| Preface: The Evolution of A Photographer |
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8 | (10) |
| Introduction: The Philosophy of a Nature Photographer |
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10 | (1) |
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11 | (1) |
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11 | (1) |
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The Eye versus the Camera |
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12 | (1) |
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12 | (1) |
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12 | (1) |
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12 | (1) |
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Color to the Eye and Film |
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12 | (1) |
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13 | (1) |
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Color versus Black and White Photography |
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13 | (1) |
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Landscape versus Wildlife Photography |
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13 | (1) |
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14 | (1) |
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Unpredictability and Photography |
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14 | (1) |
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Personal Perspective and Photography |
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14 | (1) |
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Talent, Self-criticism, and Ego |
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15 | (1) |
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16 | (90) |
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The Five Photographic ``Toppings'' |
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18 | (42) |
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18 | (1) |
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18 | (1) |
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19 | (1) |
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Other Color Relationships |
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19 | (9) |
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28 | (1) |
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28 | (1) |
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28 | (1) |
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28 | (1) |
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28 | (1) |
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28 | (1) |
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28 | (10) |
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38 | (1) |
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38 | (1) |
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38 | (1) |
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38 | (1) |
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39 | (1) |
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39 | (1) |
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39 | (1) |
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39 | (9) |
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48 | (1) |
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Perspective in Nature Photography |
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48 | (4) |
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52 | (1) |
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52 | (2) |
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54 | (1) |
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54 | (6) |
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60 | (26) |
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60 | (1) |
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60 | (1) |
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61 | (1) |
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61 | (1) |
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61 | (9) |
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Types of Composition in Landscape Photography |
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70 | (1) |
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Two-dimensional Photographs |
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70 | (1) |
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Three-dimensional Photographs |
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70 | (1) |
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70 | (1) |
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70 | (1) |
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71 | (1) |
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71 | (1) |
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Leading the Viewer Out of the Scene |
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71 | (1) |
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Horizontal versus Vertical Composition |
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71 | (10) |
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81 | (1) |
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Compressing Distance and Selecting Focus |
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81 | (1) |
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81 | (1) |
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Overexposure and Underexposure |
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81 | (5) |
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86 | (20) |
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86 | (1) |
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86 | (1) |
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87 | (1) |
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87 | (6) |
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The Colors of Light---A Typical Day |
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93 | (1) |
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93 | (1) |
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93 | (1) |
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94 | (6) |
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100 | (1) |
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100 | (1) |
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100 | (1) |
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100 | (1) |
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100 | (6) |
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The Essentials of Nature Photography |
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106 | (48) |
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Basic Mechanics of the Camera |
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107 | (2) |
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Understanding and Controlling Depth of Focus |
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109 | (11) |
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The Theory of Depth of Focus |
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109 | (1) |
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Managing Depth of Focus with the Camera |
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109 | (3) |
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The Hyperfocal Distance Chart |
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112 | (1) |
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The Depth of Focus Preview Button |
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113 | (1) |
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Lens Barrel Depth of Focus Scale |
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114 | (3) |
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Depth of Focus: Automatic and Electronic Programmable Cameras |
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117 | (1) |
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Depth of Focus: Tilt Lenses and Large-Format Cameras |
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117 | (3) |
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Understanding and Controlling Exposure |
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120 | (14) |
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120 | (3) |
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Types of Light Metering Systems |
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123 | (1) |
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Hand-held Incident-light Meters |
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123 | (1) |
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Built-in Reflected-light Meters |
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123 | (1) |
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Averaging, Center-weighted, and Matrix Metering |
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123 | (1) |
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123 | (1) |
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124 | (1) |
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Measuring Light in Landscape Photography |
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124 | (1) |
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Measuring Light with Non-spot, Built-in Metering |
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124 | (1) |
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Measuring Light with Spot Meters |
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125 | (1) |
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Measuring Light with a Gray Card |
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125 | (1) |
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126 | (1) |
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Practical Limits to Underexposure and Overexposure |
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127 | (2) |
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Underexposure to Increase Color Saturation |
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129 | (1) |
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Exposures When Shooting into The Sun |
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129 | (1) |
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129 | (5) |
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134 | (17) |
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134 | (1) |
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134 | (2) |
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136 | (1) |
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137 | (1) |
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138 | (1) |
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138 | (1) |
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138 | (1) |
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138 | (1) |
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139 | (1) |
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139 | (1) |
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139 | (1) |
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139 | (1) |
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139 | (2) |
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141 | (1) |
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141 | (1) |
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141 | (1) |
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142 | (1) |
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142 | (1) |
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143 | (1) |
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143 | (2) |
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145 | (1) |
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Graduated Neutral Density (ND) Filters |
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146 | (3) |
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149 | (1) |
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Flash, Diffusers, and Reflectors |
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149 | (1) |
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149 | (1) |
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150 | (1) |
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151 | (2) |
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Negatives versus Transparencies |
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151 | (1) |
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151 | (1) |
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151 | (1) |
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151 | (1) |
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152 | (1) |
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152 | (1) |
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152 | (1) |
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Archival Qualities of Photographic Materials |
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152 | (1) |
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153 | (1) |
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Being at The Right Place at The Right Time |
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154 | (36) |
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Being Comfortable in Nature |
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155 | (9) |
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156 | (1) |
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157 | (1) |
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158 | (1) |
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158 | (1) |
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158 | (1) |
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Sleeping Bags, Pads, and Chairs |
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159 | (1) |
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159 | (1) |
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159 | (1) |
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160 | (1) |
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161 | (1) |
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161 | (1) |
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162 | (1) |
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162 | (1) |
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163 | (1) |
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Preparing for Photographic Excursions |
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164 | (5) |
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Preparing Your Photography Equipment |
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164 | (1) |
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165 | (1) |
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Getting to Know Kinds of Places |
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165 | (1) |
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Scouting Destinations From Home |
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166 | (1) |
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Taking The Right Amount of Photography Equipment |
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166 | (3) |
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169 | (17) |
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169 | (3) |
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Scouting and Previsualization |
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172 | (1) |
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172 | (1) |
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Spontaneity with The Eye and Camera |
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173 | (1) |
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Quickly Maximizing Depth of Focus |
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173 | (1) |
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Quickly Calculating Exposure |
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173 | (2) |
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Checking the Edges of Your Viewfinder |
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175 | (1) |
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Leaving Cameras on the Tripod |
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176 | (1) |
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Shutter Speeds Necessary to Stop Motion |
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176 | (1) |
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176 | (1) |
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Reciprocity Failure of Film |
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177 | (1) |
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Working Without Tripod and Cable Release |
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177 | (1) |
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178 | (1) |
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Photographing in Rain, Snow, and Cold Weather |
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178 | (1) |
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Additional View Camera Techniques |
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179 | (2) |
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Photographing From Dawn to Dusk: A Case History |
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181 | (1) |
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181 | (1) |
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182 | (1) |
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183 | (2) |
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185 | (1) |
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186 | (1) |
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Evaluating Your Photography |
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187 | (1) |
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187 | (3) |
| Afterword: The Gift of Wild Places |
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190 | |