Preface
Acknowledgements
Author biography
Part Ⅰ The physics of light detectors
1 Detectors and the characteristic curve
1.1 The physics of photons
1.2 Photoelectric detectors
1.3 Photochemical detectors
1.3.1 Negative and positive
1.4 Basic photochemistry
1.5 The eye as a detector
1.6 Exposure, density, and the characteristic curve
1.6.1 The characteristic curve and photoelectric detectors
References
2 Silver gelatin photochemical detectors
2.1 Black-and-white silver gelatin emulsions
2.2 Chromogenic color emulsions
2.3 Reversal-processed silver gelatin emulsion
2.4 Lumen process
2.5 Ephemeral process (EP)
2.5.1 How does it work?
2.6 Instant film
2.6.1 Peel-apart instant films
2.6.2 Integral films
References
3 Other photochemical detectors
3.1 Daguerreotype
3.2 Wet collodion, ambrotype, and tintype
3.3 Cyanotype and Van Dyke processes
3.3.1 New cyanotype
3.3.2 Van Dyke brown process
3.4 Platinum and palladium processes
3.5 Gum bichromate
3.6 Anthotypes and chlorophyll prints
3.6.1 Anthotypes
3.6.2 Chlorophyll prints
References
4 Some interesting technical details
4.1 Reciprocity failure
4.1.1 Reciprocity failure and VLS photography
4.2 Solarization
4.2.1 Sabatier effect
4.2.2 True solarization
4.2.3 Mackie lines
4.2.4 Negative or positive?
References
5 A brief diversion into the weird world of the photon
5.1 Young's double-slit experiment and the wave model of light
5.2 The photoelectric effect and the particle model of light
5.3 Young's experiment reconsidered
References
6 Digital photoelectric detectors
6.1 CCD and CMOS array detectors
6.2 The physics of CCD arrays
6.3 Color digital detectors
7 Unusual detectors and 3D photography
7.1 Stereo photography
7.2 Light-field photography
7.3 Autochrome Lumiere process
7.4 Holography
7.5 Lippmann process color photography
References
Part Ⅱ Photography as an art and the meaning of digital
8 Comparison of digital and film techniques
8.1 Borders and cropping
8.2 Brightness and contrast adjustments
8.2.1 Digital contrast adjustments
8.2.2 Contrast adjustments in the darkroom
8.2.3 Levels and curves adjustments
8.2.4 Levels and curves in the darkroom: the zone system
8.3 Dodging and burning
8.3.1 Dodging and burning with GIMP
8.3.2 Spot healing and retouching
8.3.3 Digital retouching
8.4 Color darkroom vs digital
8.4.1 Contrast control
8.4.2 Color balance
References
9 The digital and the analog
9.1 Pixels and granularity
9.2 Resolution
9.3 Signal and noise
9.3.1 Pennies and Poisson
9.3.2 Photons, signal and noise
9.3.3 Signal-to-noise ratio
9.4 Digital photography and the data revolution in astronomy
9.4.1 Digital detectors are reusable
9.4.2 Linear response
9.4.3 Dynamic range
9.4.4 Quantum efficiency
9.4.5 Image calibration
References
10 Is digital manipulation cheating?
10.1 Paying one's dues
10.2 Honesty
10.3 Retouching
10.4 Digital filters and cliche
References
11 The image, the object, and the process
11.1 Some preliminary ideas
11.1.1 Photographic and representational content
11.1.2 The picture plane
11.1.3 Control and happy accidents
11.1.4 Negative versus positive
11.1.5 Order, complexity, and randomness
11.1.6 The new antiquarian movement
11.1.7 The archival ethos
11.2 Four photographers and a musician
11.2.1 Almudena Romero
11.2.2 Caitlin Noll
11.2.3 Diane Fenster
11.2.4 Chrystal Lea Nause
11.2.5 Hal Rammel
11.3 Examples from lumen and ephemeral process photography
11.3.1 EP pictures from pictures
11.3.2 Limited edition prints from EP negatives
11.3.3 Ephemer
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