For introductory and advanced courses in Photography.   The London, Upton, Stone series has helped over 1,000,000 photography students capture their potential. And Photography, 10e is the most comprehensive, up-to-date resource for today's photography students. No other text teaches students the skills they need to use the medium confidently and effectively, while emphasizing both technique, visual awareness, and the latest technologies. This is the text that students will want to keep for years to come.  

Table of Contents:
Preface...................................................viii   Chapter 1: Getting Started...........................2   Introducing the Camera . . . . . . . . . . . . . . . . . . . . .4 Getting Your Camera Ready . . . . . . . . . . . . . . . . . 5 Focusing and Setting the Exposure . . . . . . . . . . .6 Taking Your Picture . . . . . . . . . . . . . . . . . . . . . . . .8 What Will You Photograph? . . . . . . . . . . . . . . . . . 9 Some Basic Guidelines to Get You Started . . . . . . . . .9 Photographing People . . . . . . . . . . . . . . . . . . . . . . .10 Photographing Places . . . . . . . . . . . . . . . . . . . . . . .12   Chapter 2: Camera.....................................14   Basic Camera Controls . . . . . . . . . . . . . . . . . . . . .16 The Shutter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18 The Shutter and Light . . . . . . . . . . . . . . . . . . . . . . .18 The Shutter and Motion . . . . . . . . . . . . . . . . . . . . . .20 Conveying Motion in a Still Photograph . . . . . . . . . .22 The Aperture . . . . . . . . . . . . . . . . . . . . . . . . . . . .24 The Aperture and Light . . . . . . . . . . . . . . . . . . . . . .24 The Aperture and Depth of Field . . . . . . . . . . . . . .26 Using Shutter and Aperture Together . . . . . . . .28 Choosing a Camera . . . . . . . . . . . . . . . . . . . . . . . .30 Keeping the Camera Steady . . . . . . . . . . . . . . . .33 Photographer at Work Photojournalist James Nachtwey . . . . . . . . .34   Chapter 3: Lens........................................36   From Pinhole to Lens . . . . . . . . . . . . . . . . . . . . .38 Lens Focal Length . . . . . . . . . . . . . . . . . . . . . . . .40 Normal Focal Length . . . . . . . . . . . . . . . . . . . . . . . .42 Long Focal Length . . . . . . . . . . . . . . . . . . . . . . . . . .44 Short Focal Length . . . . . . . . . . . . . . . . . . . . . . . . .46 Zoom Lenses . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48 Special-Purpose Lenses . . . . . . . . . . . . . . . . . . . .49 Focusing Your Lens . . . . . . . . . . . . . . . . . . . . . . .50 Manual Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50 Automatic Focus . . . . . . . . . . . . . . . . . . . . . . . . . . .52 Focus and Depth of Field . . . . . . . . . . . . . . . . . .54 Controlling Depth of Field . . . . . . . . . . . . . . . . . . . .56 Zone Focusing . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58 Focusing on the Hyperfocal Distance . . . . . . . . . . . .59 Perspective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60 Guidelines for Buying a Lens . . . . . . . . . . . . . . .62 Getting the Most from Your Camera and Lens . . . . . . . . . . . . . . . . . . . . . . . . . . . . .63 Photographer at Work: Documentary Photographer Mary Ellen Mark . . . . . . . . . . . . . . . . . . . . .64   Chapter 4: Exposure, Sensors, and Film....66   Exposure Basics . . . . . . . . . . . . . . . . . . . . . . . . . .68 Equivalent Exposures . . . . . . . . . . . . . . . . . . . . . . .68 How Exposure Meters Work . . . . . . . . . . . . . . . . . . .69 In-Camera Exposure Meters . . . . . . . . . . . . . . . . . .70 Automatic Exposure . . . . . . . . . . . . . . . . . . . . . . . .71 How to Meter . . . . . . . . . . . . . . . . . . . . . . . . . . . .72 An Overall Reading of a Scene with Average Tones . . . . . . . . . . . . . . . . .72 Using Different Types of Meters . . . . . . . . . . . . . . .73 Metering High-Contrast Scenes . . . . . . . . . . . . . . . .74 Exposing for Specific Tones and Bracketing . . . . . . . . . . . . . . . . . .  . . .76 Hard-to-Meter Scenes . . . . . . . . . . . . . . . . . . . . . . .77 Responding to Light . . . . . . . . . . . . . . . . . . . . . .78 Silver and Pixels . . . . . . . . . . . . . . . . . . . . . . . . . . .78 Selecting and Using Film . . . . . . . . . . . . . . . . . . .79 Exposure Latitude and Dynamic Range . . . . . . .80 How Much Can Exposures Vary? . . . . . . . . . . . . . . .80 Film and Sensor Speed . . . . . . . . . . . . . . . . . . . .82 Speed and ISO . . . . . . . . . . . . . . . . . . . . . . . . . . . .82 Grain and Noise . . . . . . . . . . . . . . . . . . . . . . . . . . .83 Using Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . .84 Polarizing Filters . . . . . . . . . . . . . . . . . . . . . . . . . . .86 Extending Beyond Visible Light . . . . . . . . . . . . .87 Infrared Photographs . . . . . . . . . . . . . . . . . . . . . . .87 Using Exposure . . . . . . . . . . . . . . . . . . . . . . . . . . .88 Photographer at Work: Advertising Photographer Clint Clemens . . . . . . . . . . . . . . . . . . . . . . . .90   Chapter 5: Developing a Negative.....................92   How to Process Black-and-White Roll Film . . . . . . . . . .. . . .94 Equipment and Supplies You’ll Need . . . . . . . . . . . .94 Processing Chemicals and How to Handle Them . . . . . . . . . . . . . . . . . . .95 Chemical Safety . . . . . . . . . . . . . . . . . . . . . . . . . . . .96 Processing Black-and-White Roll Film Step by Step . . . . . . . . . . . . . . .98 How Film Processing Affects Your Picture . . . . . . . . . . . . . . . . . . .104 Exposure and Development: Under, Normal, Over . . . . . . . . . . . . . . . . . . .106   Chapter 6: Printing in a Darkroom......................108   Black-and-White Printing . . . . . . . . . . . . . . . . .110 Equipment and Supplies for Printing . . . . . . . . . . .110 The Enlarger . . . . . . . . . . . . . . . . . . . . . . . . . . . . .112 Printing Papers . . . . . . . . . . . . . . . . . . . . . . . . . . .114 Making a Black-and-White Print Step by Step . . . . . . . . . . .. . . . . . .116 A Contact Sheet: A Whole Roll at Once . . . . . . . . . .116 Setting Up an Enlargement . . . . . . . . . . . . . . . . . .118 A Test Strip for Your Print . . . . . . . . . . . . . . . . . . .120 A Trial Print–and Then a Final Print . . . . . . . . . .121 Processing a Black-and-White Print . . . . . . . . . . . .122 Evaluating Density and Contrast in a Print . . . . . . . .  . . . . . . . . .126 Controlling Contrast . . . . . . . . . . . . . . . . . . . . . .128 Graded- and Variable-Contrast Papers . . . . . . . . .128 Dodging and Burning . . . . . . . . . . . . . . . . . . . . .130 Cropping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .132 Archival Processing for Maximum Permanence . . . . . . . . . . . . . . . . . . . . . . . . . .133 Toning for Color and Other Effects . . . . . . . . . .134   Chapter 7: Color.........................................136   Color: Additive or Subtractive . . . . . . . . . . . . .138 Color Photographs: Three Image Layers . . . . .139 Color Characteristics . . . . . . . . . . . . . . . . . . . . .140 Color Balance . . . . . . . . . . . . . . . . . . . . . . . . . . .142 Color Changes throughout the Day . . . . . . . . . . . .142 Color Casts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .144 Color Temperature . . . . . . . . . . . . . . . . . . . . . . . .145 Filters to Balance Color with Film . . . . . . . . . . . . .146 Making a Color Print From a Negative . . . . . . .148 Equipment and Materials You’ll Need . . . . . . . . . . .148 Exposing a Test Print . . . . . . . . . . . . . . . . . . . . . .149 Judging Color Balance in a Print Made from a Negative . . . . . . . . . . . . . . . . . .150 Photographer at Work: Another Angle on Sports— Walter Iooss, Jr. . . . . . . . . . . . . . . . . . . . . .152   Chapter 8: Setting up a Digital Darkroom.........154   Hardware and Software . . . . . . . . . . . . . . . . . . .156 An Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . .156 Capturing Detail: Resolution and Bit Depth . . . . . .157 Photographs Are Files . . . . . . . . . . . . . . . . . . . .158 File Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . .158 Color Management . . . . . . . . . . . . . . . . . . . . . . .160 Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .162 Color or Black and White? . . . . . . . . . . . . . . . . . . .162 Histograms . . . . . . . . . . . . . . . . . . . . . . . . . . . . .164 Anatomy of a Digital Image . . . . . . . . . . . . . . . . . .164 Three Histograms for Color . . . . . . . . . . . . . . . . . .165 Importing Your Images . . . . . . . . . . . . . . . . . . .166 Downloading from a Camera . . . . . . . . . . . . . . . . .166 Making a Scan . . . . . . . . . . . . . . . . . . . . . . . . . . . .167 Setting Up a Workflow . . . . . . . . . . . . . . . . . . . .168 Workflow Applications . . . . . . . . . . . . . . .169 Photographer at Work: Digital Storyteller Pedro Meyer . . . . . . . . .170   Chapter 9: Image Editing.............................172   Digital Post-Processing: Getting Started . . . . . . . . . . . . . . . . . . . . . .174 Choosing Software . . . . . . . . . . . . . . . . . . . . . . . .174 Your Work Area and Tools . . . . . . . . . . . . . . . . . . .175 An Image-Editing Workflow . . . . . . . . . . . . . . . 176 A Step-by-Step Process . . . . . . . . . . . . . . . . . . . . .176 Adjusting Color and Value . . . . . . . . . . . . . . . . .178 Different Approaches . . . . . . . . . . . . . . . . . . . . . .178 Using Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . .179 Curves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .180 Adjusting All or Part of an Image . . . . . . . . . .182 Selection Tools . . . . . . . . . . . . . . . . . . . . . . . . . . .182 Using Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . .183 Other Editing Commands . . . . . . . . . . . . . . . . . .184 High Dynamic Range . . . . . . . . . . . . . . . . . . . . . . .184 Filters for Special Effects . . . . . . . . . . . . . . . . . . . .185 Sharpening . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .186 Retouching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .187 Compositing . . . . . . . . . . . . . . . . . . . . . . . . . . . 188 Photographer at Work: RetouchShoppe— Scalese and Villarreal . . . . . . . . . . . . . . .190   Chapter 10: Digital Printing......................192   Printers and Printing . . . . . . . . . . . . . . . . . . . . .194 Printer Choices . . . . . . . . . . . . . . . . . . . . . . . . . . .194 Drivers and RIPs . . . . . . . . . . . . . . . . . . . . . . . . . .195 Profiles and Soft Proofing . . . . . . . . . . . . . . . . . . .196 Papers and Inks . . . . . . . . . . . . . . . . . . . . . . . . . .197 Printing Options . . . . . . . . . . . . . . . . . . . . . . . . .198 Panoramic Photographs . . . . . . . . . . . . . . . . . . . .198 Printing in Black and White . . . . . . . . . . . . . . . . . .200 Displaying Your Work . . . . . . . . . . . . . . . . . . . . .202 The Internet–Gallery and Resource . . . . . . . . . . .202 Ethics: How Far Can You Go? . . . . . . . . . . . . . .203   Chapter 11: Organizing and Storing Your Work.....204   Image Storage . . . . . . . . . . . . . . . . . . . . . . . . . .206 Size Matters . . . . . . . . . . . . . . . . . . . . . . . . . . . . .206 Metadata: Data About Your Files . . . . . . . . . . .207 Software to Keep You Organized . . . . . . . . . . .208 Archiving Digital Images . . . . . . . . . . . . . . . . . .209 Archiving Film and Prints . . . . . . . . . . . . . . . . .210   Chapter 12: Print Finishing and Display.........212   Spotting to Remove Minor Flaws . . . . . . . . . . .214 Mounting a Print . . . . . . . . . . . . . . . . . . . . . . . .215 Equipment and Supplies You’ll Need . . . . . . . . . . .215 Dry Mounting . . . . . . . . . . . . . . . . . . . . . . . . . . . .216 Cutting an Overmat . . . . . . . . . . . . . . . . . . . . . . . .218 Framing and Glazing . . . . . . . . . . . . . . . . . . . . . . .219   Chapter 13: Lighting.................................220   Direction of Light . . . . . . . . . . . . . . . . . . . . . . . .222 Degree of Diffusion: From Hard to Soft Light . . . . . . . . . . . . . . . .224 Available Light—Outdoors . . . . . . . . . . . . . . . .226 Available Light—Indoors . . . . . . . . . . . . . . . . .227 Artificial Light . . . . . . . . . . . . . . . . . . . . . . . . . .228 Lights and Other Lighting Equipment . . . . . . . . . .228 Qualities of Artificial Light . . . . . . . . . . . . . . . . . . .229 The Main Light: The Dominant Source . . . . . . .230 The Fill Light: To Lighten Shadows . . . . . . . . .232 Lighting with Flash . . . . . . . . . . . . . . . . . . . . . .234 Flash Equipment . . . . . . . . . . . . . . . . . . . . . . . . . .235 Basic Flash Techniques . . . . . . . . . . . . . . . . . . . . .236 Manual Flash Exposures . . . . . . . . . . . . . . . . . . . .238 Automatic Flash Exposures . . . . . . . . . . . . . . . . . .239 Fill Flash: To Lighten Shadows . . . . . . . . . . . . . . . .240 Controlling Background Brightness . . . . . . . . . . . .242 Simple Portrait Lighting . . . . . . . . . . . . . . . . . .244 Multiple-Light Portrait Setups . . . . . . . . . . . . .246 Lighting Textured Objects . . . . . . . . . . . . . . . . .248 Lighting Reflective Objects . . . . . . . . . . . . . . . .249 Lighting Translucent Objects . . . . . . . . . . . . . .250 Using Lighting . . . . . . . . . . . . . . . . . . . . . . . . . .251 Photographer at Work Dance Photographer Lois Greenfield . . . .252   Chapter 14: Extending the Image..........254   Using Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . .256 Pictures Very Large and Very Small . . . . . . . . . . . .256 Multiple Images . . . . . . . . . . . . . . . . . . . . . . . .258 More is Better . . . . . . . . . . . . . . . . . . . . . . . . . . . .258 Fabricated to be Photographed . . . . . . . . . . . .260 The Photograph as Object . . . . . . . . . . . . . . . .262 Using Projections . . . . . . . . . . . . . . . . . . . . . . . .264 Making a Book . . . . . . . . . . . . . . . . . . . . . . . . . .265 Alternative Processes . . . . . . . . . . . . . . . . . . . .266 Cyanotype Printing . . . . . . . . . . . . . . . . . . . . . . . .266 Platinum and Palladium Printing . . . . . . . . . . . . . .267 Gum Bichromate Printing . . . . . . . . . . . . . . . . . . . .268 A Sabattier Image: Part Positive, Part Negative . . . .  . .269 A Photogram: A Cameraless Picture . . . . . . . . . . .270 Pinhole Photography . . . . . . . . . . . . . . . . . . . . .272 How to Make a Close-Up Photograph . . . . . . .274 Close-Up Exposures . . . . . . . . . . . . . . . . . . . . . . .275 Copying Techniques . . . . . . . . . . . . . . . . . . . . . .276   Chapter 15: View Camera........................278   Inside a View Camera . . . . . . . . . . . . . . . . . . . .280 View Camera Movements . . . . . . . . . . . . . . . . .282 Rise and Fall . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282 Shift . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .284 Tilt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .286 Swing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .288 Using a View Camera to Control the Image . . .290 Controlling the Plane of Focus . . . . . . . . . . . . . . .291 Controlling Perspective . . . . . . . . . . . . . . . . . . . . .292 Equipment You’ll Need . . . . . . . . . . . . . . . . . . .294 What to Do First—and Next . . . . . . . . . . . . . . .295 Loading and Processing Sheet Film . . . . . . . . .296   Chapter 16: The Zone System.................298   The Zone System Scales . . . . . . . . . . . . . . . . . .300 Using the Zone Scale While Metering . . . . . . .302 Placing a Tone, Seeing Where Other Tones Fall . . .302 How Development Controls Contrast . . . . . . . .304 Putting It All Together . . . . . . . . . . . . . . . . . . .306 Roll Film and Color Film . . . . . . . . . . . . . . . . . . . . .307   Chapter 17: Seeing Photographs.............308   Basic Choices . . . . . . . . . . . . . . . . . . . . . . . . . . .310 Content . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .310 Framing the Subject . . . . . . . . . . . . . . . . . . . . . . .312 Backgrounds . . . . . . . . . . . . . . . . . . . . . . . . . . . . .314 Basic Design . . . . . . . . . . . . . . . . . . . . . . . . . . . .316 Spot/Line . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .316 Shape/Pattern . . . . . . . . . . . . . . . . . . . . . . . . . . . .318 Emphasis/Balance . . . . . . . . . . . . . . . . . . . . . . . . .320 More Choices . . . . . . . . . . . . . . . . . . . . . . . . . . .322 Using Contrasts of Sharpness . . . . . . . . . . . . . . . .322 Using Contrasts of Light and Dark . . . . . . . . . . . .324 Placing the Subject within the Frame . . . . . . . . . . .326 Perspective and Point of View . . . . . . . . . . . . . . . .328 Looking at—and Talking About— Photographs . . . . . . . . . . .330 Showing Your Work to Editors and Others . . . . . . . . . . . . . . . .332   Chapter 18: History of Photography...............334   The Invention of Photography . . . . . . . . . . . . .336 Daguerreotype: “Designs on Silver Bright” . . . . . . . . . . . . .337 Calotype: Pictures on Paper . . . . . . . . . . . . . . .338 Collodion Wet-Plate: Sharp and Reproducible . . . . . . . . . . . . . . . .339 Gelatin Emulsion/Roll-Film Base: Photography for Everyone . . . . . . . . . . . . . .340 Color Photography . . . . . . . . . . . . . . . . . . . . . . .341 Early Portraits . . . . . . . . . . . . . . . . . . . . . . . . . .342 Early Travel Photography . . . . . . . . . . . . . . . . .344 Early Images of War . . . . . . . . . . . . . . . . . . . . .345 Time and Motion in Early Photographs . . . . . .346 The Photograph as Document . . . . . . . . . . . . .347 Photography and Social Change . . . . . . . . . . . .348 Photojournalism . . . . . . . . . . . . . . . . . . . . . . . . .350 Photography as Art in the 19th Century . . . . . . . . . . . . . . . . . . .354 Pictorial Photography and the Photo-Secession . . . . . . . . . . . . . . .355 The Direct Image in Art . . . . . . . . . . . . . . . . . . .356 The Quest for a New Vision . . . . . . . . . . . . . . .357 Photography as Art in the 1950s and 1960s . . . . . . . . . . . . . . .358 Photography as Art in the 1970s and 1980s . . . . . . . . . . . . . . .360 Digital Photography Becomes Mainstream . . . . . . . . . . . . . . . . . .362 A Gallery of Contemporary Photography . . . . . . . . . . . . . . . . . . . . . . . . .364   Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . .380 Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .391 Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . .396 Credits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .400 Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .402