographic retouching
Photo-based collage
Culture jamming and collage
Content and form
Image appropriation and copyright concerns
Handmade collage
Digital collage
Using text with photographs
Handmade and alternative typesetting
Creating text in the darkroom
Integrating text and images digitally
Special techniques for working digitally with type and images
Presentation
Mounting, matting, and framing
Constructing a light box
Photography on the internet
Animating photographs
Evaluation
Glossary
Index
Index A-C
A
Abbott, Berenice 205, 365, 373-4, 373
Abramovic, Marina 210
abstraction 36-8, 186, 339, 344
accent lighting 139
accordion books 449
acetate filters 159
acetone transfers 221, 224
acrylic lifts 221, 223, 228-9
active theory of vision 4
active vision and eye movements 6-9, 47
acutance see sharpness (acutance)
Adams, Ansel 10,124, 125, 179
Adams, Eddie 208-9, 208
Adamson, Robert 14, 15
Adbusters Media Foundation 379
additive primaries 240, 242, 404
adhesives for collage 428-9
adjustment layers 304, 306; and collage 432, 437; and handcoloring effects 415-16; Levels and Curves 395-400, 402-3, 407-9; and retouching 418
Adobe Bridge 89, 93; contact sheet 306-8; naming and renaming files 287; panels and panes 286; processing images 284, 285-9, 293; workspace interfaces 286-7
Adobe Camera Raw 93, 285, 289, 295-6; White Balance tool 243-4
Adobe Lightroom: catalogs and collections 89, 290-1; Library module 289; panels and panes 289-91; processing images 284-5,289-93
Adobe Photoshop:
Batch Processing 466, 467-8; and bit depth 393; Blur functions 62-3, 99-100; collage techniques 430-8; col or conversion 41 0-12; color working space and color management 302-3; depth of field adjustment 97-100; film positives for screenprinting 280-1; flipbook creation 466-8; Full Screen Mode 406-7; image transfer techniques 225; Info panel 394-5, 406, 408; Layers panel 430-8; Lighting Effects 160-2; opening image files 289, 293; Photo Filter 243; rescaling and resampling images 382-4; retouching tools and techniques 417-23; Ruler Tool and image straightening 92-3; Save for Web files 456; selection tools 385-90; soft proofing 303-4; tools panel 384-90; type layers 431, 442; and zoom images 65; see a/so adjustment layers
Adobe RGB color space 237
advertising: and artworks 376, 378; “highway hypnosis” 47-8; and LIFE photo essays 359; and mass reproduction 185-6; and Pop Art 193-4; silhouettes 136; and visual communication 370
African-American photography 125-6, 363-4, 367-70
afterimages 33, 38
Agassiz, Louis 368
Agee, James 355, 356-7
agitation and processing 253, 266
Alberro, Alexander 365
Alexander, Darsie 339
Alhazen of Basra 28
Alloway, Lawrence 194
Alpern, Merry 41, 41
Alton, John 148
amber filters 241-2
ambient light 16
Amercican landscape photography 23-4,
25-6
Amerika, Mark 461
Amundson, Garth 61
anamorphic art 25
ancient world and linear perspective 17
Anders, William 45
angle of view and lenses 65-7, 271
animation and handheld devices 462-9
Antin, Eleanor 344-6, 345
Antoni, Janine 207
aperture 5, 94-7, 103; and depth of field 10, 95-7, 124; enlargers 269,273; settings 95-7, 104, 273
aperture control ring 82, 95
aperture plate in pinhole camera 79, 81
aperture priority mode 95, 153
appropriation 42, 43; ownership issues 376, 425-7; see also collage
aqueous humor 50
Arb us, Diane 11 7, 322
architecture: and human body 329; and light 116; projected images 129-30, 165; sequence photographs over time 335-6
archival inks and papers 300, 306
archives: archiving digital images 284-5; series of photographs 321-3, 327-9, 354-5, 364
Aristotle 28
armatures 132
Arnheim, Rudolph 119
Arslan, Wendy Shaw 446
artificial light 117, 123-6, 140, 142-6; see also flash; spotlights; tungsten light
artists’ books 332, 333, 338, 445-6
artists’ statements and critiques 4 72
art photography see fine art photography
artworks: Guerrilla Girls’ critique of art world 366-7; photographic series and evaluation 319-20; and reproduction 173-5, 190-5, 319,371-2; web-based artworks 455, 460-1; see also fine art photography
assemblages 335
astronomers and camera obscura 29
Atget, Eugene 42, 205, 324
Atkins, Anna (nee Children) 113
atomic bombs and ban on photographs
200-1
aura and uniqueness of artwork 172-3,
181
authenticity and reproduction 172-5, 194; and documentary tradition 364-71; interactive conceptual art 371-2; limited prints 178-9; Native Americans as photographic subject 201-2; reenactment and recreation 204-15; and war photography 211-14
Auto Colar Correction tool 406, 407-9
auto exposure bracketing 157
autofocus (AF) mode selection button 86
autofocus (AF) points 61
automatic cameras: light meters 153-4;
shutters 1 01, 102
automatic exposure lock (AE) 61 , 153-4
automatic film loading 83-4
automatic flash 143
automatic focus 60-1, 71, 85
automatic mode 88, 95, 101; exposure meters 153-4
avant-garde movements 10, 111; mass reproduction and advertising 186; mass reproduction and collage 190-3, 377; photography and visual arts 42-4; and photomontage 377; see also Cubism; Dada; Surrealism
B
background: and selection tools 385; as subject in photographs 10-11, 12
back lighting 117, 139
backlit button 157
backup copies of files 293
Bajakian, Kyle 205
Baird, John 456
Baldessari, John 15-16, 15, 16, 19, 19, 195
barn doors 143, 149
Barrett, Terry 469-71
Barsamian, Gregory 132, 132
Barthes, Roland 320, 346, 349, 350-1, 354-5, 373
Barth, Uta 10-11, 10-11, 12, 58
base lighting 117
base materials and liquid emulsion 276
Batchen, Geoffrey 28-9
Batch Processing 466, 467-8
battery installation: digital cameras 86; SLR cameras 83
Battle of Orgreave reenactment 214-15
Baudelaire, Charles 40
Baudrillard, Jean 321
Bauhaus 43, 44, 45, 186, 191
Bayer, Herbert 180, 186
Bazin, Andre 171
BBC: In Pictures webpage 189-90
Bearden, Romare 191,191
Beat Movement 334
Becher, Bernd and Hilla 323-4, 323, 326
Beck, Kim 451
Belin, Edouard 187
Bellion, Wendy 134
Bellmer, Hans 121-2, 121
bellows 42, 43
Benjamin, Walter 43, 172-3, 319
Berger, John 173
Bertillon, Alphonse 136, 327
Bicubic options and resampling 383
Bien, Sylvan 116
Billboard Liberation Front (BLF) 379-80, 380
billboards and artworks 378, 379, 380, 424
binaural recordings 31
Bini, Benedetta 128
bipolar cells in human eye 51
Biran, Franc;:ois-Pierre Maine de 33-4
bit depth: and file format 87, 236-7, 393; and scanned images 91; and tonal correction 392-3
Black and White adjustment layer 306, 411-12
black and white film 230; and color of light 238; development process 251-7; evaluation of negatives 258-61, 269, 270; filters 241; image production 231; printing process 263-7; retouching prints 417
black and white image conversion 41 0-12
black and white printing on color printer 306
blank negative problem 259-60
Bleckner, Ross 114
blindness and newly gained sight 13, 14
Block, Gay 363, 363
blogging 7 4, 188-9, 361
“blooming, buzzing confusion” 31
Bloom, John 110,111,130
Blossfeldt, Karl 324, 324, 326
blue filters 240, 241, 242
blue toners 409, 410
Bluetooth and cellphone images 77
Blurb.corn print on demand site 450-1
Blur Filters 422-3
blurred images: art photography 10-12, 58, 72; digital editing 62-3, 99-100, 422-3; and motion 103
Boccioni, Umberto 190
body in photographs 327-32, 367-70
Boltanski, Christian 132, 133, 195
bookbinding 445, 446-50
BookSmart software 450-1
books and presentation 338, 445-51
bottom lighting 139
bouncing light 141, 142, 149-50;
homemade bouncers 152
Bourke-White, Margaret 355-6, 356, 361
Bouts, Dirk 18, 18
bracketing 156-8
Brady, Matt 193
Brady, Mathew 183, 211, 212
brain and human vision 50-1
Brakhage, Stan 109
Brand, Bill 464
Brassai 329
Brewster, Sir David 33
Bridge see Adobe Bridge
brightness: burning-in and dodging 400-3; evaluation of digital images 395; and light source 145-6, 161-2
Broadcast News (film) 212
Broad Foundation 367
Brown, (Lancelot) “Capability” 23
Brush tools 418-19
Bryson, Bill 175
bubbles in emulsion coating 278
Bubley, Esther 121, 121
Buchman and Kahn 116
Buckius, Sarah 160, 434-8
Bucklow, Christopher 109
built-in flash units 85, 143
bureaucracy: text and images 349
Burke, Edmund 110
burning and burning-in technique (darkroom and digital) 274, 392, 400-3
Burn Tool 401-2
Bushaw, Gordan 204
Butler, Judith 330
Butor, Michel 327
buxey, k r 404
Byrne, David 341
Byrnes, James 199-200
C
C-41 color negative development process 244
Cabinet of Dr. Caligari, The (film) 129
cable release 101
Cage, John 111
Cahun, Claude (Lucy Schwob) 329-30, 329
Cai Guo-Qiang 114-15, 114
Caldwell, Erskine 355-6, 361
calibration of monitor 301-2
Callahan, Harry 36-7, 45
Calle, Sophie 210, 331, 332
calotype 3, 28, 113, 412
camera bodies and parts 78-94; cleaning 58, 78
camera formats 68-78
camera lid in pinhole camera 79
camera obscura 1, 28-33, 34, 137;
homemade construction 52-3
Camera Raw see Adobe Camera Raw
cameras: as recorders 68-104; as viewers 52-68; see a/so digital cameras; single lens reflex (SLR) cameras
Cameron, Julia Margaret 9
Caravaggio 119-20
Cardiff, Janet 29-30, 30-1, 210
Carey, Benedict 211
Carra, Carlo 190, 190
Carr, David 200
cartes-de-visite 182-3
Cartesian model of vision 33, 34
Cartier-Bresson, Henri 8, 71, 329
Casati, Roberto 124
Cassidy, Melanie Iii
Cassirer, Ernst 19
Castelli, Leo 367
Castleman, Shannon Lee I
cave paintings and linear perspective 17
CCD digital sensors 233, 236
CDs for digital image storage 293, 311
cellophane filters 159
cellphone cameras 42, 74-7, 189-90
censorship: war photography 199, 200
Cerf, Vint 340
Cezanne, Paul 35
charging digital camera batteries 86
Charlesworth, Sarah 195, 320-1, 320
chemicals for processing: black and white film 253-5; black and white prints 265-7; handling and storage 245-8, 266, 270
Chen Chieh-Jen 207, 207
Cheng, David 178
chiaroscuro 117, 121, 122
children and shadow 126-7
Christenberry, William 334, 335-6
Christianity: light and dark 119-20, 1
Christopher, Nicholas 120, 121
chromogenic film 230
Church, Frederick 23
Chwatsky, Ann 94
Cibachrome paper 113-14
cinema: advent of motion pictures 131: collage and fantasy 193; Sherman’s recreated images 207; symbolism of light and dark 118, 122, 129; see also film noir; motion pictures
cinematography 120, 139, 163
circles of confusion 59-60, 95, 96-7
civilian journalism 189-90
Civil War photography and reenactment 211-14
clamps 150,281
Claude Lorrain 22, 22
cleaning: camera and lens 58, 78; negatives 273, 275
clear negative problem 259-60
clipping and digital images 394, 396
clipping masks 434, 443, 444-5
Clone Stamp tool 402,418,419
cloning 177-8
Clothier, Ian Ii
CMOS digital sensors 233, 236
CNN: multiple screen options 47
Coborn, Alvin Langdon 109
cold-tone papers 264, 299
Cole, Thomas 23, 23
collaboration of writer and photographer 354,355-7
collage 6-9, 17; Blossfeldt’s working collages 324, 326; Dadaism 26, 42, 191; digital collage techniques 429-38; handmade techniques 427-9; Hackney 6-8, 9; and mass reproduction 190-3, 377; Neimanas 8-9; photo-based collage techniques 423-38; photomontage 191, 376-80; Siskind 38
Collins, James 19
Collins, Lisa 368
collodion, wet-plate 182, 278
Colombik, Roger Ii
color: color film and image production 231; conversion techniques 409-16; and digital images 243-4, 296-7; and digital sensors 236, 237; editing techniques 404-16; filters and gels 158-62, 166, 240-2; Impressionist painting 36; and light 147-8, 237-44, 404-5; perception and camera obscura 33; projected images 146; and reflected light 141, 142, 405; see also filters
color balance: digital images 405-6; film 230, 238, 239; and filters 241-2
color casts 148, 238-9; correction for digital images 239, 243-4, 404, 406-9; and digital editing 405-9; and digital printing 306; evaluation 405-6
color compensating filters 242
color conversion filters 241
color film 230; filters 241-2; image production 231; retouching prints 417
color management: digital printing 296-306
color profiles and digital printing 297, 302, 303-5
Color Range command 390
Color Sampler tool 395, 407-9
color shift and paper/ink permanence 300
color space 237, 302-3, 311, 456
color temperature 115, 147, 238, 243
color wheel 240, 404-5
color working space 302-3
combination prints 11 0
combing in digital images 394
commercial photographic printing 308-14; handcoloring service 412
commercial printing presses 310
communication: speech and image 372-3; visual communication and advertising 370
compact cameras see point-and-shoot cameras; small-format cameras
composite images: contact printing 271-2
composition 15; breaking conventions 15-16; early photographs 14-15
compression of files 87, 235; and file format 76, 236, 294, 456; and resolution 235,311
computers: and digital printing 261, 296-308; sending images 76-7, 298; see also Adobe programs
Conceptual Art 324, 338, 371-3
conceptual units: series as 323
condenser enlargers 263
cones 8, 9, 51
connotation 351
Conrad, Tony 111
Constructivism 186, 191
consumerism: mass reproduction and advertising 185-6; and Pop Art 193-5; see also advertising
contact paper lifts 228, 229
contact printing 10, 12, 221, 222, 228, 261-2, 269-72; composite images 271-2
contact sheets 218, 269-72; digital contact sheets 306-8
continuous light 142-3
continuous shooting option 86, 102
continuous tone images 234, 235, 298
contours and vision 11-12
contrast 116-17; digital editing 392-3, 436-7; editing for contrast and tone 390-403, 436-7; and enlargement 275; evaluating black and white negatives 258-9; film editing 390-2; and intensity of light 138; photographic papers 264, 391-2; projected light and contrast ratio 146; see also tone
contrast filters 241,273, 391-2
controls 94-104; digital camera 85-6; SLR camera 82-4
conventions of seeing 13-16; breaking conventions 15-16; linear perspective 17-27
converting digital image files 295-6
copies see photographic copies
copyright and appropriation 376, 425-7
cornea 4, 50
Cornille, Zenobie 462
Costello, Caitlin 52
Craft, Andrew 20
Crary, Jonathan 19, 28-9, 33, 48
Creative Commons (CC) 427
crescent shapes 261
Crewdson, Gregory 109, 122-3, 122
Crimp, Douglas 176
critique methods 469-73
cropping and textual meaning 376
Crop tool 389-90
Cubism 186, 423
“culture jammers” and collage 379-80, 424
Cummins, Rebecca 31, 31
Cunningham, lmogen 10, 124
Curtis, Edward Sheriff 201-2, 201, 203
curved film plane and pinhole camera 80
Curves: and color cast correction 407-9; and tonal adjustments 395, 396-400
custom lab printing 309-10
cyanotypes 113, 221, 222, 278, 279, 364
D-H
D
Dada 26, 42, 113, 191, 371, 377, 423-4
Daguerre, Louis Jacques Mande 29, 112, 113,184,192
daguerreotypes 28, 29, 184-5, 368, 412
darkness: light and dark symbolism 118-23; see also light; shadow
darkrooms: burning-in and dodging techniques 400-1; contact printing 269-72; enlargements 272-5; liquid emulsion processing 275-6; printing text on images 441; wet darkrooms 245, 261-3
Daviau, Allen 121
Day, F. Holland 9
daylight see natural light; sunlight
daylight film 238, 243
Debord, Guy 359
DeCarava, Roy 125-6, 322
decisive moment 8, 71
dedicated lenses 64
delete button 86
deleting digital image files 287-8, 291
Deller, Jeremy 213, 214-15
Dempsey, Shawna 360-1, 361
denotation 351
density: enlargements 27 4; evaluating black and white negatives 258-9, 270; negatives 218-19, 223, 231
depth of field: and aperture setting 10, 95-7, 124; and focal length 66, 96; and focus 57, 60, 95-8
Descartes, Rene 3; Cartesian model of vision 33, 34
description and technique 470
desktop printers 298
developers: film processing 253-4, 256, 259; liquid emulsion processing 276, 277; photographic paper and image tone 264; print processing 265, 266, 267
developing film 244-61; unorthodox methods 344
Dezallier d’Argenville, Antoine-Joseph 24
diagrammatic information 371-2
Dibbets, Jan 34, 34
Dickinson, Emily 375
Diderot, Denis 29
diffuse light/diffusers 138-9, 143, 150; homemade diffusers 152
diffusion enlargers 263
digital cameras: body and parts 84-6; care and cleaning 78; and color of light 237-44; focal length 63; focus and softening images 61-3; instant cameras 7 4; and interchangeable lenses 64, 65; LCD viewfinders 54-5, 86, 88; light metering and exposure 153; operation 86-9; sensors see digital sensors; shutter speed 101; viewing systems 55, 56-7, 85, 88; see also digital images; digital single-lens reflex (DSLR) cameras; point-and-shoot cameras
digital editing 382-90, 401-9, 415-23; Adobe Photoshop Tools panel 384-90; burning-in and dodging techniques 401-3; collage techniques 429-38; color casts and correction 239, 243-4, 404, 405-9; color conversion 410-12; contrast and tonal adjustments 392-400; photographic retouching techniques 417-23; resizing 382-4, 466,467; text and image integration 441-5, 459; see also adjustment layers
digital images: and bit depth 87, 236-7, 392-3; color cast correction 239, 243-4, 306, 404, 405-9; color conversion 410-12; file size 92, 235; organization and processing 284-96; processing and storage time 102; reproduction and reality 178; saving and formatting files 76, 285, 293-6, 308; storage and organization 89, 284-5, 288-9, 292-6, 307; straightening images 92-3; see also digital editing; digital printing; file formats
digital lighting effects 160-2
digital printing 261, 296-308; black and white on color printer 306; color management 296-306; commercial printing options 308-14; and digital workflow 284-96; flip book 468; monitor regulation and viewing conditions 300-2; paper/ink performance 299-300, 303-4, 304-5; see also printers and digital printing
digital projectors 144
digital resizing 382-4, 466, 467
digital scanners 77-8, 89-91, 261
digital sensors 57, 96, 229, 233-7
digital single-lens reflex (DSLR) cameras 56,64, 84-9, 88,236,237
digital workflow 284-96
digital zoom 65
Dijkstra, Rineke 116-17, 116
Dill, Lesley 375, 375
Dingus, Rick 204
diopter controls 54
direction of light 116, 117, 138-40, 166
direct light 141, 148, 166
direct-to-press (DTP) printing process 310
Disderi, Andre Adolphe 182
dissolve as film technique 346
dissolve units and slide shows 339
distortion: curved film plane and pinhole camera 80; lighting 166
distribution of light 138-9, 148-52
Dixon, Keetra 313-14, 313
ONG file format 295
documentary photography 180; and authenticity 364-71; as objective record 352-7; social documentary style 37-8, 44-5; see also photojournalism
Dodge Tool 401-2
dodging (darkroom and digital) 274, 392, 400-3
Dog Day Afternoon (film) 211
Doisneau, Robert 329
doppelganger (double) 127-8
dot matrix and reproduction errors 176
double lens system 56
downloading images 77, 88-9
downsampling 383
dpi printer resolution 298, 305
drive mode button 86
Drucker,J ohanna 445
drugstore photo processing 309
drum scanners 78
Drutt, Matthew 122
drying negatives 257
dry-mount process 452
DuBois, W.E.B. 119
Duchamp, Marcel 195
Duke, Jonathan B. 79
Dunning, Jan xlviii
duotones and digital images 411
duplicate files 466
Durer, Albrecht 18
Durrant, Arjuna 27
dusk 123
Dust & Scratches filter 421
dust spots on image 78,275,416,418, 421
DVDs for digital image backup 293
dyes: color film 231, 232; dye-based printer inks 298, 299, 300; dye sublimation printing process 309, 312; spotting technique with liquid dyes 416, 417
dynamic range: and sensors 237; and tonal adjustment 394
dynamic vision see active vision
E
Earthworks/earth art 25
Eco, Umberto 206-7
Edgerton, Harold 131
Edison, Thomas Alva 124, 131
editing and presentation 317-476; color editing techniques 404-16; editing for contrast and tone 390-403; photo-based collage techniques 423-38; presentation of text and images 445-69; retouching techniques 416-23; series and sequence photographs 319-48; text and image 349-80; text and image integration techniques 438-45, 459; see also digital editing; evaluation
editions of prints 178-9
Egyptian art and linear perspective 17
Eiffel Tower 45
Einstein, Albert 343
Eisenberg, Anne 178
Elander, Ashley 39
electric lighting 124
Eliade, Mircea 209-10
Eliasson, Olafur 115-16, 115
emailing images 76, 88-9
Emerson, P.H. 9, 124
Empire (film) 346-7
emulsions 35, 111; film 231; historic photographic processes 278-9; liquid photographic emulsions 275-8; photographic paper 263-4, 391; removers 281, 283; silkscreen printing 280, 281, 282-3
engraving and mass media 185, 357-8
enlargement 125; and depth of field 96; and digital sensor size 234; printing process 261, 262, 263, 269-70, 272-5
enlargers 263, 269-70, 273, 276, 391
ephemeral artworks 337-8, 371-2
Eraser tools 421
Erbsen, Wayne 191-2
Ernst, Max 377
errors in reproductions 175-6
Eskimo landscapes 11
ethics and reproduction 177-8, 196-204; emailed images 190; Google Street View 197-8; legal rights of photographers 196-7
Euclid 4
Euclidean geometry 24
evaluation: color cast 405-6; critique methods 469-73; evaluating negatives 258-61, 269, 270; exposure and light metering 152-8, 242; feminist critiques 321, 329-30, 366-7; and series of photographs 319-20; tonal range and contrast 393-5, 397
Evans, Walker 176,176,177,355, 356-7, 365
experience: and sight 13-14, 33-8, 46; see also personal experience
exposure 5, 6, 35; aperture and shutter speed 102, 103, 104; burning-in and dodging 400-3; and contact printing 270; and density and contrast in negative 258; and enlargements 274-5: and filters 242; and home-made pinhole camera 81; latitude 233; light metering and evaluation 152-8, 242; liquid emulsions 277; and movement 32, 336-7, 341; and natural light 141-2; screenprinting 282-3; and tonal corrections 392, 393
exposure compensation 157
exposure compensation buttons 86
exposure meters 153-4, 242
Expressionism: German Expressionist films, 120, 129; and photography 12, 36-8
Eyedropper tool 390,395,408
eyeglasses 27-8
eyes and vision 1, 3-48; active vision and eye movements 6-9, 47; anatomy of sight 3-5, 12-13, 49-52; camera as mechanical eye 41-5; conventions of seeing 13-16; experience and photography 33-8; focus 9-13; inventions and new photographic views 45-8; photosensitive cells 4-5; threshold of vision and circles of confusion 96-7; see also optical devices
Ezawa, Kata 209, 209
F
f/64 group 10, 124-5
fabric-based printing paper 276, 299
Facebook 183-4
fade as film technique 346, 347
fading of prints 278
Fairbanks, Charles 262, 424
Fair Use Doctrine 425-7
Family of Man exhibition 321-2, 323
Farina, Julia 446
Farm Securities Administration (FSA) 121, 354-5, 364
Farokhzad, Furough 375
Fechner, Gustav 33
Federal Art Project (FAP) 373-4
feminist critiques: and art photography 321, 329-30; Guerrilla Girls’ and art world 366-7
femme fatales 121
fi5e (artist) 130
fiber-based printing paper 264, 266, 276, 409
field large-format cameras 71
file compression see compression of files
file formats: and bit depth 87, 236-7, 393; for commercial printers 311; and compression 76, 235, 236, 294, 456; reformatting files 295-6; saving and formatting files 76, 285, 293-6, 308; and shutter speed and motion 102; types of format 87-8,2 94-5; for web display 456
file management 284-96; editing and duplicate files 466; importing files 287, 290, 291, 459; storing digital image files 89,284-5, 288-9, 292-6,307
file size 92, 235
Filimowicz, Michael Iii
fill layers 432
fill light 117,141,149
film 229-33; adjusting image contrast 391; characteristics 232-3; and color cast 239, 243; developing see film processing; digital printing of 310; loading for development 245, 249-51; loading into camera 83-4; size and format 230; storage and handling 230-1; types of film 229-30; see also black and white film; color film; darkrooms; film processing; negatives; prints; single-lens reflex (SLR) cameras
film advance lever on SLR camera 82, 84
film noir 116, 117, 120-1, 163
film picker 249
film plane in pinhole camera 79, 80, 81
film processing 244-61, 344; black and white film processing 251-7; chemical handling and storage 245-8, 279; evaluating negatives 258-61, 269, 270; printing and enlarging film 261-79; small tank film processing 248-51; work areas 244-5; see also printing
film rewind knob 82
films see cinema
film scanners 77-8
film speed (ISO): bracketing by ISO number 158; and characteristics of film 232-3; digital cameras 85, 88, 235-6;
digital sensors and high/low settings 235-6; and light meters 153, 154; setting 82, 83, 85, 88, 235-6
filter factor 242
filters 158, 160, 166, 240-2; commercial filters 159; contrast filters 241, 273, 391-2; correcting color cast 239, 243; digital lighting effects 160-2; and enlargers 273; and exposure 242; homemade filters 151, 159; split filtration 392,400
Filter tools 421, 422
fine art photography xlviii-lii; authenticity and reproduction 178-9; blurred images 10-12, 58, 72; handcoloring 412; processing images 124-5; reenactment and recreation 204-11 ; series and sequences 319-48; soft-focus in early images 9, 72; text and image 351-2, 360-80; use of historic processes 278-9; value and reproducibility 179-81
Fischer, Wend 323
Fischli, Peter 339, 339
fixed images 231
fixed lenses 64
fixer remover washes 254-5, 257, 265-6, 277-8
fixers 254,256, 267, 276,277
Flagg, Ernest 11 6
flash: as artificial light source 143, 144; bouncing light 149-50; built-in camera units 85, 143; digital camera options 85; effect 117; external flash units 143, 149-50; front lighting 138; softboxes 150, 151
flash buttons on digital cameras 85
flash drives 89, 311
flash exposure control 143
flashguns 123-4, 353
flatbed scanners 33, 77, 89-94
flat lighting 138
flattened layers 304
Fletcher, Zeke 202, 203
“flicker films” 109
flip books 132, 464-9
fluorescent light 147, 242
flutter books 449
Fluxus 195, 371
focal length 63; and depth of field 66, 96; film plane and pinhole camera 80; and interchangeable lenses 64, 65-7; and motion 102
focal plane shutters 100
focal points 57, 59, 97
focus: and anatomy of eye 9-13; composite contact sheets 272; and depth of field 57, 60, 95-8; and enlargement 275; and lens 57-67, 85; out-of-focus art photography 10-12, 58, 72; Rangefinder viewing systems 56; and still photographs 9-11; see also shutter release buttons
focus (AF) points 61
focusing light 149, 150
fogging: negatives 260-1; photographic paper 262,263,267
folders and digital images 288, 290
folk art 1 91-2
Fontcuberta, Joan 370-1, 370
Foote, Nancy 333, 344
foreshortening and perspective 18
Foresta, Merry 207
Forkscrew Graphics 136, 136
formal(ism) 22
formats see camera formats; file formats
Formiguera, Pere 370
Foucault, Michel 326
found objects and art photography 337
found photographs 132, 133,194,340
fovea 13, 51 ; and focus 9-13
Fox, Howard 345-6
Fox, William L. 205, 205
Fox Talbot see Talbot, William Henry Fox
frames: Gestalt theory and “weak frame” 15
framing environment 22-7
framing prints 451, 453
Frampton, Hollis 341, 343
Frank, Robert 16, 368
Franz, Marie-Louise von 129
Frelinghuysen, Jessica 51
Freud, Sigmund 48, 122, 132, 181
Friedlander, Lee 129
Friis-Hansen, Dana 370
front lighting 138, 141
FSA photographic archive 121, 354-5, 364
F/stops 5, 95
Fuji instant cameras 74
“full-frame 35mm sensors” 234
Fuss, Adam 113-14, 113
Futurism 190, 191
G
gain 164, 236
Gallagher, Winifred 115
Gaitan, Francis 135-6, 327
ganglion cells in human eye 51
Ganze\, Bill 205
Ganzfelds 11-12
Garb, Yaakov Jerome 46
gardens 8, 22-3, 26
Gardner, Alexander 205, 211, 212
Garvens, Ellen Iii
Gaskell, Anna 109, 122, 122
gas lighting 123, 124
gaze 18, 19
Gee, Helen 37
gelatin filters 158, 159, 160
gender: critique of press coverage 321;
and performative art 329-30; see also
feminist critiques
General Idea 360
Genetic Savings and Clone 178
genetics and photographic reproduction 175-9, 217
genre painting 9, 110
geometry: and landscape 22, 23-4; and linear perspective 17-21
Gerlovina, Rimma 374,374
Gerlovin, Valeriy 374, 374
German Expressionist films 120, 129
Gernsheim, Alison 28
Gernsheim, Helmut 28, 112
Gestalt theory and composition 15
“ghoul” lighting 139
GIF file format 294, 456
Giles, Howard 214
Gilliam,Terry 346
Gillmor, Dan 189
glass filters 159
Gleber, Conrad 464
glossy papers 264, 299, 391
glues for collage 428-9
Goethe, Johann Wolfgang von 33, 34
Goffman, Erving 198
Gogh, Vincent Van 35
Goldin, Nan 339-40, 339
Gonzalez-Torres, Felix 180-1, 180
Google Earth 47
Google Street View 197-8
Gordon, Douglas 195
Gothic style 120
Gour, Pierre 275, 275, 278
Gowin, Emmet 178-9
graded papers 264, 391
Gradient tool 399-400
graduated filters 241
graffiti artists and stencils 440
Graham, Dan 195, 323, 325, 326-7, 339
grain 10, 158, 423
grain size 232
grassroots journalism 189
gray cards 1 54-5
grayscale digital images 410-11
grayscale printing 306
Great Depression 354-7
Grech, John 21 O
Greenberg, Clement 190
Gregory, R.L. 4
grids: focusing light 149; grid format in art photography 323, 324
Grill, Tom 15, 15
Groover, Jan 344,344
Grosz, George 42, 191
Ground Glass viewing system 55, 57, 71
Group f/64 10, 124-5
grouping digital image files 288, 290
Guerrilla Girls 366-7, 366
Guggenheim Fellowship 125
gum bichromate 124, 192,193,278
Gursky, Andreas 324
H
Haacke, Hans 195
Hadden, R. Lee 213
Hahn, Betty 192-3, 192
Hajj, Adnan 461
halftone printing 125, 185, 187, 358
Hamilton, Ann 5, 5
handcoloring techniques 412-16; digital effects 404, 415-16; traditional techniques 404, 412-15
handwriting and images 360, 364, 372, 439-40
Hansen, Markus 210-11, 210
Hasselblad cameras 46
Hausmann, Raoul 191
Hawkinson, Tim 21-2, 21
Healing Brush tool 418, 419-20
Heartfield, John 42, 191,377,377
Heiferman, Marvin 182
Heinecken, Robert 195
Heisler, Mary Kate 453
“heliographs” 112
Helman, Pablo 193
Hess, Thomas B. 38
Heyl, Henry 131
high-contrast lighting 117
High Dynamic Range Imaging (HDR) 156-7
high-key lighting 116-17
highlight areas: burning in and dodging 400-3; digital images 394; negatives 219,258,259,391
high-speed photographs 130, 131
high-speed printing 305
“highway hypnosis” 47-8
Hildebrandt, Megan 66-7
Hill, David Octavius 14, 15
Hillers, John K. 204
Hine, Lewis W. 35
Hines, Babbette 312
hinge mounts 452-3
Hiroshima: ban on photographs 200-1
histograms 155-6, 396; Histogram panel 393-5
historical reenactment and reproduction 211-15
historic processes 278-9
Hitchcock, Alfred 122
Hoch, Hannah 42, 191
Hockney, David 6-8, 7, 12, 17
Holmes, Oliver Wendell 172
Hondros, Chris 20, 200, 200
Honnef, Klaus 194
hooks, bell 367
Horan, David 375
horizon 16, 1 7, 45-8
Horner, William George 463
Horton, Kristan 207,207
hot-air balloon flight and view 45
“hot pixels” 236
hots hoe brackets 82, 85
Howett, Catherine M. 22
Hudson River School 23
Huebler, Douglas 324
Hughes, Langston 125
human body in photographs 327-32, 367-70
humanist letterforms 438
human vision 3-5, 12-13, 49-52
Hunter, Jefferson 355, 356
Hushlak, Gerald Ii
Huxley, Aldous 12-13
Huygens, Christian 131
Huyghe, Pierre 210, 211
hyperlinks and webpage creation 460
hypo see fixers
hypo clearing baths 265-6, 276, 278
I-P
I
ICC (International Color Consortium) profiles 297, 302, 306
icons 351
identity: gender and performativity 330
illuminated manuscripts 349
illustrated magazines see picture magazines
image detail and tonal adjustment 392
image-editing software: and flatbed scanners 89-93; see also Adobe Photoshop
image layers 431
image planes 57, 59-60
image preview systems 57
image quality options 235
image resolution: cellphone cameras 75-6; dpi printer resolution 298, 305; and file size 235; and pixels 234-5; projectors 146; and quality of prints 311; rescaling images 382-3; scanners 91
image servers 77
image transfer and rubbing techniques 217-18,223-9
Image World exhibition 182-3
importing digital image files 287, 290, 291, 459
Impressionism and photography 34-6
incident-light meters 152, 155
index: photograph as 351
indirect light 149
industrialization: and perception 35-6; and reproductive technologies 184-5, 190; work ethic and photography 39; see also machine aesthetic; urbanization
Info panel 394-5, 406, 408
information processing and speed of images 47-8
inkjet printers 224, 298, 306, 309
inkjet tranfer process 224, 225
inks: digital printing 299-300, 304-5; paper/ink permanence 300; screenprinting 281
ink sets 306
innocent eye and perception 35-8
Input sliders 396, 397-8, 402
installation art 115-16, 132, 344-6, 370-1, 378-9; slide shows 339
instant (lnstamatic) cameras 73-4, 326; see also Polaroid instant cameras
instructions: text and image 371-2
intensity of light 138, 148, 166; see also light metering
interactive conceptual art 371-2
interchangeable lenses 64-6
International Shadow Project 115, 115
international style 44-5, 116
Internet: blogging and photo sharing 188-9, 361; and communication 372; copyright and appropriated material 426-7; presentation of photographs 454-61; print-on-demand sites 450-1; social-networking sites 183-4; speed of moving images 47; truth and photographs 461-2; Window Standpoint Series 20, 20
interpretation and critiqe 4 70
Iraq War 184, 200
iris 4, 5, 50
Irwin, Robert 24, 24, 36
ISO see film speed (ISO)
ISO buttons on digital cameras 85, 88
ISO dial on SLR cameras 82, 83
Italy see Renaissance
Ivins, William M. 175
iWeb and webpage creation 457-61
J
Jackson, William Henry 23, 204
Jacob, Mary Jane 132
Jarhead (film} 193
Javanese shadow plays 131
Jay, Martin 20
Jefferson, Thomas 23
Jetee, La (film) 346
John, Franz 32-3, 32-3
Johns, Jasper 195
Johnson, Ray 195, 195
Joselit, David 133-4
Josephson, Ken 206
JPEG file format 87, 102, 235,236,237, 293,294,456
judgment and critique 470-1
Jung, Carl 118-19, 129
Jussim, Estelle 19
K
Kahns, Sven 102-3, 103,402
Kalin-Casey, Mary 197-8
Kanarek, Yael 461
Kasebier, Gertrude 1 09
Kasten, Barbara 117
Kelvin scale 147,238
Kentridge, William 40, 41
Kepler, Johannes 21
key lighting 117, 148
keystoning 14, 15; keystone correction 145
keywords and labeling files 288, 292
Khan, Osman and Omar 75
Kienholz, Edward and Nancy Redin 195
Kim, Atta 335, 336-7
kinetoscope 132
kiosks and digital printing 311-12
kite pictures 46-7
kitsch 190, 193
Klett, Mark 204-5
Kline, Katy 330
Kodak small-format cameras 68
Koestler, Arthur 38
Koons, Jeff 34 7
Korn, Arthur 187
Kostova, Daniela 165, 165
Krages II, Bert P. 196
Krauss, Rosalind E. 176-7
Kruger, Barbara 195, 378-9, 379
Kumao, Heidi 457, 459-60
Kushner, Boris 43
Kwon, Miwon 181
L
labeling digital image files 288, 292
lab photo processing 309-10
Lacan,Jacques 18, 46, 47
Laforgue, Jules 35-6
Landau, Chris 462, 462, 464, 464
Land Ordinance Survey of America 23-4
landscape and photography 22-7
Landworks Studio 423
Lange, Dorothea 44
lantern projectors 144
Lan Ying 26
large-format cameras (view cameras) 10, 12, 35, 41-2, 71; fine art photography 124-5, 324; Ground Glass viewing system 55, 57, 71; specification 72
large format printers 298
laser printing in commercial outlets 310
lasso tools 387-8
latch-hooking: reproducing photographs 314
latent image on film 231, 400-1
lateral geniculate bodies 51
latitude of film 233
Lavater, Johann Caspar 134-5
layer masks 432, 436
Layers panel 430-8; see also adjustment layers
LCD screen (live view) viewing system 55, 56-7, 85, 86, 88; and cellphone cameras 74
LCD viewfinders 54-5, 86, 88
Lee, Alex M. I
Lee, Anthony 329
Lee, Nikki S. 207
Lee, Whitney 314,314
legal rights of photographers 196-7
Leica small-format cameras 71
lens-based photography 333
lenses 5; care of 58; cellphone cameras 75; enlargers 269, 273; and filters 240; and focus 57-67, 85; human eye 4, 5, 50, 51; SLR cameras 56
lens release buttons 85
Leonard, Joanne 193, 193, 427
Leonardo da Vinci 18, 21
Levels and tonal adjustments 395, 395-6, 402-3
Levere, Douglas 205
Levine, Sherrie 176-7, 176, 195, 376
Levitt, Helen 322, 322, 323
Lewin, Albert 128
Lewis, C. Thomas xlix
Lewitt, Sol 324, 371
L’Heureux, Antoine Ii
Libera,Z bigniew 209, 210
Lichtenstein, Theresa 128
LIFE magazine 186, 188-9, 201, 208; photo essays 358-61
light 107-68; and art 113-16; color 147-8, 158-62, 237-44, 404-5; direction 116, 117, 138-40, 166; distribution 138-9, 148-52; and early photographs 111-13; and film speed 232; and filters 240; and human vision 50; intensity 138, 148; metering see light metering; movement and manipulation 148-52; natural and artificial light 117, 140-6; path of light 147-52; physical effects 115-16; source of light 137, 138-40, 161-2, 281,390; symbolism of light and dark 118-23; terminal points 162-7; texture 117; and tone 393; and void 11 0-11, 114; see also artificial light; color; contrast; lighting; natural light; shadow
light balancing filters 241-2
light boxes for presentation 453-4, 455
lighting: color manipulation 158-62; in darkroom 245, 262; direction 139-40, 166; monitors and viewing conditions 300; movement and manipulation of light 148-52; qualities and effects 116-18, 120-1, 138-9
lighting stands 150
light metering 104, 117; bracketing 156-8; evaluation of exposure 152-8, 242; and filters 242; natural light 141-2
Lightroom see Adobe Lightroom
light sensors and cellphone cameras 75
Ligon, Glenn 368-70, 369
limpet: visual pit 4
Lincoln, Abraham 183
linear perspective and sight 17-27; Renaissance perspective 17-21, 24
linear zoetrope 464
Link, O. Winston 118, 118
liquid dyes and spotting technique 416, 417
liquid emulsions 263-4, 275
liquid lenses and cellphone cameras 75
Liquid Light see liquid emulsions
liquid photographic emulsions 275-8; processing and printing 276-8
lithography 112, 310, 357-8
loading film: for development 245, 249-51; into camera 83-4
long exposure times 32, 35
long lenses (long focal length) 66
Longo, Robert 376
lossless (lossy) file compression 294
Loud, Lance 220, 221-5
low-contrast lighting 117
low-key lighting 117, 120
low-resolution images 234, 235, 311
low-tech positives and negatives 218-29
Luce, Henry 188, 357, 358, 359
lumens 145
Lumiere brothers 131
L0tticken, Sven 215
Lyon, Luke 203
M
Mach, Ernst 21, 21
machine aesthetic 9, 10, 186, 190
Maciunas, George 195
McLuhan, Marshall 372
McQueen, Steve 322, 322, 323
macula 51
magenta filters 240, 242, 391
magic lantern slides 48, 131
Magic Wand tool 385, 388
Magnetic Lasso tool 387-8
magnification 65-6
Mager, Liz 212,213,213
mail-order photo processing 309
main light 148
Malevich, Kasimir 110, 111
Malraux, Andre 320
Manichean concept of light and dark 119
manipulation of light 148-52
ManosBuckius Cooperative 62, 63
Manovich, Lev 215
manual bracketing 157
manual control: digital cameras 88; SLR cameras 82, 85
manual film loading 83-4
manual focus 60
manual focusing ring 82
manuals 85
Mapplethorpe, Robert 130, 368-70
Marien, Mary Warner 212
Marinetti, Filippo Tommaso 190
Marker, Chris 346
marquee tools 386-7
Marshall, Michael 205
Martin, Charles E. 191
Masayesva, Victor, Jr. 201, 203-4
masks and text creation 441
mass reproduction 182-95; and artworks 190-5, 319,377; mass media and reproduction 182-90, 357-8; rubbings in China 219
Matsushige, Yoshito 201
matte papers 264, 299
matting prints 451, 453
Maynard, Patrick 112
McCarthyism 37
Mccausland, Elizabeth 352, 373
McCloud, Scott 320
McConnell, Liza 39-40, 40
McGehee, Cordelia 268
meaning: text and image 353-7
Meatyard, Ralph Eugene 12, 12, 58
mechanical reproduction: profiles and silhouettes 134, 166
media: influence on memory 211; mass media and reproduction 182-90, 357-8; photographic series and mass media critique 320-1; see also cinema; press mediated vision 46; and optical devices 27-33
Medici, Lorenzo de’ 22
medium-format cameras 71
megapixel 233
Mekas, Jonas 111
memory: reenactment and recreation 209, 211; and sight 13-14
memory cards: cellphone cameras 76, 77; digital cameras 86, 87, 233, 235
memory-card slots 86, 87
memory size: cellphone cameras 76; digital cameras 87, 235
Mendoza, Cristobal Ii
Mendoza, Tony 362-3, 363
menu buttons 86
Mercer, Kobena 368-9
Merleau-Ponty, Maurice 350
Messager, Annette 330-1, 331
metadata in Photoshop programs 288, 290,292
metering light see light metering
Meurer, Moritz 326
Meyer, Richard 369
Michals, Duane 332-3, 332, 351-2, 351
Microsoft PowerPoint 340-1
“middle-distance gardens” 23
middle gray 154-5
middle tones 117
Mies van der Rohe, Ludwig 116
Millan, Lorri 360-1, 361
Millman, Toby 225, 280
minimalism 180, 181
mini-projectors 145
missing image data 394
Mitchell, William J. 27
mixed light 142
mobile blogging 74
mobile phones see cellphone cameras
modeling lights 143
modernism 9; photography and visual arts 42-4, 122, 124-5; and postwar advertising 186
modern letterforms 438
Modrak, Rebekah 428
Moholy-Nagy, Laszlo 42-3, 43, 44, 186
Moholy-Nagy, Lucia 43
Molderings, Herbert 44
MoMA Department of Photography 179-80
momentary light 143
Monet, Claude 35, 35
monitors: calibration 301-2; and color cast correction 405-6; and viewing conditions 300-2
monorail large-format cameras 71
montage see collage; photomontage
Moody, Rick 123
Moore, Michael 214
Moore, Sarah J. 8
Morimura, Yasumasa 207-8, 208
Moro, Aldo 321
Morris-Cafiero, Haley I
Morse, Samuel 184
Mo-Ti 28
motion pictures 131; still photographs as 344-7; see a/so cinema
mounting prints 451-3
movement / moving objects: long exposure times 336-7, 341; manipulation of light 148-52; motion and sequences 341-6; panning 103; and pre-focusing 61; and shutter speed 102
Move tool 388
moving digital image files 287-8, 291
“mug shots” 327
multiple images: contact printing 271-2
Mundy, Owen xlix
Muniz, Vik 208-9, 209, 210
muscles in eye 50
Museum of Modern Art (MoMA) 179-80
Muybridge, Eadweard 23, 26,131, 341-3, 342-3, 344
Mydans, Carl 200
mylar filters 159
MySpace 183, 184
N
Nachtwey, James 200
Nagasaki: ban on photographs 200-1
naming digital image files 287, 291
Nam Jun Paik 111
narratives 3; and photographic sequence 320, 333, 340; in stereoscopes 40-1; text and image in personal stories 361-4
NASA life on Earth photographs 322
Native Americans and photography 201 -‘1
native resolution 146
natural light 117, 140, 141-2; color and film and digital sensor settings 238; color temperature 147; and filters 241; movement 148
Nature Print paper 279
Nautilus: pinhole eye 4
Nazism 122, 328, 377
negative films 230
negative images 218, 221, 222, 223
negatives: drying and storing 257; evaluation 258-61, 269, 270, 391; Fox Talbot’s paper negatives 3, 113; text integration techniques 441
Neimanas, Joyce 8-9, 8, 12, 17
Nee-Conceptual art 372-3
nerve fibers in human eye 51
Neshat, Shirin 375-6, 375
Nettles, Bea 330, 330
Neumann, Andrew xlviii
neutral density filters 241
neutral papers 264, 299
Newhall, Beaumont 179
newspapers: collages and wall-coverings 190, 191; see also press
New Vision style 43-5, 324
Niepce, Joseph Nicephore 112, 113, 117
Nierendorf, Karl 324
night photography 118, 158
Nixon, Nicholas 204
Nizza, Mike 184
Noble Savage representation 20
no-focus photography 12
“noise”: digital editing 423; and digital sensor size 234, 235; and ISO number 88,158,236
nonlinear transformations and tonal adjustments 395-400
non-silver processes 278-9
Nordhougen, Lauren 39
normal focal length lenses 66
O
objectivity and photography 350-7, 364-71
Oetterman, Stephen 17, 45
offset printing 310
oils: paper positives in screenprinting 281; photo oils and handcoloring 412-14; see also wintergreen oil transfers
on-camera softboxes 143, 151
Ong, Walter J. 378
on/off switch 83, 85
opaque projectors 144
opening camera back 83
open shade 141
open space and landscape 25-7
optical devices 1-2; altering human vision 51-2; camera obscura 1, 28-33, 34; handheld animation devices 462-9; mediated vision 27-33; 19th-century devices and legacy 38-41
optical viewfinders 54, 55, 56, 86
optical zoom 65
optic chiasma 51
optic nerve 50, 51
oral culture 372, 378
Ording, Charlotte 265, 410, 410
organization of digital image files 284-96
Orozco, Gabriel 337, 337, 338
Ostberg, Anders 20, 20
ostranenie 42, 44
O’Sullivan, Timothy 23,204,205, 211-12
Otsuka Museum of Art, Japan 173-5
Oursler, Tony 372-3, 373
Outerbridge, Paul 185, 186
out-of-focus effect: art photography 10-12, 58, 72; digital images 62-3
overcast weather 140, 142
overexposure 233, 258, 270; and digital tonal adjustment 393, 394; evaluation and metering techniques 152-3, 156, 157, 158
overhead lighting 139
overhead projectors 144
Owens, Bill 361-2, 362
ownership: and appropriation 376, 425-7; and value of art works 180-1
P
Paik, Nam Jun 111
painting 9, 34-6, 110, 349; and linear perspective 1 7
Painting tools (digital) 418-19
Palmer, John 306
Palmquist, Peter 23
panchromatic film 238, 241
panning 103
Panofsky, Erwin 21
panoramas 1 7, 342
panoramic lenses 65
pantographs 134
paper: for rubbings 220; see also photographic paper
paper adhesives for collage 428-9
paper/ink permanence 300
parallax error 54, 55, 56
Paris, Dr. John 462
parody and appropriated material 425-6
Parr, Martin 338
parts of camera 78-94
passivity of photographic act 3-4
patches on negative 261
Patch tool 41 8, 420-1
path of light 147-52
Patzsch, Albert 326
Pavlovic, Vesna xlix
PDF file format 295
Peale, Charles Wilson 134-5, 199
Peirce, C.S. 129
“pencil of nature” 3
pencils and handcoloring 412
Pen tool 388
perception 1, 13-14, 33-8, 337, 343; and anamorphic art 25; innocent eye approach 35-8; and time 343
performance art 329-30; photographic documentation 337-8
persistence of vision 33, 34, 38, 132, 462
“persona”: gender and identity 330
personal experience: art photography sequences 330-2, 339-40; text and image and personal stories 351-2, 361-4
personalized web pages 454-5, 457-61
perspective: composite contact sheets 271; and focal length 66, 67; see also linear perspective and sight
Peters, Betsy 464, 464
Pfahl, John 19, 19, 24-5, 24, 25
Pfeiffer, Paul 195, 347-8, 348
Phillips,C hristopher 179,1 80
Phillips, Lisa 321
photo-based collage techniques 423-38
photobooks 323, 338
photobooths 312-14
photocopiers 77-8, 192-3, 218, 220-9
photo corners 452
photo essays 188-9, 357-61
“photogenic drawing” 113
photograms 43, 44, 94, 113, 268-9
photographic copies 171-81; authenticity and reproduction 172-5, 194; variation in reproductions 175-6
photographic paper: black and white
printing 261, 263-7; characteristics 263-5, 299; and contrast 264, 391-2;
digital printing 297, 299, 304-5; and handcoloring techniques 412, 413;
Nature Print 279; paper/ink permanence 300; and toning process 409-10
photogravure 185
photojournalism 3, 4, 20, 186-9; writer and photographer collaborations 354, 355-7; see also documentary photography; photo essays; war photography
photo kiosks and digital printing 311-12
photometry 75
photomontage 191, 376-80
photo oils and handcoloring 412-14
photo pencils and handcoloring 412
photo printers 298
photosensitive cells 4-5
photo sharing 188-9, 454, 456-7
Photoshop see Adobe Photoshop
photo-telegraphy 187
physiognomic studies and silhouettes 135-6
physiognotrace 134, 135, 166
Piaget, Jean 126-7
Pictorial ism 9, 72, 109, 110, 124, 179
Picture of Dorian Gray, The (film) 128
picture magazines 47-8; advertising and photography 186; and mass reproduction 186, 188-9; photo essays 357-61; recreation of images 208-9
Piezography inks 306
pigment-based printer inks 298, 299, 306
Pina, Rachel 340
Pina, Tina 340
Pindell, Howard 133
pinhole aperture 79
pinhole cameras 5, 6, 53, 72-3; component
parts 78-81; and focus 58-9, 60; home
construction 73, 80-1
pinhole eye of Nautilus 4
Pippin, Steve 344, 344
Pirenne, M.H. 9
Pissarro, Camille 35
pixels: pixel count and scanned images 91; rescaling and resampling images 382-4; and resolution 234-5; and sensor size 233-4
plastic gift-wrap filters 159
Plateau, Joseph 33
Plato 4; cave allegory 33, 109-10, 121,137
playback button 86
Pliny the Elder 134, 137
PNG file format 456
point-and-shoot cameras: and artistic process 337; automatic focus 60, 71, 85; body and parts 84-6; image formats 236; Instamatic cameras 326; lenses 64, 65; operation 86-9; shutter speed 101; viewing systems 54, 57, 85
points of focus see focal points
points of view: kite pictures 46-7; smaller cameras and experiments with 42-3; and viewing systems 55
polarizing filters 240-1
Polaroid instant cameras 7 4; Polaroid 600 and collages 6-7, 8-9
politics: and mass reproduction 183-4, 377; and photomontage 377, 378-9
Polke, Sigmar 175, 176
Pollard, Kate Ii
Polygonal lasso tool 387
Pop Art 193-5, 280, 424
Pope.L, William 337, 338
portable cameras see small-format cameras
portable hard drives 89
Porta, Giovanni Battista della 29
portraiture: human body series 327-9
Portzamparc, Christian de 116
positive films 230
positive images 218, 280-1
posterization 394
post-exposure viewing system 55, 73
Postman, Neil 187-8
postmodernism 176-7, 206-7, 424
post-studio art 337
Poussin, Nicolas 22
Powell, Richard J. 191
power pack for flash heads 144
PowerPoint presentations 340-1
power switches 83, 85
practical lighting 117
pre-focusing 61
preparation: and SLR camera operation 83-4; surface preparation 276, 412
Prepared Medium Solution (PMS) 412,413
presentation of text and images 445-69
press: and mass reproduction 185, 357-8;
photo essays 357-61; photographic series as critique 320-1; photojournalism 186-8; see a/so photojournalism; picture magazines; war photography
pre-wetting 255-6
Prince, Richard 195, 376-7, 376
print culture 186-7, 187-8, 372, 378
print on demand (POD) books 445, 450-1
printers and digital printing 297-300; black and white on color printer 306; print profiles 297, 300, 302, 303-5
printing: commercial photographic printing 308-14, 412; and contrast papers and filters 391-2; digital images see digital printing; errors and variation in reproductions 175-6, 194, 34 7; fine art photography 124-5; Industrial Revolution and new technologies 184-5; non-traditional processes and art photography 363-4; as reproductive process 125; screen printing 194-5, 279-83, 34 7; traditional processes 261-83, 466; work area for printing from film 245; see also contact printing; film processing
printmaking 112
print profiles 297, 300, 302, 303-5
prints: presentation 451-3; retouching techniques 416-17; toning process 404, 409-10
print sizes and commercial printing 310
privacy and art photography 332
processing images: developing film 244-61, 344; digital images and digital workflow 284-96; reproducing photographs in other materials 314; see also digital printing; printing
professional lab photo processing 309-10
“profile machines” 134
profiles: color profiles and digital printing 297, 302, 303-5; paper/ink print profiles 300,303
programs see Adobe programs
projected images: artists’ slide shows 339-41; in public spaces 129-30, 165 projection screens 163-5; illumination ratio 145-6; materials and formats 164-5; reflectivity 163-4 projectors as light source 143-6, 161-2; image quality 145-6
property and value and art photography 180-1
PSD file format 295
psychology: light and dark symbolism 118-19
public opinion and mass reproduction 183
public space: ethics and photography 197-9; and projected images 129-30, 165
pupil 4, 5, 50
push processing film 259
Q-Z
Q
Quick Mask Mode 389-90
Quick Selection tool 388
Quinn, Alana 80, 220, 224
R
Rabinowitz, Paula 121
racial difference: human body in photographic archive 327-9, 368; symbolism of light and dark 119, 133-4
Ramirez-Jonas, Paul 25, 46-7, 46-7, 114, 114
Rangefinder viewing system 55, 56, 85
ranking digital images 288-9, 292
Rank, Otto 128
Rauschenberg, Robert 111
RAW file format 87, 102, 235, 236, 237, 293; reformatting files 295-6
Ray, Man 113
Raymond, Alan and Susan 220
readymades 195
Realism 120
reality and art photography 206-8, 344
Reasoner, Kathryn 33
recording images 229-44; digital scanners
and photocopiers 77-8; digital sensors 233-9
red-eye reduction option 143
reenactment and recreation as photographic acts 204-15; use of antique photographic processes 278; using other materials 314
referents 351
reflected colors 141,142,405
reflected-light meters 153, 154-5
reflecting light/reflectors 141, 142, 143, 149, 150; homemade reflectors 152
reflectivity: objects as terminal points 163; projection screens 163-4
reformatting digital files 295-6
Renaissance: gardens 22-3; paintings and text 349; Renaissance perspective 17-21,24
renaming digital image files 287, 291
Renger-Patzsch, Albert 44, 44
rephotography 176-7, 204-5, 208-10; text and image 363-4, 368-9, 376-7
reproductive processes 125, 169-215; ethics and reproduction 177-8, 196-204; low-tech positives and negatives 218-29; mass media and reproduction 182-90, 357-8; mass reproduction and artworks 190-5, 319, 377; mechanical profiles and silhouettes 134, 166; photographic copies 171-81; reenactment as photographic act 204-15; see also printing; processing images
rescaling and resampling digital images 382-4
resin-coated (RC) printing paper 264, 266
resistance: Native Americans and photography
resizing digital images 382-4, 466, 467
resolution see image resolution
retina 4, 5, 9, 33, 51
retinal afterimages 33, 38
retouching techniques 416-23; digital retouching 417-23; retouched photographs 324; traditional print retouching 416-17
rewinding film 82, 84, 249-50
RGB values: and color spaces 237, 302, 303; Info panel and digital editing 406, 408
Rice, Shelley 330
Riis, Jacob 117, 123-4, 131, 352-3, 353, 355,365
Rilke, Rainer Maria 375
rim lighting 139
ritual and reproduction 172-5
Robinson, Henry Peach 109, 110, 110, 320
Rodchenko,Alexander 42-3,42,44,44
rods 8, 9, 51
Roecklein, Anne 424, 424
Roeder, George H., Jr. 200
Ronduda, Lukasz 210
room-sized camera obscura 52, 53
Rosier, Martha 195, 365-6, 365
rotating digital images 288, 291-2
Roth, Emery and Sons 116
rotogravure prints 377
Rozier, Pilatre de 45
rubbing techniques 219-20; image transfer 217-18, 223-9
rub-on letters 440
Ruff, Thomas 324
rug kits and reproducing photographs 314
Ruscha, Ed 323, 324, 332, 332
Russian avant-garde and photography 42-4
S
Saar, Betye 133
Sachfotographie 44
Sacks, OJiver 13, 14
safelights in darkroom 245, 262
Salignac, Eugene de 42
Salinger, Adrienne 117-18, 117
Samizdat movement 374
Sandberg, Carl 322
Sander, August 136, 322, 323, 324, 326, 327-9,327
Saussure, Ferdinand de 350
saving and formatting files 76, 285, 293-6, 308
Sawada, Tomoko 312
Sawyers, Ross xlviii
Scanlon, Mark 15
scanners: flatbed scanners 33, 77, 89-94; operation 90-3; recording images 77-8; scanograms 94; software for 89-93
scanograms 94
Schad, Christian 113
Schrader, Paul 120, 121
Schwitters, Kurt 38, 38
science: inventions and new views 45-8
scoop coaters 281
Scoopt agency 189
scratches on image 416, 418, 421
screen paint 164-5
screen printing 194-5, 279-83, 34 7
screens see projection screens
scroll buttons 86
Scully, Shawn 243, 412
searching for digital images 289, 292-3
“secondary orality” 378
Seed, Suzanne 46
Sekula, Allan 327
selection tools 385-90
selective focus lenses 61
selenium toners 409
self and shadow 126-9
self-timer function 86, 101
semiological systems 351
semiotics 129, 350-1
sending images 76-7, 298
sensa 12-13; interpretation of 13-14
sensors see digital sensors
sepia toners 409
series and sequences 5, 34, 319-48;
documentary tradition 354-7; human
body in series 327-32; motion and
sequences 341-6; photobooks 338;
sequences of images 332-8; series in
exhibition 320-3; slide shows 339-41;
time and sequences 335-7, 346-8;
typology series 323-7
Serling, Rod 123
Serrano, Andres 119, 120
“setback laws” and architecture in US 116
Severini, Gino 190
shade and natural light 141, 142
shadow: and artificial light 117, 124; burning-in and dodging 400-3; contrast 116-17, 258, 391; digital color correction 407-9; digital editing techniques 437-8; direction of light 138, 139, 140, 166; dynamic range 237; elimination 117; film noir lighting 120-1; negatives 218-19, 258, 391; practicalities of working with 166-7; symbolism 120-1, 122,126; see also darkness; light; shadows
shadow plays 131
shadows 111, 124; Plato’s cave allegory 109-10; and self 126-9; shadow play instructions 166-7; silhouettes 112, 134-6, 165-6; in theater and visual arts 131-6
shallow depth of field 95-6; creation in digital image 97-100
Shane (film) 118
Sharits, Paul 109
sharpness (acutance): digital editing 421-2; film 233; fine art photography 124-5; projected light 146; and shadow 167
Sherman, Cindy 206, 207, 346
Shklovsky, Viktor 42
Shonibare, Yoni 127-8, 127
shooting mode dial/toggle button 85, 88
shutter lag 75, 101, 102
shutter priority mode 101, 153
shutter release buttons 42, 101; digital cameras 85; SLR cameras 82, 84
shutters 5, 6, 100-4; pinhole camera 79, 81
shutter speed dial 82, 101
shutter speeds 100-1, 103, 104, 153
side lighting 138, 139
side-stitch books 44 7-50
sight see eyes; eyes and vision
signs: theory of 129, 350-1, 373; in urban landscape 373-4
silhouettes 112, 131, 132-6, 165-6
silkscreen printing 194-5, 279-83, 34 7
silver and film processing 246, 253
silver gelatin prints 124-5, 223, 275-8
silver halide processors 312
Silverstein, Geoff 429
simulation and reenactment 215
single-lens reflex (SLR) cameras 7, 29; body and parts 82; care and cleaning 78; interchangeable lenses 64, 65; lens and focus 60; and manual control 82, 85, 101; optical viewfinders 54, 55, 82; preparation and operation 83-4; shutter speed 101; viewing systems 55-6; see also digital single-lens reflex (DSLR) cameras
Siskind, Aaron 36-7, 37-8, 37, 38, 45
site-specific video projection 165
6x6cm camera 32
sky filters 241
slide projectors 143, 144, 276, 277
slide shows 339-41
Sligh, Clarissa 363-4, 364
SLR camera see single-lens reflex (SLR) cameras
small-format cameras 42-3, 68-71, 101; specifications 70; see also point-and-shoot cameras
small tank film processing 248-57; black and white film processing 251-7
Smart Objects 434
Smith, Joshua P. 206
Smith, Roberta 329
“snapshot aesthetic” 337, 338
“snips”: genetics and photography 175-6
snoot 149
social documentary style 37-8, 44-5, 352-7; critique 365-6
Socialist Realism 374
social-networking sites 183-4
social science and Great Depression 354-7
softboxes 143, 150, 151
softening digital images 422-3
soft-focus in early images 9
soft proofing digital images 303-4
software see Adobe programs
Solnit, Rebecca 343
Solomon-Godeau, Abigail 44-5, 176, 177, 178-9
solvent image transfers 224-5
Sontag, Susan 3-4, 20, 39, 171, 175
sorting digital images 288-9, 292
source of light 138-40, 390; screenprinting 281; and terminal point 161-2
space: landscape and perspective 25-7
space travel and view 45-6
spectacles 27-8
Spector, Buzz 338, 338
specular lighting 138-9
speech: text and image 372-3, 378-9; verbal critiques 4 71-2
Spengler, Oswald 327
spirit photography 314
split filtration 392, 400
split-toning process 41 O
Spodek, Joshua 464
Spot Healing Brush tool 418,420
spotlights 117-18, 149
spotting technique 416, 417
spray mount adhesives 428
squeegees 281
sRGB color space 237
Stafford, Barbara Maria 29-30
stains on prints 267, 278
stamping techniques 440
stands 150
Stanford, Leland 341, 342-3
Stange, Maren 125, 126
Starn, Mike and Doug 195
start-up time and digital cameras 87
statements and critiques 472
Steichen, Edward 125, 179-80, 186; Family of Man exhibition 321-2, 323
Stein, Sally 48
stenciling techniques 440, 441
stereoscopic camera and images 38, 39, 40-1, 67, 172; homemade images and viewer 67-8
Stevens, Wallace 25-6
Stich, Sidra 122
Stieglitz, Alfred 9-10, 36, 36, 124, 333
still photographs: and focus 9-11; as motion pictures 344-7
stock photography 1 86
stock solutions 246-8
Stoichita, Victor 110, 129, 134, 135
stop baths 254, 256, 265
stops and shutter speed 102
storage: camera 78; chemicals 246, 247-8; film 230-1; negatives 257; photographic papers 264
storage space: and cellphone cameras 76; digital files 89, 284-5, 288-9, 292-6, 307; downloading images 88-9; memory cards and digital cameras 87, 233, 235
straightening digital images 92
straight photography 179
Straub, Rebecca 451
Strand, Paul 9, 10, 109, 124
street photography 126, 365
Street with a View 197, 197
strobe lights 143
Struth, Thomas 324
Stryker, Roy 121, 354-5, 364
studio lighting 35-6; flash lighting 144
Stump, Ulrike Meyer 324
subtractive primaries 405; and filters 240, 242
Sugimoto, Hiroshi 114, 114
sun 33, 34
sunlight 140,141,147
supernatural and symbolism of light 122
supplementary magnification lenses 65-7
surface preparation: handcoloring pencil colors 412; liquid emulsion 276
Surrealism 121-2, 186, 191, 329, 377, 424
surveillance and art photography 332
survey projects and rephotography 205
Susman, Warren 120
symbolism of light and dark 118-23
T
tableaux 121-2, 133, 332-3
tabloid journalism 360
Tagg, John 185, 189
taking pictures: digital camera 88; SLR camera 84
Talbot, William Henry Fox 14-15, 111-12, 112-13, 175-6; The Pencil of Nature 3, 14,113,113,182
tanks see small tank film processing
Tannenbaum, Barbara 12,113
Tanzillo, Michael 138-9, 140
Tasman, Marc 73
Taylor, Chris 25
telephoto lenses 96
television: speed of images 47, 48
Tenner, Edward 27
terminal covers 85
terminal points of light 162-7
testimony: documentary evidence 353
test strips: contact sheets 270; enlargements 273-4; liquid emulsions 277
text formatting 442-3
text and image 349-80; editing techniques 438-45; text in images 374-8, 459
textured papers 264, 276, 299
thaumatropes 38, 39, 462-3
35mm cameras 7; body and parts 82-4; focal length 63; as mechanical eye 41-5
35mm film 7; and digital sensor size 234
35mm slides 339-41
third-party inks 299-300
Thompson, Jenny 213-14
Thompson, Ryan I
Threshold tool 407, 408
TIFF file format 295
time: and composite images 272; and movement of light 148; and perception 343; rephotography and return to past 209-10; and sequences 320, 343, 346-8
time-lapse photography 342
Ting Huan 463
tints and digital images 411-12
Tobier, Nick 91-3, 312
Tobing Rony, Fatima 201, 203
Tolerance adjustment 388
tone 125; digital editing and correction 390, 392-400; dynamic range 237; editing techniques for contrast and tone 390–403; ink sets 306; photographic papers 264, 265, 299, 391-2; pixels and resolution 234; see also contrast
toning process: traditional print toning 404, 409-10
top lighting see overhead lighting
trace of objects in photographs 171, 351
Trachtenberg, Alan 172
Trachtenberg, Jason 340
Trachtenberg, Mark 340
Trachtenberg Family Slideshow Players 340
transfer letters 440
transitional letterforms 438
transparencies 299, 454
travel and new photographic views 45-7
tripods 42; studio lighting stands 150
troubleshooting: liquid emulsion prints 278; negatives 259-61; printing problems 267
truth and photographs 350-3, 357, 358, 364-71; images on Internet 461-2; see also authenticity and reproduction
Tuan, Yi-Fu 11, 19, 25, 26-7
Tudor, Andrew 118
tungsten film 238, 243
tungsten light 142, 143, 147, 241
Turner, J.M.W. 34, 34
Turrell, James 115
tweening 30, 31
twilight 123
Twilight Zone, The (TV series) 123, 346
type and images 438-45
type layers 431, 442, 443–4
typesetting 438-9
typologies: art photography grids 323, 324; human body and typologies 327-9, 368
U
Ueshina, Toshi 205
ultraviolet (UV) filters 240
umbrellas 149, 150
“uncanny” and visual arts 121-2
unconscious 129, 132
underexposure 152-3, 156, 157, 233, 258, 270; and digital tonal adjustment 393, 394
unfocused lens and art photography 12
universal file format 294
up-rating film 259
upsampling digital images 383–4
urbanization: and perception 35-6, 337; personal view of suburbia 361-2; series photographs 326-7; text and signs in urban landscape 373-4
Ut, Nick 209
V
VALIE EXPORT (Waltraud Lehner) 328, 329
Van Dyke, Ben 439, 441
Van Dyke Brown printing 193,278, 364
vanishing point and linear perspective 17
variable contrast filters 391, 392
variable contrast (VC) papers 264, 391-2
Variations tool 406-7
verbal critiques 4 71-2
Verburg, JoAnn 204
video art 347-8, 372-3
Vierkant, Artie xlix
Vietnam war 208
view cameras see large-format cameras
viewfinders 15, 53-7, 82, 86; cellphone cameras 74; viewing systems 55-7, 71, 74, 76, 85, 88; see also lens viewfinder viewing system 55, 56, 85
viewing devices and human vision 51-2
View-Masters 40, 67
viewpoints see points of view
vinyl letters 440-1
virtual reality and reenactment 215
vision: practical equipment 49-105; see also eyes and vision
visual cortex 51
vitreous humor 51
Vladimir 40, 41
voice: handwriting and images 360, 364, 372
void: absence and light 110-11, 114
Voss, Jan 464
voyeurism 40-1, 332
W
Walker, Kara 132–4, 133, 144
Wanner, Andres Iii
Warhol, Andy 220, 312; films 346-7; silkscreen printing 194-5, 194, 347
warm-tone papers 264, 299
warp command 443, 444
war and photography: ethics of reproduction 199-201; recreation of images 208-9; reenactment and authenticity 211-14; soldiers and social networking sites 184
Warren, Lynne 206
washing aids 254-5, 265-6, 277-8
water-based inks in screenprinting 281
water bath processing method 252-3
watercolors and retouching techniques 416
Watkins, Carletori 23, 23
Watney, Simon 44
Watts, Robert 195
Wearing, Gillian 372, 372
web-based artworks 455, 460-1
web portfolios 454-5, 457-61
Weegee 117, 365
Weekly World News 360
Weems,C arrie Mae 367, 368
Weimar period 122, 191
Weinberg, Jonathan 357
Weiss, David 339, 339
Weschler, Lawrence 7
Weston, Edward 10, 11, 36, 124, 176-7, 192,192,347
Weston, Kurt xlviii
wet darkrooms 245, 261-3
wet-plate collodions 182,278
wetting agents 255, 257
Wheatstone, Charles 39
White, Clarence 9
White, Minor 6, 12, 36-7, 333-5, 334, 339
white balance (WB) feature 86, 88, 239, 243-4
“white” light 237, 238, 240, 404
“Whole Earth” images 45-6
wide-angle lenses 66, 96
Wildrick, Kevin 280
Williams, Linda 40-1
Williams, Pat Ward 360, 360
Willis, Anne-Marie 178
Wilson, David and Diana 461-2
window: and linear perspective 18-20; and photographer’s perspective 41
Window Standpoint Series 20, 20
Winogrand, Garry 16, 16
wintergreen oil transfers 221, 223, 224-5, 226
wipe as film technique 346, 347
Wodiczko, Krzysztof 129-30, 130
Wojtowicz, John 211
Wolcott, Marion Post 191
Wolfe, Byron 205
woodcut image transfers 225-8; and mass media 185, 357-8
words and pictures see text and image
work areas for film processing 244-5
work ethic and taking photographs 39
working solutions 246-8
writers and photographers: documentary projects 354, 355-7
written critiques 473
written word see handwriting; text and image
Wurm, Erwin 371-2, 371
XYZ
Yamahata, Yosuke 200, 201, 201
yellowing and paper/ink permanence 300
Yokomizo, Shizuka 20, 198-9, 198
Young, Arthur 32
Zaloom, Paul 144
Zanuck, Daryl F. 358-9
Zealy, J.T. 368
Zen Buddhism 8, 12, 334
Zeno 343
zoetropes 38-9, 132, 463-4
“Zone System” 125, 192
zoom lenses 8, 64-5, 86; and cellphone cameras 75, 76
zoopraxiscope 343