Linked e-resources
Details
Table of Contents
Intro
Preface
Acknowledgments
References
Author biography
John Beaver
Chapter 1 What is science? What is art?
1.1 The coherence of our experience
1.2 Truth in science
1.2.1 Proving a theory false
1.3 Operational definitions
1.4 Inspiration and perspiration
1.5 Criticism and self-esteem
1.6 Looking at art
References
Chapter 2 What light is
2.1 The speed of light
2.1.1 The speed of light with a shortwave radio
2.1.2 Relativity and the speed of light
2.2 Geometry
2.3 Waves
2.3.1 Amplitude
2.3.2 Speed, wavelength and frequency
2.3.3 The electromagnetic spectrum
2.4 Particles
References
Chapter 3 What light does
3.1 Reflection, absorption and transmission
3.2 Specular reflection
3.3 Refraction
3.3.1 Total internal reflection
3.3.2 Dispersion
3.4 Diffuse reflections
3.5 Scattering
3.5.1 Wavelength-dependent scattering
3.5.2 Wavelength-independent scattering
3.6 Interference
3.7 Diffraction
3.8 Fluorescence
3.9 Polarization
Reference
Chapter 4 The weird world of the photon
4.1 Young's double-slit experiment and the wave model of light
4.2 The photoelectric effect and the particle model of light
4.3 Young's experiment reconsidered
References
Chapter 5 Spectra and sources of light
5.1 Light and its spectrum
5.2 Thermal radiation
5.3 Atomic spectra
5.4 Sunlight
5.5 Fluorescent light
5.6 LED light sources
5.7 Lasers
5.8 Many ways to see a cat
Reference
Chapter 6 Geometry and the picture plane
6.1 From 3D to 2D
6.2 The brain's construction of 3D reality
6.3 Linear perspective and the camera obscura
6.4 The picture plane
References
Chapter 7 Light and shadows 1: eclipses
7.1 Angular size of the Sun and Moon
7.2 The kinds of eclipses
7.3 The geometry of simple shadows.
7.4 Make your own eclipse
7.5 Atmospheres of the Sun and Earth
7.5.1 The Sun's atmosphere and solar eclipses
7.5.2 Earth's atmosphere and eclipses
7.6 Shadows on a sunny day
References
Chapter 8 Light and shadows 2: photograms
8.1 Shadows and the source of light
8.2 Photograms with sunlight
8.2.1 Photogram sharpness and exposure time
8.2.2 Sharpness and scattering
8.2.3 Cloudy days
8.3 Contact prints
8.3.1 Cliche verré
8.4 Shadows and diffraction
References
Chapter 9 Ray optics 1: pinhole photography
9.1 Focal length and angle of view
9.1.1 Image size
9.1.2 Detector format
9.1.3 Angle of view
9.2 Distortion and angle of view
9.3 Vignetting
9.4 Focal ratio
Chapter 10 Ray optics 2: a fish's eye
10.1 Rectilinear geometry and distortion
10.2 A beaver's-eye view
10.3 R W Wood's camera
10.4 Some variations on Wood's camera
10.4.1 An 'ephemeral‐process' R W Wood camera
10.4.2 A practical R W Wood camera
10.4.3 A 'dry' R W Wood camera, version one
10.4.4 A 'dry' R W Wood camera, version two
10.5 The birth of the fisheye lens
References
Chapter 11 Ray optics 3: lenses
11.1 Focus
11.2 Focal length
11.3 Spherical lenses: the lensmaker's equation
11.3.1 Focus of a lens in water
11.4 Real images and focus screens
11.5 Virtual images and diverging lenses
11.6 Depth of focus and focal ratio
11.6.1 Zone focusing
11.7 Aberrations
11.7.1 Ray tracing
11.7.2 Spherical aberration
11.7.3 Coma
11.7.4 Chromatic aberration
11.7.5 Aperture and aberrations
11.8 Lens design
11.9 Telescopes and viewfinders
11.9.1 The Galilean telescope
11.9.2 The Keplerian telescope
Reference
Chapter 12 Symmetry
12.1 Transformations and invariance
12.2 Symmetry in physics
12.2.1 Symmetry and mirrors, again.
12.2.2 Mirror symmetry and P invariance
12.3 Symmetry in art
12.3.1 Formal symmetry in art
12.3.2 Balance in 2D art
12.4 Asymmetry and broken symmetry
References
Chapter 13 Two-dimensional design
13.1 Elements of 2D design
13.2 Figure and ground
13.3 Lines
13.4 Geometric shapes
13.5 Value and contrast
13.6 Hue and saturation
13.7 Depth cues
13.8 Unity and repetition
13.9 Rhythm
13.10 Framing
13.11 Composition: some useful rules of thumb
13.11.1 The rule of thirds
13.11.2 The rule of odds
13.11.3 The rule of space
13.11.4 The rule of simplicity
13.11.5 The rule of diagonals
13.11.6 The rule of triangles
13.11.7 The golden rectangle and the rule of the golden mean
13.12 Some examples of 2D design in photography
13.12.1 Child with toy hand grenade by Diane Arbus (p 27)
13.12.2 Marilyn Monroe, Hollywood by Eve Arnold (p 31)
13.12.3 Dovina with elephants by Richard Avedon (p 34)
13.12.4 Andean boy, Cuzco by Werner Bischof (p 61)
13.12.5 The lambeth walk by Bill Brandt (p 75)
References
Chapter 14 Camera design
14.1 Introduction
14.2 Photochemical detector formats
14.3 Plates and sheet film
14.4 Roll film
14.4.1 Cannister film
14.4.2 Paper-backed roll film
14.4.3 The framing mechanism
14.5 Pointing and focusing
14.5.1 Viewfinder cameras
14.5.2 View cameras
14.5.3 TLR cameras
14.5.4 SLR cameras
14.6 Digital cameras
14.7 Homemade cameras
Reference
Chapter 15 The view camera
15.1 Description of movements
15.2 Movements and the image circle
15.3 Selective focus
15.4 Controlling perspective
Chapter 16 Perspective and pinhole photography
16.1 Curved paper
16.2 Folded paper
16.3 Anamorphic pinhole cameras
16.4 Pinhole bokeh
Reference
Chapter 17 The nature of energy
17.1 Energy transfer.
17.2 Energy, power, force and momentum
Chapter 18 Energy and exposure
18.1 Defining our terms
18.2 Power, P
18.3 Intensity, B
18.4 Illuminance, I
18.5 Specific intensity, I0
18.6 The meaning of exposure
Chapter 19 Tracing the energy from source to camera
19.1 The power of light emitted by the Sun
19.2 The intensity of sunlight at Earth
19.3 The inverse square law
19.4 Illuminance of the light on the subject
19.5 The power of the light intercepted by the metal disk
19.6 The power of the light reflected by the metal disk
19.7 The intensity of the reflected light when it reaches the camera
19.8 The power of the light that enters the camera lens
19.9 The illuminance of the light on the camera detector
19.10 The exposure imparted to the detector
19.11 Summary of steps
19.12 What about focus?
Chapter 20 The Jones-Condit equation
20.1 The Jones-Condit equation
20.2 Vignetting
References
Chapter 21 Illumination and photograms
21.1 Illumination from blackbodies
21.2 Nearby sources of light
21.3 Thermal versus nonthermal light sources
21.4 Laser photograms
Chapter 22 The elements of exposure
22.1 Shutter speed and aperture
22.2 Power and shutter speed
22.3 Aperture and focal ratio
22.3.1 The effect of focus on exposure
22.4 Density and the elements of exposure
22.5 The definition of ISO speed
22.6 Reciprocity and exposure
22.7 Camera settings
22.8 Choosing between equivalent settings
22.8.1 Aperture and depth of focus
22.8.2 Shutter speed and motion blur
22.8.3 ISO and noise
22.8.4 Changing the light
22.8.5 Navigating the trade-offs
22.9 Exposure value (EV)
References
Chapter 23 Metering
23.1 Direct-read versus null meters
23.2 Reflected-light metering
23.2.1 Spot, center-weighted and matrix metering.
23.2.2 Manual, automatic, semiautomatic and program exposure modes
23.3 Incident-light metering
23.4 Flash
23.4.1 Distance and flash
23.4.2 Flash metering
23.4.3 Fill flash
Reference
Chapter 24 Low-sensitivity detectors in photography
24.1 Regimes of photographic exposure
24.2 A benchmark for VLS photography
24.3 VLS photography in context
Reference
Chapter 25 Ephemeral-process and cyanonegative photography
25.1 Cyanonegative and EP wavelength response
25.1.1 Wavelength calibration
25.1.2 EP versus cyanotype
25.2 Cyanonegative photography
25.2.1 Cyanonegative focus offset
25.3 EP photography
25.4 Using EP photography to test the Jones-Condit equation
References
Chapter 26 The physical basis of color
26.1 Spectra and sources of light
26.1.1 Combinations of multiple light sources
26.2 Color, light sources and light detectors
26.3 The reflection curve and the reflected-light spectrum
26.4 Physical causes of the reflection curve
26.4.1 Pigments and dyes: color from selective absorption
26.4.2 Structural colors: interference and scattering
26.4.3 Fluorescent colors
26.5 The detector response curve
26.6 Color and integration
26.6.1 Color detectors
26.7 The relation of color to black‐and‐white photography
References
Chapter 27 The physiological basis of color
27.1 The wavelength response of the retina
27.2 The three-color model of color perception
27.3 Additive and subtractive colors
27.4 RGB color arithmetic
Chapter 28 The psychological basis of color
28.1 The opponent-process model of color perception
28.2 Yellow without yellow
28.3 Seeing and context
28.4 'Hue, saturation and value' and 'hue, saturation and lightness'
28.5 HSV and RGB
References
Chapter 29 Color synthesis in photography.
29.1 Color detectors and color pictures.
Preface
Acknowledgments
References
Author biography
John Beaver
Chapter 1 What is science? What is art?
1.1 The coherence of our experience
1.2 Truth in science
1.2.1 Proving a theory false
1.3 Operational definitions
1.4 Inspiration and perspiration
1.5 Criticism and self-esteem
1.6 Looking at art
References
Chapter 2 What light is
2.1 The speed of light
2.1.1 The speed of light with a shortwave radio
2.1.2 Relativity and the speed of light
2.2 Geometry
2.3 Waves
2.3.1 Amplitude
2.3.2 Speed, wavelength and frequency
2.3.3 The electromagnetic spectrum
2.4 Particles
References
Chapter 3 What light does
3.1 Reflection, absorption and transmission
3.2 Specular reflection
3.3 Refraction
3.3.1 Total internal reflection
3.3.2 Dispersion
3.4 Diffuse reflections
3.5 Scattering
3.5.1 Wavelength-dependent scattering
3.5.2 Wavelength-independent scattering
3.6 Interference
3.7 Diffraction
3.8 Fluorescence
3.9 Polarization
Reference
Chapter 4 The weird world of the photon
4.1 Young's double-slit experiment and the wave model of light
4.2 The photoelectric effect and the particle model of light
4.3 Young's experiment reconsidered
References
Chapter 5 Spectra and sources of light
5.1 Light and its spectrum
5.2 Thermal radiation
5.3 Atomic spectra
5.4 Sunlight
5.5 Fluorescent light
5.6 LED light sources
5.7 Lasers
5.8 Many ways to see a cat
Reference
Chapter 6 Geometry and the picture plane
6.1 From 3D to 2D
6.2 The brain's construction of 3D reality
6.3 Linear perspective and the camera obscura
6.4 The picture plane
References
Chapter 7 Light and shadows 1: eclipses
7.1 Angular size of the Sun and Moon
7.2 The kinds of eclipses
7.3 The geometry of simple shadows.
7.4 Make your own eclipse
7.5 Atmospheres of the Sun and Earth
7.5.1 The Sun's atmosphere and solar eclipses
7.5.2 Earth's atmosphere and eclipses
7.6 Shadows on a sunny day
References
Chapter 8 Light and shadows 2: photograms
8.1 Shadows and the source of light
8.2 Photograms with sunlight
8.2.1 Photogram sharpness and exposure time
8.2.2 Sharpness and scattering
8.2.3 Cloudy days
8.3 Contact prints
8.3.1 Cliche verré
8.4 Shadows and diffraction
References
Chapter 9 Ray optics 1: pinhole photography
9.1 Focal length and angle of view
9.1.1 Image size
9.1.2 Detector format
9.1.3 Angle of view
9.2 Distortion and angle of view
9.3 Vignetting
9.4 Focal ratio
Chapter 10 Ray optics 2: a fish's eye
10.1 Rectilinear geometry and distortion
10.2 A beaver's-eye view
10.3 R W Wood's camera
10.4 Some variations on Wood's camera
10.4.1 An 'ephemeral‐process' R W Wood camera
10.4.2 A practical R W Wood camera
10.4.3 A 'dry' R W Wood camera, version one
10.4.4 A 'dry' R W Wood camera, version two
10.5 The birth of the fisheye lens
References
Chapter 11 Ray optics 3: lenses
11.1 Focus
11.2 Focal length
11.3 Spherical lenses: the lensmaker's equation
11.3.1 Focus of a lens in water
11.4 Real images and focus screens
11.5 Virtual images and diverging lenses
11.6 Depth of focus and focal ratio
11.6.1 Zone focusing
11.7 Aberrations
11.7.1 Ray tracing
11.7.2 Spherical aberration
11.7.3 Coma
11.7.4 Chromatic aberration
11.7.5 Aperture and aberrations
11.8 Lens design
11.9 Telescopes and viewfinders
11.9.1 The Galilean telescope
11.9.2 The Keplerian telescope
Reference
Chapter 12 Symmetry
12.1 Transformations and invariance
12.2 Symmetry in physics
12.2.1 Symmetry and mirrors, again.
12.2.2 Mirror symmetry and P invariance
12.3 Symmetry in art
12.3.1 Formal symmetry in art
12.3.2 Balance in 2D art
12.4 Asymmetry and broken symmetry
References
Chapter 13 Two-dimensional design
13.1 Elements of 2D design
13.2 Figure and ground
13.3 Lines
13.4 Geometric shapes
13.5 Value and contrast
13.6 Hue and saturation
13.7 Depth cues
13.8 Unity and repetition
13.9 Rhythm
13.10 Framing
13.11 Composition: some useful rules of thumb
13.11.1 The rule of thirds
13.11.2 The rule of odds
13.11.3 The rule of space
13.11.4 The rule of simplicity
13.11.5 The rule of diagonals
13.11.6 The rule of triangles
13.11.7 The golden rectangle and the rule of the golden mean
13.12 Some examples of 2D design in photography
13.12.1 Child with toy hand grenade by Diane Arbus (p 27)
13.12.2 Marilyn Monroe, Hollywood by Eve Arnold (p 31)
13.12.3 Dovina with elephants by Richard Avedon (p 34)
13.12.4 Andean boy, Cuzco by Werner Bischof (p 61)
13.12.5 The lambeth walk by Bill Brandt (p 75)
References
Chapter 14 Camera design
14.1 Introduction
14.2 Photochemical detector formats
14.3 Plates and sheet film
14.4 Roll film
14.4.1 Cannister film
14.4.2 Paper-backed roll film
14.4.3 The framing mechanism
14.5 Pointing and focusing
14.5.1 Viewfinder cameras
14.5.2 View cameras
14.5.3 TLR cameras
14.5.4 SLR cameras
14.6 Digital cameras
14.7 Homemade cameras
Reference
Chapter 15 The view camera
15.1 Description of movements
15.2 Movements and the image circle
15.3 Selective focus
15.4 Controlling perspective
Chapter 16 Perspective and pinhole photography
16.1 Curved paper
16.2 Folded paper
16.3 Anamorphic pinhole cameras
16.4 Pinhole bokeh
Reference
Chapter 17 The nature of energy
17.1 Energy transfer.
17.2 Energy, power, force and momentum
Chapter 18 Energy and exposure
18.1 Defining our terms
18.2 Power, P
18.3 Intensity, B
18.4 Illuminance, I
18.5 Specific intensity, I0
18.6 The meaning of exposure
Chapter 19 Tracing the energy from source to camera
19.1 The power of light emitted by the Sun
19.2 The intensity of sunlight at Earth
19.3 The inverse square law
19.4 Illuminance of the light on the subject
19.5 The power of the light intercepted by the metal disk
19.6 The power of the light reflected by the metal disk
19.7 The intensity of the reflected light when it reaches the camera
19.8 The power of the light that enters the camera lens
19.9 The illuminance of the light on the camera detector
19.10 The exposure imparted to the detector
19.11 Summary of steps
19.12 What about focus?
Chapter 20 The Jones-Condit equation
20.1 The Jones-Condit equation
20.2 Vignetting
References
Chapter 21 Illumination and photograms
21.1 Illumination from blackbodies
21.2 Nearby sources of light
21.3 Thermal versus nonthermal light sources
21.4 Laser photograms
Chapter 22 The elements of exposure
22.1 Shutter speed and aperture
22.2 Power and shutter speed
22.3 Aperture and focal ratio
22.3.1 The effect of focus on exposure
22.4 Density and the elements of exposure
22.5 The definition of ISO speed
22.6 Reciprocity and exposure
22.7 Camera settings
22.8 Choosing between equivalent settings
22.8.1 Aperture and depth of focus
22.8.2 Shutter speed and motion blur
22.8.3 ISO and noise
22.8.4 Changing the light
22.8.5 Navigating the trade-offs
22.9 Exposure value (EV)
References
Chapter 23 Metering
23.1 Direct-read versus null meters
23.2 Reflected-light metering
23.2.1 Spot, center-weighted and matrix metering.
23.2.2 Manual, automatic, semiautomatic and program exposure modes
23.3 Incident-light metering
23.4 Flash
23.4.1 Distance and flash
23.4.2 Flash metering
23.4.3 Fill flash
Reference
Chapter 24 Low-sensitivity detectors in photography
24.1 Regimes of photographic exposure
24.2 A benchmark for VLS photography
24.3 VLS photography in context
Reference
Chapter 25 Ephemeral-process and cyanonegative photography
25.1 Cyanonegative and EP wavelength response
25.1.1 Wavelength calibration
25.1.2 EP versus cyanotype
25.2 Cyanonegative photography
25.2.1 Cyanonegative focus offset
25.3 EP photography
25.4 Using EP photography to test the Jones-Condit equation
References
Chapter 26 The physical basis of color
26.1 Spectra and sources of light
26.1.1 Combinations of multiple light sources
26.2 Color, light sources and light detectors
26.3 The reflection curve and the reflected-light spectrum
26.4 Physical causes of the reflection curve
26.4.1 Pigments and dyes: color from selective absorption
26.4.2 Structural colors: interference and scattering
26.4.3 Fluorescent colors
26.5 The detector response curve
26.6 Color and integration
26.6.1 Color detectors
26.7 The relation of color to black‐and‐white photography
References
Chapter 27 The physiological basis of color
27.1 The wavelength response of the retina
27.2 The three-color model of color perception
27.3 Additive and subtractive colors
27.4 RGB color arithmetic
Chapter 28 The psychological basis of color
28.1 The opponent-process model of color perception
28.2 Yellow without yellow
28.3 Seeing and context
28.4 'Hue, saturation and value' and 'hue, saturation and lightness'
28.5 HSV and RGB
References
Chapter 29 Color synthesis in photography.
29.1 Color detectors and color pictures.