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Table of Contents:

• Machine generated contents note: ch. One Color Photography Concepts
• Newton's Light Experiment
• Separating Light
• Dual Nature of Light: Heisenberg's Uncertainty Principle
• Young's Theory/RGB
• How We See Color
• How the Brain Sees Color
• Color Blindness
• Young's Theory Applied to Color Photography
• How Film Produces Color
• How Digital Cameras Record Color
• Color Reality
• Absence of Color Film Standards
• Talking About Color
• Color Description
• -Hue, Saturation, and Luminance (HSL)
• Color Relativity
• Color Contrast
• Color Harmony
• Color Observations

• Color Memory
• Color Deceives
• Color Fluctuates
• Subtraction of Color
• Afterimage
• Eye Fatigue: Bleaching
• Reversed Afterimage
• Positive Afterimage
• Cooking with Color
• Color Is a Personal Experience
• ch. Two Concise History Of Color Photography
• First Color Photographs: Applied Color Processes
• Direct Color Process: First Experiments
• Hillotype Controversy
• Additive Theory: First Photographic Image in Color
• Maxwell's Additive Projection Process
• Direct Interference Method of Gabriel Lippmann
• Additive Screen Processes
• Joly Color
• Autochrome
• Paget Colour Plate
• Finlay Colour Processes
• Dufaycolor
• Polachrome
• Additive Equipment
• Additive Enlargers
• Digital Enlargers
• Television
• Subtractive Method
• Primary Pigment Colors
• Subtractive Assembly Process: Heliography
• Kromskop Triple Camera and Kromskop Viewer
• Carbro Process
• Color Halftones
• Dye-Imbibition Process
• Dye Transfer Process
• Subtractive Film and Chromogenic Development
• Chromogenic Transparency Film
• Chromogenic Negative Film
• C-41: Chromogenic Negative Development
• Kodachrome Integral Tri-Pack Process
• Additional Color Processes
• Silver Dye-Bleach/Dye-Destruction Process
• Internal Dye Diffusion-Transfer Process
• Polaroid Process: Diffusion-Transfer
• Color Gains Acceptance
• Amateur Systems Propel the Use of Color
• Rise of Digital Imaging
• Early Digital Imaging: The Facsimile
• Birth of Computing
• 1960s: Art in the Research Lab
• Computers Get Personal
• Digital Imaging Goes Mainstream
• Digital Truth
• ch. Three Exposing The Light
• Exposure Starting Place
• How a Camera Light Meter Works
• Reflective and Incident Light
• How a Histogram Works
• Using a Gray Card
• Camera Metering Methods and Programs
• Matrix Metering/In-Camera Metering Methods
• Utilizing a Camera's Monitor
• Electronic Viewfinder (EVF)
• Brightness/Dynamic Range
• Exposing to the Right
• High Dynamic Range/HDR
• Basic Light Reading Methods
• Average Daylight
• Brilliant/Hard Sunlight
• Diffused/Soft Light
• Dim Light
• Contrast Control/Tone Compensation
• Light Metering Techniques
• Metering the Subject
• Exposing for Tonal Variations
• White Balance
• Color Modes/Spaces
• Image Enhancement Modes/Picture Controls
• Electronic Flash and Basic Fill Flash
• Red Eye
• Unusual Lighting Conditions
• Subject in Bright Light
• Subject in Shadow
• Alternate Solutions: Using a Handheld Meter
• Subject in Dim Light: Long Exposures, Increased ISO, and Digital Aberrations
• Mixed Light
• Reciprocity Law
• Reciprocity Law Failure and Film
• Reciprocity Failure and Its Effect on Color Materials
• ch. Four Filtering The Light
• Our Sun: A Continuous Spectrum Source
• Color Temperature and the Kelvin Scale
• Color Temperature Meters
• Color Temperature of Digital Devices
• Color of Light
• Digital White Balance
• How Film Sees Color
• Daylight Type Film
• Tungsten and Type L Films
• What Does a Physical Filter Do?
• How Filters Work
• Filter Factor
• How Filters Are Identified
• Matching Film to the Light
• Filter Categories for Color Films
• Color Compensating Filters
• Conversion Filters
• Light Balancing Filters
• Correcting Color Balance with Electronic Flash
• Neutral Density Filters
• Reflections: Polarized and Unpolarized Light
• What a Polarizing Filter Can Do
• Using a Polarizer
• Linear and Circular Polarizers
• Ultraviolet Light Filters
• Special Effects Filters
• Homemade Colored and Diffusion Filters
• Digital Filters and Plugins
• Fluorescent and Other Gas-Filled Lights
• High-Intensity Discharge Lamps/Mercury and Sodium Vapor Sources
• Testing for a Critical Neutral Color Match
• Why a Color May Not Reproduce Correctly
• Color Crossover
• Taking Chances
• ch. Five Seeing The Light
• How We See
• Visual Literacy
• Societal Values
• Visual Illiteracy
• Photographer as a Reconnoiterer
• Visual or Haptic
• -Which Are You?
• Work of Viktor Lowenfeld
• Visual-Realist Photographers
• Visual-Realist Working Methods
• Haptic-Expressionist Photographers
• Haptic-Expressionist Working Methods
• Photography's Visual Transformation
• Process of Rediscovery
• Color Key and the Composition Key
• Color Key
• Composition Key
• Figure
• Ground Relationships
• What Is Figure
• Ground?
• Figure
• Ground Strategies
• Natural Light
• Good Light and the Camera
• Time of Day/Types of Light
• Cycle of Light and Its Basic Characteristics
• Weather and Color Materials
• Fog and Mist
• Rain
• Dust
• Heat and Fire
• Snow
• Battery Care in Cold Conditions
• Cold Weather Protection
• ch. Six Visual Language Of Color Design
• Seeing Is Thinking
• What Is a Good Photograph?
• Discovering What You Have to Say
• Effective Photographs Communicate
• Putting It All Together
• Working Subtractively
• Point of Departure
• Photographer's Special License
• Language of Vision
• Line
• Shape
• Space
• Texture
• Pattern
• Unity and Variety
• Rhythm
• Balance
• Emphasis
• Proportion
• Golden Ratio
• Scale
• Symbolism
• Shapes and General Symbolic Associations
• ch. Seven Color Strategies
• Defining the Subject: Angle of View
• Wonderment: Breaking the Eye-Level Habit
• Working Methods
• Working the Angles
• Depth of Field: Selective Focus
• Contrast with Color
• Complementary Colors
• Warm and Cool Colors
• Creating Color Contrast
• Color Harmony
• Harmony Is Subjective
• Creating Harmony
• Dominant Color
• Simplicity
• Maintaining a Strong Composition
• Isolated Use of Color
• Executing a Plan: Being Prepared
• Monochrome
• Personal Nature of Monochrome
• Environmental Color Contamination
• Aerial Perspective
• Perspective
• Perspective Control
• Converging Lines
• Subdued Color
• Working Techniques
• Opposites: Colors Attract and Repel
• Overcoming Color Bias
• Pairs of Contrast
• Counterpoints
• ch.
• Eight Interaction Of Color, Movement, Space, And Time
• Searching for Time
• Flow of Time
• Mastering Digital Layers
• Controlling Photographic Time
• Breaking Away from 1/125-Second Mentality
• Breaking into Digital Blur and Motion Effects
• Stop Action
• Electronic Flash and Dim Light
• Blurred and Out-of-Focus Images
• Pan Shot
• Moving the Film
• Equipment Movement
• Free-Form Camera Movement
• Electronic Flash and Slow Shutter Speed
• Extended Time Exposures
• Rephotography
• Multiple Exposures
• Layering Multiple Images Together
• Expose the Same Roll Twice
• Painting with Light
• Slide Projection
• Postvisualization
• Moving the Easel
• Moving the Fine Focus
• Painting the Print with Light
• Multiple Exposure Using One Negative
• Combination Printing
• Multiple Filter Packs
• Cinematic Framing
• Matrix-Grid
• Many Make One
• Contact Sheet Sequence
• Joiners
• Slices of Time
• Composite Pictures
• Photographic Collage
• Three-Dimensional Photographs
• Photo-Based Installations
• Public Art
• Appropriation: Where Does Art Come From?
• Mashup: Collaborative Images
• Penetrating the Photographic Mirror
• ch. Nine Digital Input
• Digital Photography: An Introduction
• Truth and Illusion
• Pixels Form Images
• Differences Between Digital and Film Realism
• Digital and Silver Merge
• Comparative and the Cultural Eye
• Immateriality of the Digital Image
• Digital Conundrum: What is the Original?
• What Constitutes Reality?
• Digital Differences
• Appropriation, Stock Images, and Copyright Issues
• Pixels and Silver Crystals
• Digital Cameras
• Cellphone Cameras
• Cellphone Photography vs. Waiting
• Mobile Advantages
• High Dynamic Range (HDR) Photography
• Visual Acuity and 300 dpi
• Digital Camera Features
• Resolution
• LCD Monitor
• Lens Coverage, Depth of Field, and Bokeh
• Digital ISO
• White Balance
• Color Modes/Picture Controls
• Optical and Digital Zoom
• Memory Buffer
• Removable Camera Memory Storage
• High-Definition (HD) Video
• Digital Camera File Formats
• Compression Algorithms: Lossless and Lossy
• JPEG
• TIFF
• RAW Capture: The Digital Negative
• RAW Pros and Cons
• Storage Media for Final Image Files
• Compact Disk (CD) and Digital Versatile Disk (DVD)
• Mechanical Storage: Hard Drives
• Solid-State Storage: Hard Drives, USB Drives, and Flash Memory Media
• Cloud Storage and Cloud Computing
• Scanners
• Flatbed and Film Scanners
• Digital Camera Backs
• Drum Scanners
• Scanning Guidelines
• ch. Ten Digital Output
• Digital Printing Technology
• Screen Resolution (ppi) and Dot Pitch
• Print Resolution (dpi)
• Image Window
• Sizing a Digital File
• Interpolation or Resampling
• Equivalent Image Size
• Contents note continued: Real Size of a Digital Negative or Image File
• Printers, Inks, and Paper
• Inkjet Printers: DPI to Dots to More Dots
• Inkjet Inks
• Paper: Uncoated and Coated
• Paper Brightness and Optical Brightening Agents (OBAs)
• Paper Materials
• Paper Surface
• Paper Weight
• Paper Finishes
• Textured Paper
• Print Permanence
• Printing Methods and Output Issues
• Laser Printing
• LightJet
• Iris Print
• Giclee Printing
• Mural-Size Prints
• Mixed Digital Media
• Local Digital Printing Centers
• Service Bureaus
• Film Recorders
• Imagemaking with a Computer
• Stitching and Authoring: QTVR Panoramas
• Color Monitor
• How Monitors Show Color
• Image Processing/Editing
• Adjusting Color Balance with Curves
• Software and Imaging Applications
• Raster/Bitmapped Software
• Vector Software
• Basic Digital Imaging Categories and Tools
• Top Main Menu Bar Options
• Toolbar Icons for Additional Photo Editing
• Common Photoshop Toolbar Icons
• Digital Memory
• RAM
• ROM
• Hard Disk
• Cloud Storage and Cloud Computing
• Computer as Multimedia Platform
• Internet and the World Wide Web as a Virtual Gallery
• Chemical, the Virtual, and the Hybrid Darkrooms
• ch. Eleven Analog Workflow: Color Films And Printing
• Transparency Film
• Characteristic Advantages
• Disadvantages of Transparencies
• How Transparency Film Works
• E-6 Processing
• Temperature Control
• Diversity of Films
• Film Speed
• Amateur and Professional Films Compared
• Daylight and Tungsten Films
• Transparency Viewing and Duplication
• Transparency Duplication
• Color Negative Film
• Color Negative Film Characteristics
• Negative Film Construction
• C-41 Process: Chromogenic Development of Negative Film
• How the Chromogenic Color Print Process Works
• C-Print Misnomer
• Film Speed, Format, and Grain
• Chromogenic Black-and-White Film
• Scanning Negatives
• Instant Photography
• Instant Formats: Fuji and The Impossible Project
• Diffusion-Transfer
• Instant Image Transfer Method
• Instant Image Emulsion Transfer
• Special Films and Processes
• Cross-Processing/Slides as Negatives
• Litho Film: Bas-Relief
• X-Ray Equipment at Airport Security
• Analog Output: Basic Equipment and Ideas for Color Printing
• Enlargers
• Enlarging Filters
• Voltage Stabilizer
• Enlarging Lens
• Easel
• Safelight
• Color Printing Notebook
• Safety
• Principles of Subtractive Printing: The Qualities of White Light
• Neutral Density
• Color Paper Types
• Paper Handling
• Changes in Paper Emulsion
• Contact Printing
• Making A Contact Print/Determining Correct Exposure
• Print Evaluation
• Utilizing Viewing Filters
• Color Ring-Around
• Discover the Method That Works for You
• Burning and Dodging
• Final Decisions and Cropping
• Display and Print Materials
• Prints from Transparencies
• ch. Twelve Color Projects
• Camera
• Camera Formats
• Pinhole Camera and Birth of the Camera
• How the Camera Works: Circles of Confusion
• Building a Pinhole Camera
• Converting a 35mm Camera to a Pinhole Camera
• Self-Portraits/Selfies
• View from Within/Portrait as Social Identity
• Human Form
• Landscape Defined
• Traditional Viewing Concepts
• Photography and the American West
• Landscape Today
• Power of Nature: Visceral vs. Theoretical
• Still Life
• Close-Ups: The Macro Lens
• Internal Color Events: Evoking Inner Realities
• Fabricating Photographic Reality
• Photographs and Words
• Photographs from a Screen
• Handmade Photography
• Methods
• Inkjet Transfers
• Artists' Books and Albums
• Individual Problem Solving
• Guide to Evaluation
• -Before Photographing
• Guide to Evaluation
• -After Photographing
• Photograms
• Chemigrams
• Non-Silver Approaches
• Postcards
• Stereoscopic Photography
• How the Stereo Effect Is Achieved
• Effect of Distance
• Stereo Card Size
• Digital 3D Images
• Future Developments
• ch. Thirteen Photographic Problem Solving And Writing
• Deliberate Practice
• Challenging Fear
• Journal Keeping
• Tolerating Failure: Photography Is a Lot Like Baseball
• Problem-Solving Process
• Birth of a Problem
• Acceptance
• Analysis
• Definition
• Idea Formation and The Possibility Scale
• Selection
• Operation
• Evaluation
• Results
• Understanding Photography's Roles
• Writing About Images
• Writing an Artist's Statement
• ch. Fourteen Presentation And Preservation
• Digital Retouching and Repair
• Analog Spotting: Chromogenic Prints
• Repairing Scratches
• Fixing Mistakes
• Spray Lacquers
• Waxing a Print
• Archival Presentation
• Presentation Materials
• Dry and Wet Mounting
• Dry Mounting Process
• Cold Mounting
• Floating a Print
• Frames
• Unusual Frames and Presentations
• Portfolios
• Self-Publishing: Print-on-Demand
• Images on a Screen: Web Sharing
• Website Design/HTML
• Print Preservation
• Factors Affecting Print Stability
• Print Display Environment
• Storage Environment
• Digital Archives
• Transferring Film-Based Images to a Digital Format
• Long-Term Storage and Migrating Digital Archives
• Post-Production Software: Lightroom
• Cataloging Image Files
• Digital Print Stability
• Camera Copy Work
• Lens Selection: Macro Lens/Mode
• Copy Lighting
• Copy Exposure
• Presenting Your Work
• Ensuring a Good Welcome
• Shipping
• Copyright of Your Own Work
• Where to Send Work
• APPENDIX
• Safety In The Digital Studio And Analog Darkroom.

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Author/Creator:

Hirsch, Robert, 1949- , author

Contributors:

Erf, Greg , contributor

Languages:

English

Language Notes:

Item content: English

Main Work:

Exploring color photography: from film to pixels [by Hirsch, R.]

Subjects:

Color photography

General Notes:

Includes bibliographical references and index.
Electronic reproduction. Ipswich, MA Available via World Wide Web.
Description based on print version record.

Physical Description:

1 online resource.

Digital Characteristics:

text file

Call Numbers:

TR510 .H65 2015

ISBNs:

9781315849867 (electronic bk.)
1315849860 (electronic bk.)
9780415730921 [Invalid]
0415730929 [Invalid]
9780415730952 [Invalid]
0415730953 [Invalid]

OCLC Numbers:

898770983

Other Control Numbers:

929038 (source: EbpS)
[Unknown Type]: ybp12219043