Photography is continually changing, and this version of Photography reflects that change. Digital imaging dominates photography. In the image here, a computer screen displays a cutaway view of a view camera, a type of camera that has been in use since the invention of photography. This edition updates the traditional practice of photog¬raphy as well as updating current technologies. Throughout this new edition, you will find infor¬mation about both conventional film photography and digital capture. Techniques such as lighting and composition, central to both digital and film photography, are presented. This book shows how to make photographs, how to control photographic processes, and how different photographers employ them for their own creative purposes.

More than a million copies of Photography are now in print.
Many people who have used this book have become professional photographers or photography instructors, or are continuing to pursue their personal inter¬est in photography. Whatever your interest in photography, this book is designed to teach the skills that you will need to use the medi¬um confidently and effectively.

This edition continues that tradition, laying out what you need to know to make photographs with film, using a darkroom, but it also moves boldly into the digital age with you.
This book presents all facets of photography. The emphasis, however, continues to be in two major areas—tech¬nique and visual awareness. The technical material helps you learn how to control the photographic process, or as Ansel Adams put it, to understand the way that the lens "sees" and the light-sensitive material "sees." Equally important, this book can help you see by showing you the choices that other photographers have made and that you can make when you raise a camera to your eye.

Clarity and convenience have always been a focus of this book.
In this edition even more effort has been made to organize and format information into an easy guide for beginning photographers and a quick refer¬ence for those with experience.

• The easy-to-use format has been main¬tained, with every two facing pages com¬pleting a single idea, skill, or technique.
• Boldfaced topic sentences outline the text on every page.
• Workflow routines are easy to understand and to follow, presented in a step-by-step manner.

The general presentation of technical information has been maintained, with some reorganization for this new edition.

• General photographic techniques are cov¬ered completely in Chapters 1-7: digital and film cameras, lenses, sensors and film, exposure, developing and printing black-and-white film, and color photography.
• Chapters 8-11 present information on the digital darkroom, focusing on the infor¬mation that a beginning student needs to know about bringing images into the com¬puter, adjusting and printing them, and then creating a system so they can be safely stored and easily found.
• Chapters 12-18 cover print finishing, lighting, special techniques (such making cyanotypes and gum bichromate prints), view camera use. and introduce great historic and contemporary photo¬graphs.
• A fully illustrated Troubleshooting Appendix, beginning on page 388. groups together technical problems, their cm and ways to prevent them.

Improving visual awareness is a major emphasis of the book.
Many demonstration photographs make topics easy to under¬stand. Throughout the book you will find hundreds of illustrations by the best pho¬tographers showing how they have put to use various technical concepts. See for example:

• The photographs illustrating lens focal length on pages 42-A1. or how two pho¬tographers use electronic flash plus avail¬able light on page 249.
• Photographer at Work pages throughout the book feature interviews with photog¬raphers who have developed successful careers in everything from sports photog¬raphy (pages 160-161) to an integration of digital imaging with documentary pho¬tography (pages 176-177).
• Chapter 17, Seeing Photographs (pages 318-343), deals with composition, tonali¬ty, sharpness, and other visual elements that will help you make better pictures yourself, and see other people’s photo¬graphs with a more sophisticated eye.
• Chapter 18 (pages 344-387) surveys the history of photography so that you can place today’s photography—and your own—in a historical context.

Reasons to use the new Ninth Edition:
In addition to complete coverage of tradi¬tional photographic technique, the ninth edition embraces the new photography that is captured, shaped, transmitted, printed, and saved electronically.

• Digital technique is now integrated throughout. Throughout the book, changes have been made to meet the needs of stu¬dents using an all-digital workflow.
• All new chapters dedicated to digital tech¬nique. Four chapters, 8-11, now explore digital photography. Chapter 9 introduces new software applications to manage a digital workflow. It also surveys the range of options you have when adjusting a sin¬gle image. Chapter 11 covers the organiz¬ing of an archive for storing photographs that may have no physical form and can’t be saved in a shoebox. It also suggests methods and products to help you to quickly find one image among thousands.
• Over 80 exciting new fine art photographs illustrate technical concepts and help you develop visual awareness. This edition adds a wealth of images from contempo¬rary photographers including Bernd and, Hilla Becher, Edward Burtynsky, Nan Goldin, Annie Leibovitz, Loretta Lux, Ed Ruscha, Cindy Sherman, Sandy Skoglund,Alec Soth, and JoAnn Verburg.

Every edition of Photography has been a collaborative effort.
Instructors, students, photographers, manufacturers, editors, gallery people, and many others participat¬ed in it. They fielded queries, made sugges¬tions, responded to material, and were unfailingly generous with their time, energy, and creative thinking.

Special thanks go to instructors who reviewed the previous edition of Photography,
as well as parts of this edi¬tion, and who volunteered many good ideas. They brought a particularly useful point of view, contributing many ideas on not only what to teach, but how to teach it: Sarah Detweiler, University of Wisconsin, Green Bay, Reed Estabrook, San Jose State University, Patrick Navin, Green River Community College, Ardine Nelson, The Ohio State University, Joseph Tamargo, Miami Dade College, Wolfson Campus

Without editorial and production assis¬tance, a book of this size and complexity would be impossible to complete.
Many thanks to Mary Goodwin for her able detective work finding elusive photogra¬phers—and navigating representatives, col¬lections, and estates in several countries and languages. Also, she deserves thanks for her passion for photo books that led to a thorough and comprehensive bibliography. Professor David Jacobs of the University of Houston gave our history chapter a close reading and helped tune it up and extend it by two decades. Special thanks to Amber Mackey, Sarah Touborg, and Joe Scordato at Prentice Hall, and Jessica Balch and the team at Pine Tree Composition for some¬how keeping track of it all.

New demonstration photographs were made for this edition by Andrew Crooks and Danny Kaufmann. Kristen Fecker, Dean Arriens, and Chad Person were will¬ing models. Masumi Shibata translated the words and customs of Japan.

Many equipment manufacturers loaned products and answered questions. In no par¬ticular order, thanks to Chuck Westfall at Canon USA, Polaroid’s Barbara Hitchcock, Linda DiSalvo and Patricia Montesion from Apple Computers, Darren Vena of Lasersoft Imaging, and Adobe Software’s Julieanne Kost, Tom Hogarty, and John Nack. Thanks are also due to Hewlett-Packard, Sony, Delkin, Seagate, and SanDisk—all of them forward-thinking corporations that have made their product photographs readily available on the web, simplifying the process of illustrating up-to-date equipment.

Jim Stone owes special thanks for sup¬port and tolerance to his parents, Sylvia and Charles, and especially to his wife Linda. Their son Skye, now six, and two-year-old daughters Amber and Jade are already making great photographs because of this book.

This is a book that students keep.
They refer to it long after they have finished the basic photo course for which it was pur¬chased. Some of the people who con¬tributed to this edition used the book them¬selves when they were studying photogra¬phy, and still have their original, now dog¬eared, edition. As you work with the book, you may have suggestions on how to improve it. Please send them to us. They will be sincerely welcomed.

Further information

• Photography, 9/E
• Barbara London, Multimedia Learning
• Jim Stone
• John Upton
• ISBN-10: 0131752014
• ISBN-13: 9780131752016
• Publisher: Prentice Hall
• Copyright: 2008
• Format: Paper; 432 pp
• Published: 03/15/2007

 

Source: Pearson Prentice Hall
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