MARC Record from harvard_bibliographic_metadata

LEADER: 09214cam a22003494a 4500
001 010163978-3
005 20061129162636.0
008 010405s2002 nyua b 001 0 eng
010 $a 2001031314
020 $a0130282715
035 0 $aocm46713247
040 $aDLC$cDLC$dOCLCQ$dBAKER$dMH-FA
042 $apcc
050 00 $aTR145$b.P475 2002
082 00 $a770$221
245 00 $aPhotography /$cBarbara London ... [et al.].
250 $a7th ed.
260 $aUpper Saddle River, N.J. :$bPrentice Hall,$c2002.
300 $avii, 426 p. :$bill. (some col.) ;$c28 cm.
504 $aIncludes bibliographical references (P. 416-419) and index.
505 00 $tPreface --$g1.$tGetting started --$tCamera and film --$tLoading film into the camera --$tFocusing and setting the exposure --$tTaking your picture --$tWhat will you photograph? --$tSome basic guidelines to get you started --$tPhotographing people --$tPhotographing places --$g2.$tCamera --$tBasic camera controls --$tThe shutter --$tThe shutter and light --$tThe shutter and motion --$tConveying motion in a still photograph --$tThe aperture --$tThe aperture and light --$tThe aperture and depth of field --$tUsing shutter and aperture together --$tChoosing a camera --$tSpecial-purpose cameras --$tKeeping the camera steady --$tPhotographer at work : photojournalist James Nachtwey --$g3.$tLens --$tFrom pinhole to lens --$tLens focal length --$tNormal focal length --$tLong focal length --$tShort focal length --$tZoom lenses --$tSpecial-purpose lenses --$tManual focus --$tAutomatic focus --$tFocusing your lens --$tFocus and depth of field --$tControlling depth of field --$tZone focusing --$tFocusing on the hyperfocal distance --$tPerspective --$tHow to make a close-up photograph --$tClose-up equipment --$tClose-up exposures --$tGuidelines for buying a lens --$tGetting the most from your camera and lens.
505 00 $g4.$tLight and film --$gSelecting and using film --$tFilm speed --$tFilm speed and grain --$tFast film -- when speed is essential --$tMedium-speed and slow films -- for maximum detail --$tInstant films --$tHow film responds to light --$tCharacteristic curves --$tHow black-and-white film records color --$tInfrared film --$tUsing filters --$tPhotographer at work : another angle on sports -- Walter Iooss --$g5.$tExposure --$tExposure basics --$tEquivalent exposures --$tHow exposure meters work --$tIn-camera exposure meters --$tAutomatic exposure --$tHow to meter --$tAn overall reading of a scene with average tones --$tUsing different types of meters --$tMetering high-contrast scenes --$tExposing for specific tones --$tHard-to-meter scenes --$tBracketing exposures --$tUsing exposure.
505 00 $g6.$tDeveloping the negative --$tHow to process black-and-white roll film --$tEquipment and supplies you'll need --$tProcessing chemicals and how to handle them --$tChemical safety --$tProcessing black-and-white roll film step by step --$tHow film processing affects your picture --$tHow developer and fixer affect a negative --$tHow time and temperature affect development --$tThe importance of proper agitation and fresh solutions --$tThe need for careful washing and drying --$tExposure and development : under, normal, over --$tPush processing --$g7.$tPrinting the negative --$tBlack-and-white printing --$gEquipment and supplies for printing --$tThe enlarger --$tPrinting papers --$tMaking a black-and-white print step by step --$tA contact sheet : a whole roll at once --$tSetting up an enlargement --$tA test strip for your print --$tA trial print -- and eventually a final print --$tProcessing a black-and-white print --$tEvaluating density and contrast in a print --$tControlling contrast --$tGraded-contrast and variable-contrast papers --$tDodging and burning --$tCropping --$tArchival processing for maximum permanence --$tToning for color and other effects.
505 00 $g8.$tFinishing and mounting --$tSpotting to remove minor flaws --$tMounting a print --$tEquipment and supplies you'll need --$tDry mounting --$tCutting an overmat --$g9.$tColor --$tColor : additive or subtractive --$tColor photographs : three image layers --$tChoosing a color film --$tInstant color films --$tExposure latitude --$tHow much can exposures vary? --$tColor balance --$tColor temperature and the color balance of film --$tFilters to balance color --$tColor casts --$tColor changes throughout the day --$tDeveloping color film --$tMaking a color print from a negative --$tEquipment and materials you'll need --$tExposing a test print --$tJudging density in a print made from a negative --$tJudging color balance in a print made from a negative --$tMore about color balance and print finishing --$tMaking a color print from a transparency --$tJudging a print made from a transparency --$tPhotographer at work : advertising photographer Clint Clemens.
505 00 $g10.$tDigital camera --$tA computer with a lens --$tPictures into pixels --$tUsing a digital camera --$tGEtting started --$tMemory and resolution --$tChoosing the quality you need --$tMonitors and viewfinders : seeing what you've got --$tDelays and focal length : longer than you would expect --$tSetting the ISO frame by frame --$tContrast and exposure control --$tColor balance --$tChoosing a digital camera --$g11.$tDigital darkroom --$tDigital imaging : an overview --$tScanning a photograph --$tThe digital photograph --$tImage size, resolution, and file size --$tWorking memory, storage, and transmission --$tYour work area and tools --$tSelection tools --$tPreparation : repositioning and cropping --$tAdjusting the image overall --$tAdjusting color balance --$tMaking tonal adjustments --$tCompositing --$tUsing layers --$tOther adjustments --$tConverting color to black and white --$tFilters for special effects --$tPrinting and display --$tPrinting --$tThe Internet : resource and gallery --$tCD-ROMs --$tEthics and digital imaging --$tUsing digital imaging --$tEnhancing reality --$tGoing beyond reality --$tPhotographer at work : merging photography and illustration -- William Duke.
505 00 $g12.$tLighting --$tDirection of light --$tDegree of diffusion : from hard to soft light --$tAvailable light -- outdoors --$tAvailable light -- indoors --$tArtificial light --$tLights and other lighting equipment --$tQualities of artificial light --$tThe main light : the dominant source --$tThe fill light : to lighten shadows --$tLighting with flash --$tFlash equipment --$tBasic flash techniques --$tManual flash exposures --$tAutomatic flash exposures --$tFill flash : to lighten shadows --$tControlling background brightness --$tSimple portrait lighting --$tMultiple-light portrait setups --$tLighting textures objects --$tLighting reflective objects --$tLIghting translucent objects --$tUsing lighting --$tPhotographer at work : dance photographer Lois Greenfield.
505 00 $g13.$tSpecial techniques --$tCopying techniques --$tPinhole photography --$tSpecial printing techniques --$tA photogram : a cameraless picture --$tA Sabattier print : part positive, part negative --$tAlternative processes --$tCyanotpying --$tPlatinum and palladium printing --$tCross processing --$tImage transfer --$tHand coloring --$tPainting with light --$g14.$tView camera --$tInside a view camera --$tView camera movements --$tRise and fall --$tShift --$tTilt --$tSwing --$tUsing a view camera to control the image --$tControlling the plane of focus --$tControlling perspective --$tEquipment you'll need --$tWhat to do first -- and next --$tLoading and processing sheet film --$g15.$tThe zone system --$tThe zone system scales --$tUsing the zone scale while metering --$tPlacing a tone, seeing where other tones fall --$tHow development controls contrast --$tPutting it all together --$tRoll film and color film --$tPhotographer at work : using the zone system -- John Sexton --$g16.$tSeeing photographs --$tBasic choices --$tContent --$tFraming the subject --$tBackgrounds --$tBasic design --$tSpot/line --$tShape/pattern --$tEmphasis/balance --$tMore choices --$tUsing contrasts of sharpness --$tUsing contrasts of light and dark --$tPlacing the subject within the frame --$tPerspective and point of view --$tLooking at -- and talking about photographs --$tShowing your work to editors and others.
505 00 $g17.$tHistory of photography --$tThe invention of photography --$tDaguerreotype : "Designs on silver bright" --$tCalotype : pictures on paper --$tCollodion wet-plate : sharp and reproducible --$tGelatin emulsion/roll-film base : photography for everyone --$tColor photography --$tEarly portraits --$tEarly travel photography --$tTime and motion in early photographs --$tEarly images of war --$tTime and motion in early photographs --$tThe photograph as document --$tPhotography and social change --$tPhotojournalism --$tPhotography as art in the 19th century --$tPictorial photography and the photo-secession --$tThe direct image in art --$tThe quest for a new vision --$tPhotography as art in the 1950s and beyond --$tA gallery of contemporary photography --$tTroubleshooting --$tGlossary --$tBibliography --$tCredits --$tIndex --$tLight meter.
650 0 $aPhotography.
700 1 $aLondon, Barbara,$d1936-
988 $a20061129
906 $0DLC