This book uses art photography as a point of departure for learning about physics, while also using physics as a point of departure for asking fundamental questions about the nature of photography as an art. The topics in the book centre around hands-on applications, illustrated by little-known photographic processes that are inexpensive and easily accessible to students. This second edition covers traditional topics such as the nature of light, geometrical optics, two-dimensional design, the physics of both photochemical and photo-electronic light detectors, the elements of exposure, colour synthesis, and image manipulation. Less familiar topics are also included such as the role of symmetry in art and physics, the use of historical processes in contemporary art photography, the nature of shadows in relation to both eclipses and camera-less photography. This book is appropriate for undergraduate students enrolled on interdisciplinary photography courses as well as photographers, artists and scientists.
Author(s): John Beaver
Edition: 2
Publisher: IOP Publishing
Year: 2022
Language: English
Pages: 688
City: Bristol
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
