Note: Intro -- Preface -- Acknowledgments -- References -- Author biography -- John Beaver -- 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 -- 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 -- 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 -- 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 -- 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 -- 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 -- 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 -- 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 -- 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 -- 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 -- 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 -- 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 -- 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 -- 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 -- 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 -- Chapter 16 Perspective and pinhole photography -- 16.1 Curved paper -- 16.2 Folded paper -- 16.3 Anamorphic pinhole cameras -- 16.4 Pinhole bokeh -- Reference -- Chapter 17 The nature of energy -- 17.1 Energy transfer. , 17.2 Energy, power, force and momentum -- 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 -- 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? -- Chapter 20 The Jones-Condit equation -- 20.1 The Jones-Condit equation -- 20.2 Vignetting -- References -- 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 -- 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 -- 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 -- 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 -- 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 -- 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 -- 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 -- 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 -- Chapter 29 Color synthesis in photography. , 29.1 Color detectors and color pictures.