Chapter 1: Communication Through Photography
1-2: Judging your own personal response
Chapter 2: What Is Composition?
2-1: How the human eye sees
2-4: Expressing your own point of view
2-5: Simplicity vs- complexity
Chapter 3: Elements Of Composition
3-4: Line, form, contrast, and emotion
3-8: Positive/negative space
3-1: 1 Focal length of lens and cropping
3-15: Involvement with the scene
3-16: Rules, formulas, and other problems and pitfalls
4-1: Step 1: Photographic looking and seeing
4-2: Step 2: Composing an image
4-3: Step 3: Envisioning the final print
4-4: Step 4: Planning a strategy for a final print
4-5: How your eye differs from your camera
4-6: Alternative approaches
5-2: Exercises in learning to see light more accurately
5-3: Light determines form
5-4: Types of lighting/quality of Light
5-5: Light as seen by the eye and by film or sensors, and the inverse square law
6-1: Color wheel and color sphere
6-4: Color contrast and tone
6-5: Choosing a color film
6-6: Color digital methods
6-7: Light and color control
6-8: Subjectivity and mood of color
7-1: Black-and-white filters
7-2: Examples with a hypothetical landscape
7-3: Contrast control with filters
7-4: Digital filtration for black-and-white
7-5: Infrared film and filters
7-6: Filters for color images
7-7: Neutral density and polarizing filters
7-8: Problems associated with polarizers
Chapter 8: Zone System Of Exposure For Film
8-2: Film's response to light: building the zone system
8-3: Translating negative densities to print tonalities
8-4: Light meter - how it works
8-5: Review of negative exposure procedure
8-6: Using the zone system to depart from reality
8-7: Zone system for color
8-8: Zone system and the inverse square law
Chapter 9: Black-And-White Negative And Contrast Control - The Extended Zone System
9-2: Negative during development
9-4: Putting higher zones to work
9-6: Examples of decreasing and increasing contrast
9-7: Exposure/density curve and zone 4 shadow placement
9-8: Differences between photography and sensitometry: texture vs- tone and zone 4 shadow placement
9-10: Developing the exposed negative
9-11: Explanation of compensating development
9-12: Two-solution compensating development for negatives
9-13: Development procedures for sheet film and roll film
9-14: Zone system and roll film
9-15: Negative materials and developers
10-1: Black-and-white enlarging papers
10-2: Variable contrast vs- graded papers
10-3: Fiber base papers vs- resin coated (rc) papers
10-4: Black-and-white paper developers
10-5: Making contact proof prints
10-6: Preliminary work toward a final print
10-7: Make test prints, not test strips
10-8: Two-solution development for graded and variable contrast papers
10-9: Dodging and burning
10-10: Integrating the entire process: visualization, exposure, development, and printing
10-11: Burning with variable contrast papers
10-12: Advanced darkroom techniques
10-13: Inspection, evaluation, and the myth of "dry-down"
10-14: Potassium ferricyanide reducing (bleaching)
10-15: Final fixing of the image
10-16: Local vs- overall contrast control
10-18: Selenium toning prints
10-20: Chemical coloration
10-21: Full archival processing of prints
10-22: Toning, intensifying, and reducing negatives
10-23: Cold, neutral, and warm tone papers
10-24: Review of contrast controls
10-26: Color contrast reduction masking
10-27: Masking to alter color intensities
10-29: Spotting and rebalancing color for color prints
10-30: Washing and drying color prints
10-31: Achieving proper color balance
Chapter 11: Digital Zone System
11-1: Basics of digital capture
11-2: Sensor's useful brightness range
11-4: RAW converter - processing the RAW capture
11-5: High dynamic range images
11-6: Practical considerations, cautions, and recommendations
12-1: Dry mounting prints
12-2: Making positioning guides for print placement
12-3: Spotting, etching, and correction of defects
Chapter 13: Exploding Photographic Myths
13-1: Myth 1: The zone system gives you a negative that yields a straight print of exactly what you saw in the field, with no burning or dodging required
13-2: Myth 2: There are 10 zones in the zone system
13-3: Myth 3: Shadows should be placed at Zone 3 in the zone system
13-4: Myth 4: Negative densities should be within a fixed density range, and negatives that don't fit into that range are useless
13-5: Myth 5: All contact proof prints of negatives should be made at the same exposure
13-6: Myth 6: The best landscape photographs are made within an hour and a half of sunrise or sunset
13-7: Myth 7: All black-and-white photographs need a good black, a good white, and tones in between
13-8: Myth 8 two more persistent myths
Chapter 14: Photographic Techniques and Artistic Integrity
14-1: Art, communication, and personal integrity
Chapter 15: Photographic Realism, Abstraction, And Art
15-1: Photography as fine art
15-2: Photography and painting - their mutual influence
15-3: Strength of abstraction
15-4: Inwardly and outwardly directed questions
15-5: Power of photography
Chapter 16: Thoughts On Creativity
16-1: Obstacles to creativity
16-2: Prerequisites for creativity
16-3: Producing something new - its real importance
16-4: Be prepared for imagination, innovation, and creativity
Chapter 17: Approaching Creativity Intuitively
17-1: Intuition in science
17-3: Understanding and misunderstanding intuition
17-4: Examples of the intuitive approach
17-5: Applying intuition to your photography
Chapter 18: Toward A Personal Philosophy
18-4: Expanding and defining your interests
18-5: Limitations of photography
18-6: Developing a personal style
18-7: Self-critique, interaction, and study
Appendix 1: Testing Materials And Equipment For Traditional Photography
Contrast development test
Lens sharpness and coverage test
Enlarger light uniformity test
Enlarger lens sharpness test
Appendix 2: Enlarger Light Sources
