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Ansel Adams Guide Bk. 1 : Basic Techniques of Photography

ISBN: 9780821225752 | 0821225758
Edition: Revised
Format: Paperback
Publisher: Bulfinch
Pub. Date: 4/15/1999

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SummaryTable of ContentsAuthor Biography
With new illustrations and up-to-date information on the latest technological advancements, this essential revised guide for the beginner photographer presents Ansel Adams' unique, systematic approach to photography. 360 photos, 42 in color. 94 line drawings.
Foreword to the Revised Editionxi
Prefacexiii
The Language of Photography
3(18)
A Brief History of Photography
... MORE6(11)
The Birth of Modern Photography
8(2)
Traditions in Photography
10(7)
Photography Today
17(4)
Camera Systems
21(48)
Before You Buy a Camera
21(9)
Deciding Which Camera to Buy
22(1)
What a Camera Is and Does
23(7)
Advanced Photo System (APS) Cameras
30(3)
APS Film Cartridges
30(1)
APS Camera Systems
31(2)
Digital Cameras
33(2)
35mm Cameras
35(9)
35mm Rangefinder Cameras
36(2)
Single-Lens Reflex (SLR) Cameras
38(3)
Advantages and Limitations of 35mm Cameras
41(3)
35mm Cameras: Summing Up
44(1)
Medium-Format Cameras
44(9)
Twin-Lens Reflex (TLR) Cameras
45(1)
Single-Lens Reflex (SLR) Cameras
46(6)
Medium-Format Rangefinder Cameras
52(1)
Large-Format Cameras
53(11)
Large-Format Cameras Types
55(1)
General Considerations for Large-Format Cameras
56(4)
Using a Large-Format Camera
60(2)
Large-Format Cameras: A Summary
62(2)
Summing Up: It's Your Decision
64(5)
Lenses and Accessories
69(36)
What a Lens Does
69(5)
Lens Characteristics
70(4)
What to Look For in a Lens
74(1)
Focal Length
74(9)
Lenses and Composition
83(3)
Aperture and f-stops
86(1)
Depth of Field
87(4)
Combining Aperture Settings with Shutter Speeds
91(4)
Choosing an Appropriate Aperture/Shutter Speed Combination
91(4)
Photographic Accessories
95(7)
Tripods
95(2)
Lens Shades
97(1)
Camera Cases and Bags
98(1)
Miscellaneous Items
98(4)
Caring For Your Equipment
102(3)
Black-and-White Film
105(26)
The Composition of Film
105(1)
Characteristics of Black-and-White Film
106(13)
Film Speed
106(2)
Grain Size
108(3)
Negative Contrast
111(4)
Resolving Power
115(1)
How a Film Responds to Exposure and Development
115(1)
How Black-and-White Films Respond to Colors
116(2)
Choosing the Right Black-and-White Film for Your Purpose
118(1)
Using Filters in Black-and-White Photography
119(7)
Contrast Filters
119(3)
The Filter Factor
122(1)
Special-Purpose Filters
123(3)
Using Filters in Combination
126(1)
Polaroid Films
126(5)
Visualization: The Art of Seeing a Photograph
131(34)
Visualization of a Photograph
132(5)
Characteristics of a Photograph
133(1)
Visual versus Photographic Images
133(2)
Improving Your Skill at Composition
135(2)
Choosing What to Include in Your Photograph
137(5)
Point of View
137(2)
Framing the Image
139(3)
Organizing the Image within the Frame
142(4)
Choosing the Center(s) of Interest
142(2)
Placing the Horizon Line
144(1)
Establishing Near-Far Relationships
144(2)
Time, Timing, and Visualization
146(3)
Time of Day
146(1)
The ``Decisive Moment''
147(2)
Duration of Exposure
149(1)
Visualization of Tones
149(5)
The Wratten #90 Viewing Filter: An Aid to Visualizing Tones
150(1)
Polaroid Black-and-White Films as an Aid to Visualization
151(3)
Comparing Color Transparencies and Black-and-White Prints
154(1)
Visualizing Forms and Tones
154(3)
Learning from Other People's Photographs
157(3)
Practicing Photographic Seeing
160(1)
Visualization: A Summation
161(4)
Determining Film Exposure
165(40)
Light Meters
166(3)
Setting Up and Reading a Light Meter
166(1)
The ``Middle-Gray'' Standard
167(1)
Types of Light Meters
168(1)
Estimating Film Exposure
169(2)
Using the Manufacturer's Guidelines
169(1)
A Useful Rule of Thumb
169(1)
Automatic Exposure Control
170(1)
Using a Reflected-Light Meter
171(2)
Reading Middle Gray with Your Light Meter
171(1)
When Reflected-Light Readings Will Lead You Astray
172(1)
A Closer Look at Print Tones: The Zone System
173(11)
Negative Densities and Print Tones
174(4)
Reference Print Tones of Typical Subjects
178(1)
Using a Tone Other Than Middle Gray As a Reference
178(2)
Print Tones and the Use of a Spot Meter
180(4)
Light Characteristics and Metering Problems
184(4)
Types of Lighting and Their Effects
184(4)
Subject Contrast and Exposure Considerations
188(3)
Low-Contrast Subjects
188(1)
High-Contrast Subjects
189(1)
Preexposure
190(1)
Bellows Extension Factor
191(1)
Exposure with Flash
192(2)
Estimating Exposure with Flash
193(1)
Fill-in Flash
193(1)
The Reciprocity Effect
194(4)
Coupling Lighting Conditions with Development Times
198(3)
Negative Expansion and Contraction: Practical Considerations
200(1)
Film Speed
201(1)
Using a Light Meter in the Field: Summing Up
202(3)
Developing the Negative
205(38)
Film Development: An Overview
206(1)
Development Chemistry: General Considerations
206(7)
Choosing a Developer
206(3)
One-Shot Development or Replenishment?
209(1)
Developer Components
209(1)
The Time-and-Temperature Development Method
210(1)
Stop Bath
211(1)
Fixers
212(1)
Washing Aids
212(1)
Wetting Agents
213(1)
Sleeving and Storing Negatives
213(1)
Processing Roll Film
213(12)
Equipment
213(6)
Procedure for Developing Roll Film
219(6)
Processing Sheet Film
225(9)
Procedure for Developing Sheet Film
229(5)
Rotary Processing of Film
234(1)
Film Processing: A Summary
235(2)
Evaluating a Negative
237(6)
Introduction to Basic Printing
243(38)
The Printing Process
244(14)
Equipment for Printing and Enlarging
245(13)
Photographic Papers
258(7)
Paper Stock
258(1)
Paper Surface
259(1)
Paper Weight
259(3)
Image Tone
262(1)
Paper Speed
262(1)
Paper Contrast Grades
262(1)
Contemporary Papers
263(2)
Chemicals for Printing
265(4)
Developer
265(1)
Stop Bath
265(3)
Fixer
268(1)
Washing Aid
268(1)
Toner
268(1)
Making a Proof Sheet
269(9)
Setting Up the Darkroom
269(3)
Procedure for Making a Proof Sheet
272(6)
Testing Your Safelights
278(3)
Making a Fine Print
281(44)
Examining the Proof Sheet
281(3)
Procedure for Making an Enlargement
284(3)
Evaluating Proof Prints
287(1)
Making and Refining a Work Print
287(1)
Scaling the Contrast of the Printing Paper to the Contrast of the Negative
287(1)
Making a Fine Print
288(27)
Altering Selected Tones by Dodging and Burning
288(6)
Print Size
294(2)
Printmaking: A Detailed Example
296(4)
Toning the Print
300(1)
The Dry-Down Effect
301(1)
Factorial Development
301(3)
Variable-Contrast Printing
304(9)
Postdevelopment Correction Techniques
313(2)
Processing for Permanence
315(1)
The Fine Print: A Summary
316(5)
Caring For Your Prints
321(1)
Mounting and Matting Prints for Presentation
321(1)
Storing Mounted and Unmounted Prints
321(1)
Print Processing: A Summary
322(3)
Color Photography
325(28)
The Role of Color in Photographs
326(6)
Using Color Creatively
329(3)
Visualization in Color Photography
332(4)
Choosing Films and Papers
332(4)
How Color Is Generated in Photographs
336(7)
Color Reproduction
337(1)
Color Emulsions
338(1)
Color Balance
339(4)
Types of Color Films
343(8)
Color Transparency Films
343(4)
Color Negative Films
347(2)
Chromogenic Black-and-White Film
349(2)
Polaroid Color Films
351(1)
Preexposing Color Film
351(2)
Color Film Development and Printing
353(30)
Developing Color Negative Film
354(4)
An Overview of the Development Chemistry
354(1)
Getting Ready to Develop
354(1)
Developing Color Negative Roll Film
355(1)
Developing Color Negative Sheet Film
356(1)
Developing Color Negative Film with the JOBO Processor
357(1)
Developing Color Transparency Film
358(4)
Developing Color Transparencies
358(4)
Color Film Development: Summing Up
362(1)
Equipment for Color Printing
362(11)
Color Printing Papers
362(2)
Color Filters for Printing
364(1)
Color Enlarger Heads
365(1)
Processing Equipment
366(4)
Color Analyzers
370(1)
Equipment for Judging Color Balance
371(1)
Miscellaneous Accessories
371(2)
Safety Equipment and Considerations
373(1)
Printing Color Negatives
373(6)
Making an 8 x 10 Ektacolor Print
373(3)
The Color ``Ring-Around''
376(1)
Using Your ``Standard'' Negative
376(2)
Color Print Stability
378(1)
Making a Black-and-White Print from a Color Negative
379(1)
Printing Color Transparencies
379(2)
Ektachrome Processing
379(1)
The Cibachrome Process
380(1)
Caring For and Displaying Color Prints
381(2)
Mounting Color Prints
381(1)
Displaying Color Prints
381(2)
Field Trips: Applying What You've Learned
383(25)
Searching for Photographic Themes
384(1)
Developing a Strategy
385(2)
Understanding Your Subject
385(1)
Approaching Your Subject
385(1)
Equipment Considerations
385(1)
Getting Started
386(1)
Mission San Xavier del Bac: A Photo Essay
387(8)
Typical Field Trips
395(12)
Summing Up
407(1)
Sources for Quotations by Ansel Adams408(2)
Illustration Credits410(1)
Index411
John P. Schaefer is an active photographer and the author of Basic Techniques of Photography, Book 2. In 1975, as president of the University of Arizona, he was instrumental in founding the Center for Creative Photography, which houses the archives of Ansel Adams, Edward Weston, and many other outstanding photographers. Schaefer was a student, collaborator, and close friend of Ansel Adams and is currently the president of Research Corporation and a Trustee of The Ansel Adams Publishing Rights Trust.

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