Photography: Physics and art in focus

PRELIMS.pdf
	Preface
	Acknowledgments
		References
	Author biography
		John Beaver
CH001.pdf
	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
CH002.pdf
	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
CH003.pdf
	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
CH004.pdf
	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
CH005.pdf
	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
CH006.pdf
	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
CH007.pdf
	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
CH008.pdf
	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
CH009.pdf
	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
CH010.pdf
	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
CH011.pdf
	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
CH012.pdf
	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
CH013.pdf
	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
CH014.pdf
	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
CH015.pdf
	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
CH016.pdf
	Chapter 16 Perspective and pinhole photography
		16.1 Curved paper
		16.2 Folded paper
		16.3 Anamorphic pinhole cameras
		16.4 Pinhole bokeh
		Reference
CH017.pdf
	Chapter 17 The nature of energy
		17.1 Energy transfer
		17.2 Energy, power, force and momentum
CH018.pdf
	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
CH019.pdf
	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?
CH020.pdf
	Chapter 20 The Jones–Condit equation
		20.1 The Jones–Condit equation
		20.2 Vignetting
		References
CH021.pdf
	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
CH022.pdf
	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
CH023.pdf
	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
CH024.pdf
	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
CH025.pdf
	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
CH026.pdf
	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
CH027.pdf
	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
CH028.pdf
	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
CH029.pdf
	Chapter 29 Color synthesis in photography
		29.1 Color detectors and color pictures
		29.2 Panchromatic light detectors: the secret of color photography
		29.3 Color photography with sequential exposures
		29.4 Continuous tone versus raster color
		29.5 Additive versus subtractive synthesis
		29.6 Multiplexed color detectors
			29.6.1 Digital detectors and the Bayer mask
			29.6.2 Multilayer color emulsions
			29.6.3 Autochrome Lumière process
		29.7 Accidental duo-color in black-and-white emulsions
		29.8 Nonsynthetic color in photography
			29.8.1 Lippmann process color photography
			29.8.2 Color in daguerreotype
		References
CH030.pdf
	Chapter 30 Filters
		30.1 Filters and black‐and‐white photography
		30.2 Filters and color photography
			30.2.1 Color temperature and white balance
			30.2.2 Filters and color temperature
		30.3 Polarizing filters
		30.4 ‘Color’ in astronomy
		References
CH031.pdf
	Chapter 31 Color experiments with black‐and‐white photography
		31.1 In-camera color EP photographs
		31.2 Color EP photograms
		31.3 EP contact negatives from color prints
		31.4 Color ephemeral prints
CH032.pdf
	Chapter 32 Types of detectors
		32.1 The physics of photons
		32.2 Photoelectronic detectors
		32.3 Photochemical detectors
			32.3.1 Negative and positive
		32.4 Basic photochemistry
		32.5 The eye as a detector
		32.6 The wavelength response of detectors
		References
CH033.pdf
	Chapter 33 The characteristic curve
		33.1 The characteristic curve and photoelectronic detectors
		References
CH034.pdf
	Chapter 34 Silver-based photochemical detectors 1
		34.1 Black‐and‐white silver‐gelatin emulsions
		34.2 Direct positives and reversal processing
		34.3 Chromogenic color emulsions
		34.4 Instant film
			34.4.1 Peel-apart instant films
			34.4.2 Integral films
		References
CH035.pdf
	Chapter 35 Silver-based photochemical detectors 2
		35.1 Daguerreotype
		35.2 Callotype, salted paper, and albumen print
		35.3 Wet collodion, ambrotype and tintype
		35.4 Lumen process
		35.5 Ephemeral process
			35.5.1 How does it work?
		35.6 Chemigram
		35.7 Chromoskedasic
		References
CH036.pdf
	Chapter 36 Nonsilver photochemical detectors
		36.1 Cyanotype and Van Dyke processes
			36.1.1 New cyanotype
			36.1.2 Van Dyke brown process
		36.2 Platinum and palladium printing
		36.3 Gum bichromate
		36.4 Anthotypes and chlorophyll prints
			36.4.1 Anthotype
			36.4.2 Chlorophyll prints
		References
CH037.pdf
	Chapter 37 Reciprocity failure and solarization
		37.1 Reciprocity failure
			37.1.1 Reciprocity failure and very‐low sensitivity photography
		37.2 Solarization
			37.2.1 Sabattier effect
			37.2.2 True solarization
			37.2.3 Mackie lines
			37.2.4 Negative or positive?
		References
CH038.pdf
	Chapter 38 Photoelectronic detectors
		38.1 Light meters
			38.1.1 Selenium cells
			38.1.2 Photoresistors
			38.1.3 Silicon photodiodes
			38.1.4 Bolometers
			38.1.5 Pulse-counting detectors
		38.2 Scanning photoelectric imagers
			38.2.1 Electronic video tubes
			38.2.2 1D array scanners
		38.3 2D photoelectronic imagers
			38.3.1 Electrophotography
			38.3.2 CCD and CMOS array detectors
			38.3.3 The physics of CCD arrays
		References
CH039.pdf
	Chapter 39 Three-dimensional photography
		39.1 Stereo photography
		39.2 Lenticular photography
		39.3 Holography
		39.4 Light-field photography
		References
CH040.pdf
	Chapter 40 The digital and the analog
		40.1 Pixels and granularity
		40.2 Resolution
		40.3 Signal and noise
			40.3.1 Pennies and Poisson
			40.3.2 Photons, signal and noise
			40.3.3 Signal-to-noise ratio
		References
CH041.pdf
	Chapter 41 Digital photography and astronomy
		41.1 Digital detectors are reusable
		41.2 Linear response
		41.3 Dynamic range
			41.3.1 Dynamic range and bit depth
		41.4 Quantum efficiency
		41.5 Image calibration
		References
CH042.pdf
	Chapter 42 Comparison of digital and film techniques
		42.1 Borders and cropping
		42.2 Brightness and contrast adjustments
			42.2.1 Digital contrast adjustments
			42.2.2 Contrast adjustments in the darkroom
			42.2.3 Levels and curves adjustments
			42.2.4 Levels and curves in the darkroom: the zone system
		42.3 Dodging and burning
			42.3.1 Dodging and burning with GIMP
			42.3.2 Spot healing and retouching
			42.3.3 Digital retouching
		42.4 Color darkroom versus digital
			42.4.1 Contrast control
			42.4.2 Color balance
		References
CH043.pdf
	Chapter 43 Image manipulation
		43.1 Direct content manipulation
			43.1.1 Cropping and retouching
			43.1.2 Manipulation during exposure
			43.1.3 Photomontage
			43.1.4 Physical and chemical manipulation of image content
		43.2 Image-wide manipulations
			43.2.1 Toning and split toning
			43.2.2 Physical and photochemical manipulations
			43.2.3 Digital filters and effects
		43.3 The art and ethics of image manipulation
			43.3.1 Analog antecedents
			43.3.2 Digital mimicry of physical processes
			43.3.3 The question of cliché
			43.3.4 Paying one’s dues
			43.3.5 Honesty
		References
CH044.pdf
	Chapter 44 The image, the object and the process
		44.1 Some preliminary ideas
			44.1.1 Photographic and representational content
			44.1.2 The picture plane
			44.1.3 Control and happy accidents
			44.1.4 Negative versus positive
			44.1.5 Order, complexity and randomness
			44.1.6 The new antiquarian movement
			44.1.7 The archival ethos
		44.2 Examples from EP and lumen photography
			44.2.1 EP pictures from pictures
			44.2.2 Limited edition prints from EP negatives
			44.2.3 Ephemeral prints
			44.2.4 To …, or not to …
			44.2.5 EP accelerator transfers
		44.3 Drawing from negatives
		44.4 The camera stupida
		References
CH045.pdf
	Chapter 45 Four photographers and a musician
		45.1 Ky Lewis
		45.2 Brittonie Fletcher
		45.3 Chrystal Lea Nause
		45.4 Erin Woodbrey
		45.5 Matt Turner
		References
CH046.pdf
	Chapter 46 Toward an art and science of nature: a personal note
CH047.pdf
	Chapter 47 Make your own pinhole fisheye camera
		47.1 Basic principles
		47.2 A design for a wet camera
		47.3 A self-contained fisheye water ‘lens’
		47.4 Using casting resin instead of water
CH048.pdf
	Chapter 48 Some technical notes on ‘ephemeral process’ photography
		48.1 Introduction
		48.2 EP photography: general considerations
			48.2.1 EP accelerator formula
			48.2.2 Choosing the paper
			48.2.3 Preparing the paper for exposure
			48.2.4 Washing and drying the paper
			48.2.5 Scanning
			48.2.6 The option of fixing
		48.3 EP photograms
		48.4 A camera for wet paper negatives
			48.4.1 The film back
		48.5 EP negatives from color prints
APPA.pdf
	Chapter
		A.1 Units and dimensions
		A.2 Scientific notation
APPB.pdf
	Chapter
APPC.pdf
	Chapter
APPD.pdf
	Chapter
		D.1 Lambertian versus isotropic reflectors
		D.2 A flat, circular Lambertian emitter
APPE.pdf
	Chapter
APPF.pdf
	Chapter