The art of photography : (Record no. 6494)

MARC details
000 -LEADER
fixed length control field 10429cam a2200505 i 4500
001 - CONTROL NUMBER
control field u159996
003 - CONTROL NUMBER IDENTIFIER
control field SIRSI
005 - DATE AND TIME OF LATEST TRANSACTION
control field 20240916205818.0
008 - FIXED-LENGTH DATA ELEMENTS--GENERAL INFORMATION
fixed length control field 100429t20102010caua 001 0 eng
010 ## - LIBRARY OF CONGRESS CONTROL NUMBER
LC control number 2010015511
015 ## - NATIONAL BIBLIOGRAPHY NUMBER
National bibliography number GBB081963
Source bnb
020 ## - INTERNATIONAL STANDARD BOOK NUMBER
International Standard Book Number 9781933952680
Qualifying information (alk. paper)
020 ## - INTERNATIONAL STANDARD BOOK NUMBER
International Standard Book Number 1933952687
Qualifying information (alk. paper)
035 ## - SYSTEM CONTROL NUMBER
System control number (OCoLC)611035291
Canceled/invalid control number (OCoLC)646401322
-- (OCoLC)768487237
-- (OCoLC)853621906
-- (OCoLC)951670025
-- (OCoLC)958701873
037 ## - SOURCE OF ACQUISITION
Stock number 82677
Source of stock number/acquisition TVG
050 00 - LIBRARY OF CONGRESS CALL NUMBER
Classification number TR642
Item number .B364 2010
082 00 - DEWEY DECIMAL CLASSIFICATION NUMBER
Classification number 770
Edition information 22
092 ## - LOCALLY ASSIGNED DEWEY CALL NUMBER (OCLC)
Classification number 770
Item number B259a
100 1# - MAIN ENTRY--PERSONAL NAME
Personal name Barnbaum, Bruce,
Dates associated with a name 1943-
245 14 - TITLE STATEMENT
Title The art of photography :
Remainder of title an approach to personal expression /
Statement of responsibility, etc. Bruce Barnbaum.
250 ## - EDITION STATEMENT
Edition statement First edition.
264 #1 - PRODUCTION, PUBLICATION, DISTRIBUTION, MANUFACTURE, AND COPYRIGHT NOTICE
Place of production, publication, distribution, manufacture Santa Barbara, CA :
Name of producer, publisher, distributor, manufacturer Rocky Nook ;
Place of production, publication, distribution, manufacture Sebastopol, CA :
Name of producer, publisher, distributor, manufacturer Distributed by O'Reilly Media,
Date of production, publication, distribution, manufacture, or copyright notice [2010]
264 #4 - PRODUCTION, PUBLICATION, DISTRIBUTION, MANUFACTURE, AND COPYRIGHT NOTICE
Date of production, publication, distribution, manufacture, or copyright notice
300 ## - PHYSICAL DESCRIPTION
Extent xi, 352 pages :
Other physical details illustrations (some color) ;
Dimensions 26 cm
336 ## - CONTENT TYPE
Content type term text
Content type code txt
Source rdacontent
337 ## - MEDIA TYPE
Media type term unmediated
Media type code n
Source rdamedia
338 ## - CARRIER TYPE
Carrier type term volume
Carrier type code nc
Source rdacarrier
380 ## - FORM OF WORK
Form of work Book
Source of term lcdgt
490 0# - SERIES STATEMENT
Series statement Photographic Arts editions
500 ## - GENERAL NOTE
General note Includes index.
500 ## - GENERAL NOTE
General note "Originally published in 1994"--Page 4 of cover.
500 ## - GENERAL NOTE
General note "Completely updated to address digital issues throughout"--Page 4 of cover.
505 0# - FORMATTED CONTENTS NOTE
Formatted contents note Acknowledgements -- Chapter 1: Communication Through Photography -- 1-1: Enthusiasm -- 1-2: Judging your own personal response -- Chapter 2: What Is Composition? -- 2-1: How the human eye sees -- 2-2: Unified thought -- 2-3: Simplicity -- 2-4: Expressing your own point of view -- 2-5: Simplicity vs- complexity -- Chapter 3: Elements Of Composition -- 3-1: Contrast and tone -- 3-2: Line -- 3-3: Form -- 3-4: Line, form, contrast, and emotion -- 3-5: Pattern -- 3-6: Balance -- 3-7: Movement -- 3-8: Positive/negative space -- 3-9: Texture -- 3-10: Camera position -- 3-1: 1 Focal length of lens and cropping -- 3-12: Depth of field -- 3-13: Shutter speed -- 3-14: Relationships -- 3-15: Involvement with the scene -- 3-16: Rules, formulas, and other problems and pitfalls -- Chapter 4: Visualization -- 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 -- Chapter 5: Light -- 5-1: Looking at light -- 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 -- Chapter 6: Color -- 6-1: Color wheel and color sphere -- 6-2: Color composition -- 6-3: Color and emotion -- 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 -- 6-9: In Summary -- Chapter 7: Filters -- 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 -- 8-1: Brief overview -- 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 -- 8-9: In summary -- Chapter 9: Black-And-White Negative And Contrast Control -- The Extended Zone System -- 9-1: Chapter 9 overview -- 9-2: Negative during development -- 9-3: Bellows analogy -- 9-4: Putting higher zones to work -- 9-5: Reciprocity failure -- 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 -- 9-9: Pre-exposure -- 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 -- Chapter 10: Print -- 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 -- 10-1: Scale -- 10-18: Selenium toning prints -- 10-19: Other toners -- 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 -- 10-25: Color printing -- 10-26: Color contrast reduction masking -- 10-27: Masking to alter color intensities -- 10-28: Shadow mask -- 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 -- 11-3: Histogram -- 11-4: RAW converter -- processing the RAW capture -- 11-5: High dynamic range images -- 11-6: Practical considerations, cautions, and recommendations -- Chapter 12: Presentation -- 12-1: Dry mounting prints -- 12-2: Making positioning guides for print placement -- 12-3: Spotting, etching, and correction of defects -- 12-4: Print finishing -- 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 -- 17-2: Avoiding intuition -- 17-3: Understanding and misunderstanding intuition -- 17-4: Examples of the intuitive approach -- 17-5: Applying intuition to your photography -- 17-6: Conclusion -- Chapter 18: Toward A Personal Philosophy -- 18-1: Flexibility -- 18-2: Visual arts -- 18-3: Nonvisual arts -- 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 -- ASA (ISO) test -- Contrast development test -- Lens sharpness and coverage test -- Bellows test -- Safelight test -- Enlarger light uniformity test -- Enlarger lens sharpness test -- Appendix 2: Enlarger Light Sources -- Index.
520 ## - SUMMARY, ETC.
Summary, etc. Overview: This is an updated and newly revised edition of the classic book The Art of Photography (originally published in 1994), which has often been described as the most readable, understandable, and complete textbook on photography. With well over 100 beautiful photographic illustrations in both black-and-white and color, as well as numerous charts, graphs, and tables, this book presents the world of photography to beginner, intermediate, and advanced photographers seeking to make a personal statement through the medium of photography. Without talking down to anyone, or talking over anyone's head, Barnbaum presents "how to" techniques for both traditional and digital approaches. Yet he goes well beyond the technical, as he delves deeply into the philosophical, expressive, and creative aspects of photography so often avoided in other books. Bruce Barnbaum is recognized as one of the world's finest landscape and architectural photographers, and for decades has been considered one of the best instructors in the field of photography. This latest incarnation of his textbook, which has evolved, grown, and been refined over the past 35 years, will prove to be an ongoing, invaluable photographic reference for years to come. It is truly the resource of choice for the thinking photographer.
650 #0 - SUBJECT ADDED ENTRY--TOPICAL TERM
Topical term or geographic name entry element Photography, Artistic.
650 #0 - SUBJECT ADDED ENTRY--TOPICAL TERM
Topical term or geographic name entry element Photography.
650 #7 - SUBJECT ADDED ENTRY--TOPICAL TERM
Topical term or geographic name entry element Photography.
Source of heading or term fast
Authority record control number or standard number (OCoLC)fst01061714
650 #7 - SUBJECT ADDED ENTRY--TOPICAL TERM
Topical term or geographic name entry element Photography, Artistic.
Source of heading or term fast
Authority record control number or standard number (OCoLC)fst01061964
650 #7 - SUBJECT ADDED ENTRY--TOPICAL TERM
Topical term or geographic name entry element Fotografie
Source of heading or term gnd
650 #7 - SUBJECT ADDED ENTRY--TOPICAL TERM
Topical term or geographic name entry element Landschaftsfotografie
Source of heading or term gnd
650 #7 - SUBJECT ADDED ENTRY--TOPICAL TERM
Topical term or geographic name entry element Photographie.
Source of heading or term idszbz
650 #7 - SUBJECT ADDED ENTRY--TOPICAL TERM
Topical term or geographic name entry element Fototeknik
Form subdivision
Source of heading or term sao
650 #7 - SUBJECT ADDED ENTRY--TOPICAL TERM
Topical term or geographic name entry element Fotokonst
Form subdivision
Source of heading or term sao
949 ## - LOCAL PROCESSING INFORMATION (OCLC)
c c.1
l CIRCSTACKS
t BOOK
x PRINT
p
999 ## - SYSTEM CONTROL NUMBERS (KOHA)
-- DEWEY
-- 51994001659913
-- 8/27/2024
-- 7/5/2023
-- 3
-- CHECKEDOUT
-- CIRCSTACKS
-- LRC
-- 2
-- $40.49
-- M
-- Y
-- BOOK
-- 7/14/2020
-- PRINT
Holdings
Withdrawn status Lost status Source of classification or shelving scheme Damaged status Not for loan Home library Current library Shelving location Date acquired Cost, normal purchase price Total checkouts Full call number Barcode Copy number Koha item type
    Dewey Decimal Classification     Odessa College Odessa College Stacks 07/14/2020 40.00   770 B259A 51994001659913 1 Books