Book description
Robert Hirsch’s Exploring Color Photography is the thinking photographer’s guide to color imagemaking. Now in its sixth edition, this pioneering text clearly and concisely instructs students and intermediate photographers in the fundamental aesthetic and technical building blocks needed to create thought-provoking digital and analog color photographs. Taking both a conceptual and pragmatic approach, the book avoids getting bogged down in complex, ever-changing technological matters, allowing it to stay fresh and engaging.
Known as the Bible of Color Photography, its stimulating assignments encourage students to be adventurous and to take responsibility for learning and working independently. The emphasis on design and postmodern theoretical concepts stresses the thought process behind the creation of intriguing images. It’s extensive and inspiring collection of images and accompanying captions allow makers to provide insight into how photographic methodology was utilized to visualize and communicate their objectives.
- The text continues to deliver inspiring leadership in the field of color photography with the latest accurate information, ideas, commentary, history, a diverse collection of contemporary images, and expanded cellphone photography coverage.
- A "Problem Solving and Writing" chapter offers methods and exercises that help one learn to be a visual problem solver and to discuss and write succinctly about the concepts at the foundation of one’s work.
- Exploringcolorphotography.com, the companion website, has been revamped and updated to feature more student and teacher resources, including a new web-based timeline: As It Happened: A Chronological History of Color Photography.
Table of contents
- Cover
- Half Title
- Title Page
- Copyright Page
- Table of Contents
- Preface
- Acknowledgments
- Artist Contributors
- Dedication
-
CHAPTER 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
-
CHAPTER TWO A CONCISE HISTORY OF COLOR PHOTOGRAPHY
- The First Color Photographs: Applied Color Processes
- Direct Color Process: First Experiments
- The Hillotype Controversy
- The 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
- The Subtractive Method
- Primary Pigment Colors
- The Subtractive Assembly Process: Heliography
- The Krōmskōp Triple Camera and Krōmskōp Viewer
- Carbro Process
- Color Halftones
- Dye-Imbibition Process
- The Dye Transfer Process
- Subtractive Film and Chromogenic Development
- Chromogenic Transparency Film
- Chromogenic Negative Film
- C-41: Chromogenic Negative Development
- The Kodachrome Integral Tri-Pack Process
- Additional Color Processes
- Silver Dye-Bleach/Dye-Destruction Process
- Internal Dye Diffusion-Transfer Process
- The Polaroid Process: Diffusion-Transfer
- Color Gains Acceptance
- Amateur Systems Propel the Use of Color
- The Rise of Digital Imaging
- Early Digital Imaging: The Facsimile
- The Birth of Computing
- The 1960s: Art in the Research Lab
- Computers Get Personal
- Digital Imaging Goes Mainstream
- Digital Truth
-
CHAPTER THREE EXPOSING THE LIGHT
- An 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
-
CHAPTER FOUR FILTERING THE LIGHT
- Our Sun: A Continuous Spectrum Source
- Color Temperature and the Kelvin Scale
- Color Temperature Meters
- Color Temperature of Digital Devices
- The 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
-
CHAPTER FIVE SEEING THE LIGHT
- How We See
- Visual Literacy
- Societal Values
- Visual Illiteracy
- The Photographer as a Reconnoiterer
- Visual or Haptic—Which Are You?
- The Work of Viktor Lowenfeld
- Visual-Realist Photographers
- Visual-Realist Working Methods
- Haptic-Expressionist Photographers
- Haptic-Expressionist Working Methods
- Photography’s Visual Transformation
- The Process of Rediscovery
- The Color Key and the Composition Key
- The Color Key
- The Composition Key
- Figure–Ground Relationships
- What Is Figure–Ground?
- Figure–Ground Strategies
- Natural Light
- Good Light and the Camera
- The Time of Day/Types of Light
- The Cycle of Light and Its Basic Characteristics
- The Weather and Color Materials
- Fog and Mist
- Rain
- Dust
- Heat and Fire
- Snow
- Battery Care in Cold Conditions
- Cold Weather Protection
-
CHAPTER SIX THE 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
- The Photographer’s Special License
- The Language of Vision
- Line
- Shape
- Space
- Texture
- Pattern
- Unity and Variety
- Rhythm
- Balance
- Emphasis
- Proportion
- Golden Ratio
- Scale
- Symbolism
- Shapes and General Symbolic Associations
-
CHAPTER 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
- The 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
-
CHAPTER EIGHT THE INTERACTION OF COLOR, MOVEMENT, SPACE, AND TIME
- Searching for Time
- The 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
- The 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
- The Cinematic Framing
- The 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
-
CHAPTER NINE DIGITAL INPUT
- Digital Photography: An Introduction
- Truth and Illusion
- Pixels Form Images
- Differences Between Digital and Film Realism
- Digital and Silver Merge
- The Comparative and the Cultural Eye
- Immateriality of the Digital Image
- A 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
- The 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
-
CHAPTER TEN DIGITAL OUTPUT
- Digital Printing Technology
- Screen Resolution (ppi) and Dot Pitch
- Print Resolution (dpi)
- The Image Window
- Sizing a Digital File
- Interpolation or Resampling
- Equivalent Image Size
- The 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
- Giclée Printing
- Mural-Size Prints
- Mixed Digital Media
- Local Digital Printing Centers
- Service Bureaus
- Film Recorders
- Imagemaking with a Computer
- Stitching and Authoring: QTVR Panoramas
- The 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
- The Computer as Multimedia Platform
- The Internet and the World Wide Web as a Virtual Gallery
- The Chemical, the Virtual, and the Hybrid Darkrooms
-
CHAPTER 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
- The Voltage Stabilizer
- The Enlarging Lens
- The Easel
- The 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
- The Color Ring-Around
- Discover the Method That Works for You
- Burning and Dodging
- Final Decisions and Cropping
- Display and Print Materials
- Prints from Transparencies
-
CHAPTER TWELVE COLOR PROJECTS
- The Camera
- Camera Formats
- The 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
- The Human Form
- Landscape Defined
- Traditional Viewing Concepts
- Photography and the American West
- The Landscape Today
- The 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
- The Effect of Distance
- Stereo Card Size
- Digital 3D Images
- Future Developments
-
CHAPTER THIRTEEN PHOTOGRAPHIC PROBLEM SOLVING AND WRITING
- Deliberate Practice
- Challenging Fear
- Journal Keeping
- Tolerating Failure: Photography Is a Lot Like Baseball
- The 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
-
CHAPTER 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
- The 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
- INDEX
Product information
- Title: Exploring Color Photography, 6th Edition
- Author(s):
- Release date: December 2014
- Publisher(s): Routledge
- ISBN: 9781317911142
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