Book Description
This popular book presents creative darkroom techniques in a step-by-step format. It includes multiple printing, montage, toning, reticulation, infrared film, high contrast, combination coloring, dye transfer, liquid emulsions, Sabattier, and much more. Darkroom Dynamics has the information and photographs to expand the the reader's awareness of the sophisticated images which are possible in photography today.
Darkroom Dynamics has been written to be easily comprehensible to the novice
photographer attempting experimental photography for the first time. It serves not only as a forum for the serious display of experimental and manipulated photographs but also as a comprehensive source on how to make these images.
Presents creative darkroom techniques in an easy to follow format.
Simple enough for the novice photographer to understand.
Shows experimental and manipulated photographs and describes how to make them.
Customer Reviews:
Great book of creative dakroom techniques.......2000-09-21
This book is packed full of step-by-step instructions for alternative creative darkroom techniques. The instructions are easy to follow and the photo illustrations are well placed to enhance the readers understanding. Each technique is presented by a photographer who is an expert in its application, so the information comes across comprehensive yet it is still easy to understand. This is a great book. I am glad to have it as a part of my personal photo library. It will be well used.
Customer Reviews:
Best Photo Cropping Book Yet!.......2007-08-30
I have been an avid scrapbooker for years and have yet to find a book that uses the pictures as the true page focal point instead of adding embellishments.... until I saw this book! There is page after page of unique ideas for cropping pictures that will guarantee that your pages will stand out from all the others.
*SCRAPBOOKERS* use those scissors with CREATIVITY !.......2007-08-02
Ever hear of *SHEAR-CROPPERS* ? "Creative P.C. (Photo Cropping) for Scrapbooks" is a book crammed with examples of "creative cropping" - - including new twists & challenges. My favorites are weaving, vertical panoramas and kaleidoscope mats.
Patterns can be imitated or cleverly adapted for using your own treasured photographs. The fun is in trying out all of the different effects. Only in a "How-To" book would so many fill consecutive pages, but finished products can also be framed as gifts, &/or placed as decorative accents in homes.
The book is obviously not the work of one individual - - many have worked together to demonstrate ideas for cropping in distinctive ways that will liven the pages of scrapbooks. It is all part of a thriving industry whose many enthusiasts love to learn & share new techniques. Even in the very small (15,071) Indiana county where Reviewer mcHAIKU lives, there are two shops and one 'commercial' individual in the largest town (population: 826)!
This shows that you can get help anywhere to produce *BLUE RIBBON scrapbooks* - - and especially by using books such as "Creative Photo Cropping." (mcHaiku: 8.2.07)
Wonderful, especially for apprentice scrapbookers!.......2007-01-29
This book is well worth the price. It offers many unique ideas. It has the basics for your beginner scrapbookers, but is full of challenge ideas for apprentice or even seasoned scrapbookers!
Simply the Best.......2006-09-11
An excellent book for all levels of scrapbookers, but especially so for those who are just beginning. Well done.
Refreshing new ideas for the medium-advanced scrapbooker!.......2005-11-30
I have looked and wasted so much money buying scrapbooking books here and there for these tiny bits of "goodness" in them. When this book arrived I realized I finally found a true inspiration book - no fluff, no fillers, no really basic-how-to-scrapbook instructions. Everytime I open this book I become entralled with the examples....(Ooohhh, I NEED to do that next time...WAAYY TOO COOL!).
If you are a beginning scrapbooker - this book is not for you. The methods of cutting or cropping are better left to those who've gained experience with cropping photos and using a paper trimmer. A better book for you would be Scrapbooking for Dummies (covers a wide variety of basics) or a class.
However, if you treat your paper trimmer like a third arm and are quite comfortable with it - you've got to get this book! Well worth the price even at full retail!
Book Description
Creative Black-and-White Photography guides photographers at all levels in producing the aesthetically advanced, carefully crafted images they've always dreamed of making. In his sequel to Mastering Black-and-White Photography, photographer Bernhard J Suess again makes complex technical and aesthetic problems easy to understand and master. He addresses intricate questions of film exposure and development control, camera filters, creative use of print contrast, dodging and burning, bleaching, and digital imaging. Discussing the many choices he makes in his own photography and why, Suess illustrates the decisions essential to successful black-and-white images.
The book includes more than eighty black-and-white photos, tracing the evolution of images from idea to final print. Each example is accompanied by a detailed explanation of the artistic and technical processes involved as well as a helpful look at how and why the photographer decided to use the techniques. Whether choosing a camera format, arranging a background, or composing a portrait, this invaluable resource shows photographers how to balance different elements in a picture and take advanced steps in creating better black-and-white photographs.
Customer Reviews:
Little to offer.......2007-05-26
I wonder why this was written, and even more so, why it was published. Beginners will be lost by page three, since the author assumes his readers already know the fundamentals. Accomplished photographers will be bored by page three, since the author discloses nothing new, and illustrates his disclosures with photographs that are, well, nothing special. On virtually every page there is another cryptic reference to the Zone System, but anyone up to speed on tone placements via Zone placements will be light years ahead of this book. Those who aren't will feel they're reading Esperanto.
weak.......2005-04-12
very shallow interpretation even for beginners, in addition accompanied by helplessly boring photographs. avoid.
An excellent reference.......2000-03-31
With a clarity of presentation and personal anecdotes, Bernhard Suess masterfully presents techniques and information quite useful to both amateur and skilled photographers. There was a wealth of information presented in this book which significantly improved both my compositional and printing skills. Amidst a plethora of books available on the subject, I feel that Suess makes an exceptional effort to make the topic as accessible as possible. There is a minimum of technical jargon that is not explained, which should appeal to the neophyte, and there are several tricks and techniques that would appeal to the more experienced photographer. I highly recommend this book.
Customer Reviews:
Good and Bad Advice on a Variety of Creative Techniques........2004-10-27
In "Creative Photo Printmaking", author Theresa Airey attempts to cover 9 different photo and printmaking techniques that are alternative or supplementary to conventional practices, and which will expand any photographer's means of creative expression. I have found that books that discuss a variety of photographic skills, instead of being an exhaustive study of just one, tend to be cursory, serving as an introduction to their subjects more than in-depth guides. That's fine as long as they are solid, accurate introductions. "Creative Photo Printmaking" isn't one of the better multi-skill books that I've read. Some chapters are reasonably good, while others are, frankly, bad. Organized lists of necessary supplies and equipment are generally absent.
"Manipulating Polaroids" (Chapter 1) is a decent introduction to Polaroid "Time Zero" (SX-70) film. Advice on manipulating the film is adequate, and there are instructions for modifying modern 600 Series Polaroid cameras to accept SX-70 film. There is an interesting section about sandwiching SX-70 prints by removing the emulsion. The recommendation to duplicate and enlarge your prints by copying them to slide is outdated. Now you would simply scan them. Oddly, there is advice about printing slides onto Time Zero film with a conventional enlarger, but not with a DayLab, which is more common practice.
"Infrared Photos" (Chapter 2) is about black-and-white infrared film, which is prized for its ability to record increased tonal separation in the midtones while decreasing tonal separation in light and dark tones, creating a "luminescence" in light skin tones. This is the worst chapter in the book, as it is filled with misinformation. Infrared film does not record heat. Red filters do not allow more IR to pass through them; they block out the rest of the spectrum. Surface veins can be eliminated by increasing exposure. IR negatives should not be dense and difficult to print. The author has drastically overexposed her negatives, something that I would expect of a novice. The book advocates doing a lot of exposure tests to achieve correct exposure. If they didn't help the author, I don't think they'll help you. Set the ISO on your camera to 100. Set the exposure to 1/125 at f/11 on a sunny day. Use any yellow, orange, or light red filter. Pay no attention to filter factors; infrared light passes through the filter. Bracket your exposures by one stop over and under that exposure. Be sure to load and unload film in total darkness. You'll do fine. Ignore everything in this chapter. It's disgraceful.
"Bleaching and Toning" (Chapter 3) introduces several toning techniques. Toning with selenium then bleaching down the skin areas on portraits until a flesh tone is achieved produces a beautiful result on the demonstration print. Another technique is copper split-toning that literally produces a metallic copper effect that is quite striking, but is not explained in detail. There is also brief discussion of color posterization, which produces unreal colors.
"Working with Liquid Emulsions" (Chapter 4) explains the use of both Silverprint and Liquid Light, coating emulsions that are applied to various surfaces in order to make them susceptible to photographic printing. The instructions for coating, developing, bleaching, and troubleshooting Silverprint are quite detailed. Liquid Light requires longer exposures, and its instructions are not as detailed.
"Image Transfers and Emulsion Lifts" (Chapter 5) are two popular Polaroid techniques. Image Transfers are made from peel-apart Polaroid films when the negative is peeled from the substrate and applied to another surface. Instructions are given for paper selection, printing a slide onto the film with a DayLab, Vivitar slide printer, or an enlarger, separating the negative, making the transfer, reducing (bleaching) the print, and troubleshooting. Emulsion lifts remove the gelatin emulsion from the paper backing of a Polaroid print and transfer the emulsion, which is semi-translucent, to another surface. Step-by-step instructions are provided, as well as advice on transferring emulsions to glass, silk, and wood.
"Polaroid Instant Slide Films" (Chapter 6) is dedicated to films that are no longer available, but were when this book was written. Two types of instant slide film, Polapan and Polachrome, are described and examples of photos with various filter combinations are given. Polaroid instant slide films were discontinued because the law enforcement and scientific uses of the film have been usurped by digital, and the fine arts community was not enough to make these films profitable. I admire the films a great deal. If you ever have the opportunity to use them, I recommend the Polachrome for manmade, especially industrial, subjects and the Polapan for architecture or portraits. The author has used them in rural scenes, which show the films off poorly. But the way, Polachrome came in two varieties. The high contrast version was intended to photograph graphics and is less suitable to fine art.
"Solarization" (Chapter 7) discusses the reversal effect (light becomes dark, dark becomes light) that can be achieved by re-exposing a print when it is partially developed. Papers and developers are recommended, and the procedure is described. The author also gives advice on how to copy a solarized negative or slide onto film, but the films she mentions are no longer available.
"Photo Transfers" (Chapter 8) are photocopies of photographs that are transferred to the artists' paper of your choice. This chapter takes you through choosing a suitable print, copying it on a color laser copier, selecting an artists' paper, and making the transfer.
"Handcoloring Photographs" (Chapter 9) provides very little instruction on handcoloring. The author prefers coloring with pencils, which is unusual. Most handcolorists use photo oils in conjunction with pencils for details. This chapter describes a variety of products, but not what to do with them. The author does a lot of handcoloring on artists' papers, not photographic papers, and she discusses methods of dealing with the challenges of applying oils to them. If you are in this situation, her advice might help you. But the instructions for preparing photographic prints for coloring are inadequate and confusing.
A Must Have for Creative and Advanced Photographers.......2002-09-06
Theresa Airey's Creative Photo Printmaking book is filled with her beautiful photographic art and detailed instructions on how to accomplish similar results.
Any photographer and dark room enthusiast/student will benefit from this book which provides more than adequate instructional information on processes such as: infrared, printing on artist papers, wood, or glass, polaroid images, handcoloring, bleaching & toning, and copystand work only to name a few. I particularly enjoyed the bleaching & toning over handcoloring for adding color to my black & whites and her example photographs for this process are inspirational.
We used this particular book in our creative photo class. My fellow classmates became very enthusiastic about their accomplishments, and attributed their successes, in class, to this book. Theresa Airey has an MFA in photography and fine arts and has put together a splendid book that will be an asset to any photographer's library.
Great instructions.......2001-09-26
The author has done a great job with this book. It is highly readable and useable. I was especially impressed when I saw that included was her workspace setup for doing photo transfers. I was having a problem setting up my workspace with the trays, the electrical things vs. the water things...and was amazed that she thought to include it.
Essential for learning to create speical effects.......2001-06-12
This is an essential book for any photographer who wants to learn to how to create stunning photographic artwork by manipulating photos. A wide variety of unusual and spectacular effects are presented. The beautiful examples have really inspired me.
First it covers manipulating, hand coloring, scanning and even recycling mistakes made with time-zero Polaroid film. Then black and white infrared photography using filters, metering and flash is covered along with film processing and printing. Bleaching and toning are next including great sections on copper split toning, posterization effects and creating pseudo flesh tones. Then emulsion transfers are shown including silverprint and liquid light. These create some great effects on non-traditional surfaces.
Image transfers and emulsion lifts follow. You are shown how to used a slide printer to make a print, make a projection print and transfer images onto non-paper surfaces like glass or silk, even getting two prints from one. Lastly, Polaroid instant slide films, solarization, photo transfers and hand coloring are discussed in detail.
All the instructions are excellent and thorough, covering everything from loading the camera to choosing and developing the film. There are a few demonstrations, lots of examples and great troubleshooting sections for each technique.
The appendixes in the back are very helpful. They include paper selection and characteristics, instructions on working with a copystand and a list of suppliers. This is a wonderful book to help the photographer with some darkroom experience move on to create awesome special effects photos.
Great techniques, great images and great instructions.......2000-12-03
This book gives comprehensive step by step instruction for so many different techniques I was amazed that only one photographer wrote it. She certainly knows her stuff! It was easy to understand and to work with. I learned so much from this book that I felt guilty only paying [as muchas I did] for it. Great book and great images. I love it. L.P.
Book Description
This book is a complete guide to photographing, developing, and creatively printing images of the landscape. Eddie Ephraums, an acclaimed photographer and printer, describes in detail the techniques he uses to create fine-art prints. A full guide to equipment, darkroom set-up, film processing, printing, and toning is included together with many examples and step-by-step instructions from the negative to the finished print.
Landscape photography is not a passive process. It is a creative process, an opportunity to express ourselves in the form of an individually crafted print-utilizing the creative elements of photography.
Also Recommended: "Beyond Monochrome," "The Complete Photographer."
Customer Reviews:
Superb, if a little daunting, an aspiring volume.......2002-03-15
I come at this book as someone who wishes to improve their darkroom technique beyond the obvious burn-in-the-sky and dodge-the-face level. I also come at this from someone wishing to exploit at least some, if not most of the advantages of the Zone System, where in most guides the idea is to minimise print manipulation.
There is no doubting that the work in this book is outstanding, if not a little stylised. It takes you from a basic proof print, to an image representing more artwork than photograph, and if that is the school that you wish to follow, then this is simple the best book for you. A decent knowledge of darkroom techniques is required to get the best out of this book, I would disagree if someone said it was for the beginner, it is simply not. Also when trying out the processes in the darkroom for yourself, it requires skill already gained and an experienced eye that a beginner simply would not have, the art of working out what the Author is trying to accomplish, and then applying that to your own work takes time and effort and skill, you aren't given a copy of the Authors negatives to practise his technique! It also requires some hefty equipment, most noticably a highly accurate and programmable Enlarger timer, a switch and a stopwatch are not sufficient, and so it should be, as beginner printers need to move beyond that on their way to becoming master printers.
Useful as well is the breakdown by image is the technical section. A very valuable resource but can be found in several other books.
The way I find this book to be most useful is when judging my own work. Having a proof print, and then referring to the book for similar aspects in the Authors work, and imagining, and trying, to implement the techniques.
This is not a book to read and admire, but to take time, be that months or even years, and learn from, but beware not to copy, but to find a level of manipulation that suits your style.
Getting the most out of smaller negatives........2001-09-02
Getting the most out of smaller negatives.
One of the problems that the small format (35mm) photographer faces when using faster film (ASA 400) is that the subsequent loss of detail makes truly representative imagery difficult to accomplish. Used to the techniques of large format specialists such as Ansel Adams or John Sexton, we have come to expect big prints with breathtaking depth and detail. In addition, large format negatives permit fine manipulations of contrast and perspective. This often convinces the 35mm SLR owner that good black and white landscape work is beyond his or her reach.
Fortunately, this is not true. Eddie Ephraums fine volume on landscape printmaking is a study in using the characteristics of the smaller camera as stepping off points instead of limitations. Ephraums' moody stylings, full of burning in, contrast manipulation, and toning are exciting images that actually benefit from the presence of grain and softness. He takes twenty images and presents complete details on both the thought process and the darkroom work needed to produce the final result. These alone are a gold mine of creative information.
The remainder of the book is a technical section that covers everything from darkroom setup to print finishing. Each subject is lucidly presented, with excellent photographs. Although an experience darkroom worker I still found much food for thought. I especially liked the sections on image and print assessment, as well as his coverage of toning. The last part of the book a formulary and a good section of tables and charts.
While the book is well enough written for the beginner to use, I think someone with a modicum of experience taking and making pictures will benefit the most. This is not a read it once and forget it kind of book. You will find yourself returning to it often when you are faced with the puzzle of how to get down on paper what you saw in your mind.
Excellent.......2001-05-02
Step by step technical data for each image in the book is included. There are notes on each image from its original creation, film used, developing, lighting all the way to printing and toning data. The first straight print is included alongside the final print, so yo uare able to see how the results of careful and creative darkroom work. Charts on the areas dodged and burned, bleached and toned are included to walk you through to the creation of the final image. The appendix includes several toner recipes all of which are very good.
Book Description
*Combines a traditional technique--black-and-white photography--with the latest technology
*Shows readers how to create their own high-quality, fine art prints
Black-and-white photography has always been a favorite topic among amateur photographers, but many digital photography books assume the reader is working with color images. With this concise guide, black-and-white enthusiasts can finally learn exactly how to enhance their creations with digital techniques. The book covers everything from scanning, manipulation and printing to advanced, digital darkroom techniques. Amidst inspiring and distinctive black-and-white photos, readers will find tricks and advice for making their images more creative than ever before!
Customer Reviews:
great for beginners and advanced lith printers.......2005-08-15
Very well organized and written, this book is a must for beginners and advanced lith printers alike. I am new to the process and found the book was easy to follow with great examples. The author provided lists of supplies and suppliers to make it even easier to get started as well as charts of specific papers and the effects of various developers so the beginner would know what to expect. This is not just a how-to book, but instead the author encourages exploration within the process.
Complete, Well-Organized Lith Lesson. Stunning Examples........2004-07-14
"The Master Photographer's Lith Printing Course" is a beautiful comprehensive guide to Lith printing. Not to be confused with ultra-contrasty lith film, Lith printing is a technique by which a print is overexposed and then partially developed in Lith developer to produce a print that is colored monochrome. Prints typically have black shadows, colored mid-tones and burned-out highlights. The photographs must be printed on lith or other suitable black-and-white paper, and the colors produced vary according to the paper and technique. Lith prints may also be toned for additional color effects. Lith printing can be done from color negatives, but normally black-and-white negatives are preferable.
A photography book should be illustrated with example photographs that the reader can admire and would want to emulate. Author Tim Rudman must agree. "The Master Photographer's Lith Printing Course" contains about 125 example photographs, nicely reproduced, that are inspirational. The book is also very well organized. It starts with an introduction and FAQ. Chapter 1 provides an overview of lith printing which explains what effects lith printing produce, why, and to what subjects it might be suited. Chapter 2 talks about the equipment and materials you will need, including the qualities of each paper and developer that may be used in lith printing. Chapter 3 explains how to make a basic lith print. Chapter 4 goes into more detail about controlling printing and developing for various effects, including dodging, burning, and selective development. Chapter 5 talks about the whys and wherefores of pepper fogging, among other difficulties, and offers solutions. Chapter 6 is a short course in the chemistry behind lith printing, an understanding of which will help you prevent and solve problems. Chapter 7 is about controlling color in prints during development. Chapter 8 discusses toning lith prints, specifically with gold, selenium, and selenium plus gold toners for stunning effects. Chapter 9 talks about redeveloping conventional prints in lith developer. Chapter 10 introduces some "lith look-a-like effects" that can be achieved with sodium-hydroxide enriched developer, split-thiocarbamide toning, and various bleaching techniques. Some of these produce breathtaking results. Everything is generously illustrated. Tips and cautions are displayed in conspicuous colored boxes. The topics covered in each chapter are set out at the beginning of the chapter. The only fault I have with the book is minor: The captions that explain the photographs are quite good, but they are so small as to be difficult to read.
It should be noted that Tim Rudman is British, and he uses the British names for lith papers. UK/US/Australian paper equivalents are given in the excellent appendices in the back of the book. Also found in the appendices are: a troubleshooting guide, paper characteristics for 19 papers discussed in the book, a color guide that tells us which papers produce which colors under what circumstances, a paper speed reference table, an f-stop chart for printing, a glossary, and a list of US, UK, and Australian suppliers.
Some photographers might like to duplicate the style of lith prints in the digital darkroom. It would certainly be safer. If you're committed the digital darkroom, Tim Rudman's breathtaking prints can still serve as an inspiration. I generally prefer traditional prints for black-and-white photographs, as they convey a depth that is easily distinguished from digital prints when examined closely. And all lith prints will be one-of-a-kind, which could be a source of great pride or great frustration, depending on your mood. In any case, "The Master Photographer's Lith Printing Course" is a comprehensive, easy-to-follow, beautifully illustrated manual of Lith printing. I'm sure that wet darkroom printers of all levels will find this an interesting technique to try.
Nice to look at, but pass........2004-01-31
I think Tim Rudman is a great photographer and teacher. However, the whole point of this book is pretty thin. Back when I was in grad school, I thought I would impress Nathan Lyons by telling him that I wanted to do an entire portfolio in Bromoil prints. "At some point, you have to decide if you want to be a technician or a photographer." Was his typically clipped reply.
It was good advice that has stuck with me all these years though.
As a big fan of darkroom photography, I nearly choke on the words "Better in Photoshop". But truthfully, most of the lith printing techniques outlined in this book can be duplicated using Photoshop at 1/10 the price and time. Sure, you may be able to finally make something interesting out of that photo of your cat, but chances are you'd be better off spending time and money making more photographs and thinking about why you actually make them.
Not a bad diversion for those who like darkroom work, but a dangerous distraction for those attracted to making images with content.
The best.......2000-09-15
I can't imagine what posessed the last reviewer to complain about the print size of this book. It's the content that matters! This is a superb book that opens up this beautiful photographic process and makes it real, understandable and 'doable' for the first time. It is really an inspirational book as well as being practical and instructional. Tim is a great teacher and communicator. Wonderful stuuf. Thank you.
Harry
Small print makes for my first Amazon return!.......2000-07-20
I really wanted this book. I have tried to read it! The print is so very very small that it is impossible to read without a magnifying glass. I just can't do it. The sad part is, there is plenty of room on most of the pages for a larger print to have been used. It looks like it was printed with a size 8 font and maybe a size 6 under the photos. I cannot in all honesty say that I have read this book. I have looked at the photos only. If the type were readable, it would have been read cover to cover by now and I would have implemented what I had learned! What a shame that the publisher let this go with such small print. Maybe when the second edition comes out, they will print it larger. I will buy that edition when it comes out. Tim Rudman worked very hard putting this wonderful book together, only for the publishers to blow it. This will be the first book I have ever returned to Amazon.com. Geri Moore, photographer earthdancerimages.com
Book Description
The Creative Digital Darkroom is not a Photoshop book per se, but as applicable focuses strictly on the photographic aspects of Photoshop - something other books claim to do but rarely have the discipline to accomplish. The photographic examples, language, and techniques featured in the book will immediately appeal to serious students and professional photographers, who have little use for books full of stock images, extraneous discussion, and distracting jokes. This book clearly explains the classic principles of the photographic darkroom, in terms that users of digital technology can happily thrive on. It does not address every feature or every tool in every Photoshop menu - rather it offers clear and concise examples of how software and hardware combine with the unique vision of the photographer in creating, editing, and outputting The Image. Katrin Eismann is world-known for her talent as a Photoshop expert and photographer, but above all she's considered one of the best teachers her field has ever seen. In this book she uses the tutorial approach that made her two previous Photoshop books bestsellers to take photographers beyond quick tips and gimmicky effects. Here she translates the analogy of traditional darkroom into contemporary digital solutions for photographers who sense that, despite the newness of the technologies at hand, there remains a timeless method for learning and practicing photography the right way.
Average customer rating:
- Nothing like it!
- Pretty Darn Informative
- Good book for contemporary phohotography
- Very Cool.
|
The New Media Guide to Creative Photography: Image Capture and Printing in the Digital Age
John Carucci
Manufacturer: Watson-Guptill Publications
ProductGroup: Book
Binding: Paperback
 Darkroom & Processing
| Photography
| Arts & Photography
| Subjects
| Books
General
| Photography
| Arts & Photography
| Subjects
| Books
Reference
| Photography
| Arts & Photography
| Subjects
| Books
General
| How-to
| Photography
| Arts & Photography
| Subjects
| Books
Equipment
| Photography
| Arts & Photography
| Subjects
| Books
Digital Photography
| Digital Photography & Video
| Computers & Internet
| Subjects
| Books
Digital Printing
| Digital Photography & Video
| Computers & Internet
| Subjects
| Books
Printing
| Graphic Design
| Computers & Internet
| Subjects
| Books
ASIN: 0817450106 |
Product Description
How to master today s hybrid photography combining new film and camera technology, computer manipulation, and varied output media is fully covered in the most simplified, up-to-date primer available. Major topics include camera equipment, flash, film, the computer as darkroom, the digital palette and outputting finished prints. For photographers, graphic designers, home computer users beginners and pros alike this first guide to new media shows how anyone can produce impressive images in the new digital age.
Customer Reviews:
Nothing like it!.......2001-08-06
What an excellent guide to photagraphy, with excellent pictures as well. As I started to look at this book I saw talent on first hand. The way each picture supported a different figure of photography. I hope to see more books like this one and 'Capturing the Night With Your Camera' soon.
Pretty Darn Informative.......2000-07-26
This book addresses a realistic approach to the current world of photography. It's not just digital cameras and computers: it's film, illumination and composition. Carucci feels that certain ideas are necessary to produce a good image regardless of the technology. The book is well written, though it seems that some of the passages, especially at the chapter beginnings, are a bit too creative. The book doesn't read like a textbook. Instead it's friendly, especially to the newbie. His introduction is poignant and the images are incredible. The kid turned into a statue is both shocking and wonderful.
Good book for contemporary phohotography.......1999-10-26
The author of this contemporaray photo manual is not caught up in the technology, rather he uses a common sense approach to new technology. The book starts off with the thought process and preaches conventional rules of pictorial composition, instead of the technical jargon that so many books of this type contain. One has to go no further than the book's introduction to realize that Carucci bridges the gap between art and technique. As for the images, I forgot for a moment that this was an instructional manual. The artwork is first rate. That's not to say that the writing is less than clear and informative. I especially liked the child/statue composite. I recommend this book to anyone interested in digital photography.
Very Cool........1999-06-14
This one is better than most of the books in its category, although by far is not one of those "most complete guides". Good writing style, Real life examples. Type of camera, film and exposure settings are listed next most of the example pictures. What this book has that others don't, is a pretty good overview of digital input and output(especially printers and scanners), and how it's related to "film" photography. Highly recommended for beginners.
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Books Index
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