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The Art of Photography, 2nd Edition

Bruce Barnbaum

The Art of Photography, 2nd Edition

A Personal Approach to Artistic Expression

$39.99$59.99
SKU: 1081


408 pages | Soft Cover, 10 x 10 in.

ISBN: 9781681982106

April 2017

Print and eBook Bundle: $59.99
Print Book: $49.95
eBook: $39.99

Bruce Barnbaum’s Author Page


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  • Description

    Product Description

    This is an updated and newly revised edition of the classic book The Art of Photography: An Approach to Personal Expression. Originally published in 1994 and first revised in 2010, The Art of Photography has sold well over 100,000 copies and has firmly established itself as the most readable, understandable, and complete textbook on photography. Featuring nearly 200 beautiful photographs in both black-and-white and color, as well as numerous charts, graphs, and tables, this book presents the world of photography to beginner, intermediate, and advanced photographers who seek to make a personal statement through the medium of photography.

    Without talking down to anyone or talking over anyone’s head, renowned photographer, teacher, and author Bruce Barnbaum presents how-to techniques for both traditional and digital approaches. In this newest edition of the book, Barnbaum has included many new images and has completely revised the text, with particular focus on two crucial chapters covering digital photography: he revised a chapter covering the digital zone system, and includes a brand-new chapter on image adjustments using digital tools. There is also a new chapter discussing the concepts of “art versus technique” and “traditional versus digital” approaches to photography. Throughout the book, Barnbaum goes well beyond the technical, as he delves deeply into the philosophical, expressive, and creative aspects of photography so often avoided in other books.

    Barnbaum is recognized as one of the world’s finest landscape and architectural photographers, and for decades has been considered one of the best instructors in the field of photography. This latest incarnation of his textbook—which has evolved, grown, and been refined over the past 45 years—will prove to be an ongoing, invaluable photographic reference for years to come. It is truly the resource of choice for the thinking photographer.

    Topics include:
    •Elements of Composition
    •Visualization
    •Light and Color
    •Filters
    •Black-and-White
    •The Digital Zone System
    •The Zone System for Film
    •Printing and Presentation
    •Exploding Photographic Myths
    •Artistic Integrity
    •Realism, Abstraction, and Art
    •Creativity and Intuition
    •A Personal Philosophy
    •And much, much more…

  • Table of Contents
    • Acknowledgements
    • 1 Communication Through Photography
    • Enthusiasm
    • Judging Your Own Personal Response
    • 2 What Is Composition?
    • How the Human Eye Sees
    • Unified Thought
    • Simplicity
    • Expressing Your Own Point of View
    • Simplicity vs. Complexity
    • 3 Elements of Composition
    • Contrast and Tone
    • Line
    • Form
    • Line, Form, Contrast, and Emotion
    • Pattern
    • Balance
    • Movement
    • Positive/Negative Space
    • Texture
    • Camera Position
    • Focal Length of Lens and Cropping
    • Depth of Field
    • Shutter Speed
    • Relationships
    • Involvement with the Scene
    • Rules, Formulas, and Other Problems and Pitfalls
    • 4 Visualization
    • Step 1: Photographic Looking and Seeing
    • Step 2: Composing an Image
    • Step 3: Envisioning the Final Image
    • Step 4: Suggested Procedures for Those Having Trouble Envisioning a Final Image
    • Step 5: Planning a Strategy for a Final Image
    • How Your Eye Differs from Your Camera
    • Alternative Approaches
    • 5 Light
    • Looking at Light
    • Exercises in Learning to See Light More Accurately
    • Light Determines Form
    • Types of Lighting/Quality of Light
    • Light as Seen by the Eye and by Film or Sensors, and the Inverse Square Law
    • 6 Color
    • The Color Wheel and Color Sphere
    • Color Composition
    • Color Families, Color Contrast, and Their Emotional Effects
    • Subjectivity and Mood of Color
    • Working with Color Digitally
    • Working with Color Traditionally
    • In Summary
    • 7 Filters
    • Black-and-White Filters for Film
    • Examples with a Hypothetical Landscape
    • Contrast Control with Filters
    • Infrared Film and Filters
    • Color Correction Filters for Traditional Film Imagery
    • Neutral Density and Polarizing Filters
    • Problems Associated with Polarizers
    • Digital Polarizing Filter
    • Digital Black-and-White Filtration
    • Digital Color Filtration
    • 8 The Zone System of Exposure for Black-and-White Film
    • A Brief Overview
    • Films Response to Light: Building the Zone System
    • Translating Negative Densities to Print Tonalities
    • The Light MeterHow It Works
    • Review of Negative Exposure Procedure
    • Using the Zone System to Depart from Reality
    • The Zone System for Color Negatives
    • The Zone System and the Inverse Square Law
    • In Summary
    • 9 Contrast Control and the Extended Zone System for Black-and-White Negatives
    • Chapter 9 Overview
    • The Negative During Development
    • The Bellows Analogy
    • Putting Higher Zones to Work
    • Reciprocity Failure
    • Examples of Decreasing and Increasing Contrast
    • The Exposure/Density Curve and Zone 4 Shadow Placement
    • Differences Between Photography and Sensitometry: Texture vs. Tone and Zone 4 Shadow Placement
    • Developing the Exposed Negative
    • Explanation of Compensating Development
    • Two-Solution Compensating Development for Negatives
    • Development Procedures for Sheet Film and Roll Film
    • The Zone System and Roll Film
    • Negative Materials and Developers
    • 10 The Print
    • Black-and-White Enlarging Papers
    • Variable Contrast vs. Graded Papers
    • Fiber Base Papers vs. Resin Coated (RC) Papers
    • Black-and-White Paper Developers
    • Making Contact Proof Prints
    • Preliminary Work Toward a Final Print
    • Make Test Prints, Not Test Strips
    • Dodging and Burning
    • Integrating the Entire Process: Visualization, Exposure, Development, and Printing
    • Burning with Variable Contrast Papers
    • Advanced Darkroom Techniques
    • Inspection, Evaluation, and the Myth of Dry-Down
    • Potassium Ferricyanide Reducing (Bleaching)
    • Final Fixing of the Image
    • Local vs. Overall Contrast Control
    • Scale
    • Selenium Toning Prints
    • Other Toners
    • Chemical Coloration
    • Full Archival Processing of Prints
    • Toning, Intensifying, and Reducing Negatives
    • Cold, Neutral, and Warm Tone Papers
    • Review of Contrast Controls
    • Infinite Contrast Control for Black-and-White after Negative Development
    • Color Printing
    • The Final Product Is What Matters
    • Scanning from Film
    • 11 The Digital Zone System
    • Basics of Digital Exposure
    • The Sensors Useful Brightness Range
    • Translating Theory to Excellent Digital Exposures
    • The HistogramThe Heart of the Digital Zone System
    • The RAW ConverterProcessing the RAW Exposure
    • High Dynamic Range ImagesThe Extended Zone System for Digital Photography
    • Converting Digital Color Exposures to Black-and-White
    • Panoramas and Other Image Combinations
    • 12 Image AdjustmentsUsing the Digital Tools
    • The ACR Tool Chest
    • ACR Summary
    • The Photoshop Tool Chest
    • Closing Thoughts
    • 13 Traditional, Digital, Art and Technique
    • Art, Technique, and Their Importance
    • Choosing Digital or Traditional
    • Some Closing Thoughts
    • 14 Exploding Photographic Myths
    • Myth #1
    • Myth #2.
    • Myth #3.
    • Myth #4.
    • Myth #5.
    • Myth #6.
    • Myth #7.
    • Myth #8.
    • Myth #9.
    • Myth #10
    • 15 Presentation
    • Dry Mounting Prints
    • Making Positioning Guides for Print Placement
    • Spotting, Etching, and Correction of Defects
    • Print Finishing
    • 16 Photographic Realism, Abstraction, and Art
    • Photography as Fine Art
    • Photography and PaintingTheir Mutual Influence
    • Some Personal Examples
    • The Strength of Abstraction
    • Inwardly and Outwardly Directed Questions
    • The Power of Photography
    • 17 Approaching Creativity Intuitively
    • Intuition in Science
    • Avoiding Intuition
    • Understanding and Misunderstanding Intuition
    • Examples of the Intuitive Approach
    • Applying Intuition to Your Photography
    • Conclusion
    • 18 Toward a Personal Philosophy
    • Flexibility
    • Visual Arts
    • Nonvisual Arts
    • Expanding and Defining Your Interests
    • Limitations of Photography
    • Developing a Personal Style
    • Self-Critique, Interaction, and Study
    • APPENDIX 1Testing Materials and Equipment for Traditional Photography
    • APPENDIX 2Enlarger Light Sources
    • Index

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