Note: Intro -- Preface -- Acknowledgements -- 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 -- Reference -- 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 -- Chapter 4 Sources of light -- 4.1 Light and its spectrum -- 4.2 Thermal radiation -- 4.3 Non-thermal radiation -- Reference -- Chapter 5 Wavelength reconsidered -- Chapter 6 Geometry and the picture plane -- 6.1 From 3D to 2D -- 6.2 The human brain's construction of three-dimensional reality -- 6.3 Linear perspective and the Camera Obscura -- 6.4 The picture plane -- References -- Chapter 7 Light and shadow: photograms -- 7.1 Shadows and the source of light -- 7.2 Laser photograms -- References -- Chapter 8 Ray optics 1: pinhole photography -- 8.1 Focal length and angle of view -- 8.1.1 Image size -- 8.1.2 Detector format -- 8.1.3 Angle of view -- 8.2 Distortion and angle of view -- 8.3 Vignetting -- 8.4 Focal ratio -- Chapter 9 Ray optics 2: lenses -- 9.1 Focus -- 9.2 Focal length -- 9.3 Depth of focus and focal ratio. , 9.4 Zone focusing -- 9.5 Ray tracing -- 9.6 Aberrations and distortion -- 9.6.1 Spherical aberration -- 9.6.2 Coma -- 9.6.3 Chromatic aberration -- 9.6.4 Aperture and aberrations -- 9.6.5 Distortion -- 9.7 Resolution -- 9.8 Lens design -- Chapter 10 Symmetry -- 10.1 Transformations and invariance -- 10.2 Symmetry in physics -- 10.2.1 Symmetry and mirrors, again -- 10.2.2 Mirror symmetry and P-invariance -- 10.3 Symmetry in art -- 10.3.1 Formal symmetry in art -- 10.3.2 Balance in two-dimensional art -- 10.4 Asymmetry and broken symmetry -- References -- Chapter 11 Two-dimensional (2D) design -- 11.1 Elements of 2D design -- 11.2 Figure and ground -- 11.3 Lines -- 11.4 Geometric shapes -- 11.5 Value and contrast -- 11.6 Hue and saturation -- 11.7 Depth cues -- 11.8 Unity and repetition -- 11.9 Rhythm -- 11.10 Framing -- 11.11 Composition: some useful rules of thumb -- 11.11.1 The rule of thirds -- 11.11.2 The rule of odds -- 11.11.3 The rule of space -- 11.11.4 The rule of simplicity -- 11.11.5 The rule of diagonals -- 11.11.6 The rule of triangles -- 11.11.7 The golden rectangle and the rule of the golden mean -- 11.12 Some examples of 2D design in photography -- 11.12.1 The Lambeth Walk by Bill Brandt -- 11.12.2 Child with Toy Hand Grenade by Diane Arbus -- 11.12.3 Marilyn Monroe, Hollywood by Eve Arnold -- 11.12.4 Dovina with Elephants by Richard Avedon -- 11.12.5 Andean Boy, Cuzco by Werner Bischof -- References -- Chapter 12 The view camera -- 12.1 Description of movements -- 12.2 Movements and the image circle -- 12.3 Selective focus -- 12.4 Controlling perspective -- 12.4.1 Altering perspective with a pinhole camera -- Chapter -- A.1 Cyanotype photograms -- A.2 Ephemeral process photograms -- A.2.1 Accelerator formulae -- A.2.2 Choosing the paper -- A.2.3 Preparing the photogram -- A.2.4 Exposing, washing and drying. , A.2.5 Scanning, and the option of fixing -- References -- Chapter -- Chapter -- Chapter -- D.1 Units and dimensions -- D.2 Scientific notation.

Note: Intro -- Preface -- Acknowledgements -- Author biography -- John Beaver -- Chapter 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 -- Chapter 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 -- Chapter 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 -- Chapter 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 -- Chapter 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 -- Chapter 6 Digital photoelectric detectors -- 6.1 CCD and CMOS array detectors -- 6.2 The physics of CCD arrays -- 6.3 Color digital detectors -- Chapter 7 Unusual detectors and 3D photography. , 7.1 Stereo photography -- 7.2 Light-field photography -- 7.3 Autochrome Lumière process -- 7.4 Holography -- 7.5 Lippmann process color photography -- References -- Chapter 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 -- Chapter 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 -- Chapter 10 Is digital manipulation cheating? -- 10.1 Paying one's dues -- 10.2 Honesty -- 10.3 Retouching -- 10.4 Digital filters and cliché -- References -- Chapter 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 Ephemeral prints -- 11.3.4 To …, or not to … -- 11.3.5 EP accelerator transfers -- 11.4 Drawing from negatives -- 11.5 The camera stupida -- References -- Chapter 12 Towards an art and science of nature -- 12.1 A personal note -- Chapter -- A.1 EP accelerator formula -- A.2 Choosing the paper -- A.3 Preparing the paper -- A.4 Washing, drying, and scanning -- Chapter -- Chapter -- C.1 Units and dimensions -- C.2 Scientific notation.

Note: Intro -- Preface -- Acknowledgements -- Author biography -- John Beaver -- Chapter 1 The nature of energy -- 1.1 Energy transfer -- Chapter 2 Energy and exposure -- 2.1 Defining our terms -- 2.1.1 Power, P -- 2.1.2 Intensity, B -- 2.1.3 Illuminance, I -- 2.1.4 Specific intensity, I0 -- 2.2 Tracing the energy from source to camera -- 2.2.1 The power of light emitted by the Sun -- 2.2.2 The intensity of sunlight at Earth -- 2.2.3 Illuminance of the light on the subject -- 2.2.4 The power of the light intercepted by the metal disk -- 2.2.5 The power of the light reflected by the metal disk -- 2.2.6 The intensity of the reflected light when it reaches the camera -- 2.2.7 The power of the light that enters the camera lens -- 2.2.8 The illuminance of the light on the camera detector -- 2.2.9 The exposure imparted to the detector -- 2.2.10 Summary of steps -- 2.3 The Jones-Condit equation -- Reference -- Chapter 3 Shutter speed and aperture -- 3.1 Power and shutter speed -- 3.2 Aperture and focal ratio -- 3.2.1 The effect of focus on exposure -- Chapter 4 Density and the elements of exposure -- 4.1 Reciprocity and exposure -- 4.2 Camera settings -- 4.3 Choosing between equivalent settings -- 4.3.1 Aperture and depth of focus -- 4.3.2 Shutter speed and motion blur -- 4.3.3 ISO and noise -- 4.3.4 Changing the light -- 4.3.5 Navigating the trade-offs -- 4.4 Exposure value (EV) -- References -- Chapter 5 Metering -- 5.1 Direct-read versus null meters -- 5.2 Reflected-light metering -- 5.2.1 Spot, center-weighted and matrix metering -- 5.2.2 Manual, automatic, semi-automatic and program exposure modes -- 5.3 Incident-light metering -- 5.4 Flash -- 5.4.1 Distance and flash -- 5.4.2 Flash metering -- 5.4.3 Fill flash -- Chapter 6 VLS detector photography -- 6.1 An exposure benchmark for VLS photography -- 6.2 VLS photography in context. , Chapter 7 Ephemeral-process (EP) and cyanonegative photography -- 7.1 Cyanonegative and EP wavelength response -- 7.1.1 Wavelength calibration -- 7.1.2 EP versus cyanotype -- 7.2 Cyanonegative photography -- 7.2.1 Cyanonegative focus offset -- 7.3 Ephemeral process (EP) photography -- 7.4 Using EP photography to test the Jones-Condit equation -- References -- Chapter 8 The physical basis of color -- 8.1 Spectra and sources of light -- 8.1.1 Combinations of multiple light sources -- 8.2 Color, light sources and light detectors -- 8.3 The reflection curve and the reflected-light spectrum -- 8.4 Physical causes of the reflection curve -- 8.4.1 Pigments and dyes: color from selective absorption -- 8.4.2 Structural colors: interference and scattering -- 8.4.3 Fluorescent colors -- 8.5 The detector response curve -- 8.6 Color and integration -- 8.6.1 Color detectors -- 8.7 The relation of color to black and white photography -- Chapter 9 The physiological basis of color -- 9.1 The three-color model of color perception -- 9.2 Additive and subtractive colors -- 9.3 RGB color arithmetic -- Chapter 10 The psychological basis of color -- 10.1 The opponent-process model of color perception -- 10.2 Yellow without yellow -- 10.3 Seeing and context -- 10.4 HSV and HSL -- 10.5 HSV and RGB -- References -- Chapter 11 Filters -- 11.1 Filters and black and white photography -- 11.2 Filters and color photography -- 11.2.1 Color temperature and white balance -- 11.2.2 Filters and color temperature -- 11.3 Polarizing filters -- Reference -- Chapter 12 'Color' in astronomy -- References -- Chapter 13 Color experiments with EP photography -- Chapter -- Chapter -- Chapter -- C.1 EP accelerator formula -- C.2 Choosing the paper -- C.3 Preparing the paper -- C.4 The camera and lens -- C.5 The film back -- C.6 Washing, drying and scanning -- Chapter -- D.1 Units and dimensions. , D.2 Scientific notation.