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Rebekah Modrak

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Reframing Photography: Theory and
Practice

To fully understand photography, it is essential to study both the theoretical and the
technical.
In an accessible yet complex way, Rebekah Modrak and Bill Anthes explore photo-
graphic theory, history, and technique to bring photographic education up to date with
contemporary photographic practice. Reframing Photography is a broad and inclusive
rethinking of photography that will inspire students to think about the medium across
time periods, across traditional themes, and through varied materials. Intended for both
beginning and advanced students, for art and non-art majors, and for practicing artists,
Reframing Photography compellingly represents four concerns common to all photo-
graphic practice:

NN Vision
NN Light/Shadow
NN Reproductive Processes
NN Editing/Presentation/Evaluation.

Each part includes an extensive and thoughtful essay, providing a broad cultural context
for each topic, alongside discussion of photographic examples. Essays introduce the
work of artists who use a diverse range of subject matter and a variety of processes
(straight photography, social documentary, digital, mixed media, conceptual work, etc.),
examine artists’ conceptual and technical choices, describe cultural implications and
artistic influences, and analyze how these concerns interrelate. Following each essay,
the part continues with a “how-to” chapter that describes a fascinating range of related
photographic equipment, materials, and methods through concise explanations and
clear diagrams.

Key features:

NN Case studies featuring profiles of contemporary and historical artists.

NN Glossary definitions of critical and technical vocabulary to aid learning.
NN “How-to” chapters provide students with illustrated, step-by-step guides to different
photographic methods, alongside related theory.
NN Fully up to date, with both high- and low-tech suggestions for activities.
NN Online resources at [Link]/textbooks/reframingphotography will
update information on equipment and provide further activities, information, and links
to related sites.
NN Lavishly illustrated, with over 750 images, including artists’ work and examples of
photographic processes.

Rebekah Modrak is a studio artist whose work has been shown at The Sculpture
Center, Carnegie Museum of Art, and Kenyon College. She is an Associate Professor
in the School of Art & Design at the University of Michigan, and has also taught
courses involving photography, animation, mixed media, and photographic history as an
Associate Professor in the Department of Art at The Ohio State University.

Bill Anthes is Associate Professor of Art History at Pitzer College. He has received
awards from the Georgia O’Keeffe Museum Research Center, the Center for the Arts in
Society at Carnegie Mellon University, the Smithsonian Center for Folklife and Cultural
Heritage, and the Creative Capital/Warhol Foundation Art Writers Grant Program.
Reframing Photography
Theory and Practice

Rebekah Modrak with Bill Anthes

First published 2011
by Routledge
2 Park Square, Milton Park, Abingdon, Oxfordshire OX14 4RN, UK

Simultaneously published in the USA and Canada

by Routledge
270 Madison Ave, New York, NY 10016

Routledge is an imprint of the Taylor & Francis Group, an informa business

This edition published in the Taylor & Francis e-Library, 2011.

To purchase your own copy of this or any of Taylor & Francis or Routledge’s
collection of thousands of eBooks please go to [Link].

© 2011 Rebekah Modrak with Bill Anthes

All rights reserved. No part of this book may be reprinted or reproduced or utilized
in any form or by any electronic, mechanical, or other means, now known or
hereafter invented, including photocopying and recording, or in any information
storage or retrieval system, without permission in writing from the publishers.

British Library Cataloguing in Publication Data

A catalogue record for this book is available from the British Library

Library of Congress Cataloging-in-Publication Data

A catalog record for this book has been requested

ISBN 0-203-84759-8 Master e-book ISBN

ISBN13: 978–0–415–77919–7 (hbk)

ISBN13: 978–0–415–77920–3 (pbk)
ISBN13: 978–0–203–84759–6 (ebk)
Contents

List of figures ix
Preface xliii
Acknowledgments xlv
Online resources xlvii

Pa rt 1  1
NN VISION 1
THEORY 1: Seeing, Perceiving, and Mediating Vision 3
Rebekah Modrak
Photography and the anatomy of sight 3
Conventions of seeing 13
Mediated vision: Photography and optical devices 27
The viewer as distant or enmeshed observer: The camera obscura 28
The natural eye: Direct experience and photography 33
Nineteenth-century viewing devices and their optical legacy 38
The camera as mechanical eye 41
New views: Experiments in space and time 45

P R A C T I C E 1 : V i s i o n : To o l s , M a t e r i a l s , a n d P r o c e s s e s  4 9
Rebekah Modrak
Exploring human vision 49
The camera as viewer 52
The camera as recorder 68

Pa rt 2  107
NN LIGHT AND SHADOW 107
THEORY 2: Light and Shadow 109
Bill Anthes
Introduction 109
The void 110
Writing with light 111
“Light is radiation” 115
vi c o n t e n t s

Qualities of light 116

The symbolism of light and dark 118
Modern light and shadow 123
Reflection, shadow, and the self 126
Projected light 129
Shadow plays 131

P R A C T I C E 2 : L i g h t a n d S h a d o w : To o l s , M a t e r i a l s ,
and Processes 137
Rebekah Modrak
The source of light 138
The path of light 147
Light’s terminal point 162

Pa rt 3  169
NN REPRODUCTIVE PROCESSES 169
THEORY 3: Copying, Capturing, and Reproducing 171
Rebekah Modrak
Possessing the subject: The photographic copy 171
Mass media and reproduction 182
Mass reproduction and artworks 190
Reproduction and ethics 196
Reenacting as a photographic act 204

P R A C T I C E 3 : R e p r o d u c t i v e P r o c e s s e s : To o l s ,
Materials, and Processes 217
Rebekah Modrak
Low-tech positives and negatives 218
Rubbings 219
Infinite ways to generate images 220
Recording images: Film and digital sensors 229
Digital sensors 233
Filters 240
Processing images: Developing film 244
Small tank film processing 248
Black and white film processing 251
Evaluating negatives 258
Printing images: Traditional processes  261
Black and white photographic paper 263
Black and white print processing 265
The Photogram 268
C o n t e n t s vii

Printing a context sheet in the darkroom 269

Non-silver and historic processes 278
Screenprinting 279
Processing digital images: Digital workflow 284
Adobe Bridge 285
Adobe Lightroom 289
Printing images: Digital printing 296
Color management 296
Digital printing: Printing black and white on a color printer 306
The digital contact sheet 306
Other printing options 308
Reproducing photographs with other materials 314

Pa rt 4  317
N N E D I T I N G , P R E S E N TAT I O N , A N D E VA L U AT I O N  317
THEORY 4a: Series and Sequence 319
Bill Anthes
Introduction 319
Pictures at an exhibition 320
Typology 323
The body in the archive 327
Images in sequence 332
The passing of time 335
Documenting artistic process 337
Photobooks 338
Slide shows 339
Motion 341
Sculpting with time 346

T H E O R Y 4 b : Te x t a n d I m a g e  349
Bill Anthes
Introduction 349
Is a picture worth a thousand words? 351
Telling a story: The documentary tradition 352
Selling the story: Picture magazines and the photo essay 357
Personal stories 361
Questioning the story 364
Instructions 371
Speech 372
Pictures of words: A forest of signs 373
Word as image 374
Photomontage 376
viii C o n t e n t s

PRACTICE 4: Editing, Presentation, and Evaluation:

To o l s , M a t e r i a l s , a n d P r o c e s s e s  381
Rebekah Modrak
Editing: Resizing digital images 382
Digital tools: Adobe Photoshop Tools panel 384
Contrast and tone 390
Adjusting image contrast in the darkroom 391
Digital tonal adjustments 392
Levels and curves 395
Adjusting brightness locally: Burning and dodging 400
Color 404
Digital color casts 405
Digital color corrections 406
Color conversions: Toning and handcoloring print effects 409
Print retouching techniques  416
Digital photographic retouching 417
Photo-based collage  423
Culture jamming and collage 424
Content and form 424
Image appropriation and copyright concerns 425
Handmade collage 427
Digital collage 429
Using text with photographs  438
Handmade and alternative typesetting 439
Creating text in the darkroom 441
Integrating text and images digitally 441
Special techniques for working digitally with type and images 443
Presentation 445
Mounting, matting, and framing 451
Constructing a light box 453
Photography on the internet 454
Animating photographs 462
Evaluation 469

Glossary 477
Index 489
 ix

Figures

The images listed below have been reproduced with kind permission. Whilst every effort
has been made to trace copyright holders of the images below, and to obtain permission
for reproduction, this has not been possible in all cases. Any omissions brought to our
attention will be remedied in future editions.

T H E O R Y 1 : S eeing , P erceiving , a nd M edi a ting

V ision

1.1 Visual pit of limpet and “fish projection.” Illustration by Finbar Good
1.2 The nautilus’s pinhole eye. Illustration by Finbar Good
1.3 Light rays are more focused in the nautilus’s pinhole eye. Illustration by Finbar Good
1.4 Human eye. Illustration by Jacqueline Mahannah
1.5 Left: contracted iris/small aperture. Right: iris expands to let in more light. Photo ©
Sven Kahns
1.6 Left: small aperture: f/16. Right: aperture open to f/2 to let in more light. Photo ©
Sarah Buckius
1.7 Eye/camera comparison. Illustration by Jacqueline Mahannah
1.8 Ann Hamilton, portal 19, 1999. Black and white photograph. Courtesy Ann Hamilton
Studio
1.9 David Hockney, Walking in the Zen Garden at the Ryoanji Temple, Kyoto, Feb 1983,
1983. Photographic collage, Edition: 20, 40 3 62 ½ in. © David Hockney
1.10 David Hockney, The Crossword Puzzle, Minneapolis, Jan 1983, 1983. Photographic
collage, Edition: 10, 33 3 46in. © David Hockney
1.11 Joyce Neimanas, Maureen and Maureen. 1984, Polaroid collage, 32 3 40 cm.
Courtesy of the artist
1.12 Joyce Neimanas, #2 (Lautrec). 1981, Polaroid collage, 32 3 40 cm. Courtesy of
the artist
1.13 Human eye. Illustration by Jacqueline Mahannah
x F i g u r e s

1.14 P aul Strand, Akeley Motion Picture Camera. 1922. Gelatin-silver print, 24.5 3 19.5
cm. New York, Metropolitan Museum of Art. Ford Motor Company Collection, Gift
of Ford Motor Company and John C. Waddell, 1987 (1987.1100.3) © Aperture
Foundation Inc., Paul Strand Archive. Image © The Metropolitan Museum of Art /
Art Resource / Scala, Florence
1.15 Uta Barth, Untitled (98.5). 1998. Color photographs. Overall: 38 3 197½ inches;
Triptych 38 3 48 inches each. Courtesy the artist and Tanya Bonakdar Gallery,
New York
1.16 Uta Barth, Field #9. 1995. Color photograph on panel. Edition of 8. 23 3 28¾
inches. Courtesy the artist and Tanya Bonakdar Gallery, New York
1.17 Ralph Eugene Meatyard, No Focus. 1959. Gelatin-silver print. © The Estate of
Ralph Eugene Meatyard, courtesy Fraenkel Gallery, San Francisco, USA
1.18 Ralph Eugene Meatyard, Untitled. 1962. Gelatin-silver print. © The Estate of Ralph
Eugene Meatyard, courtesy Fraenkel Gallery, San Francisco, USA
1.19 William Henry Fox Talbot, The Open Door, in Pencil of Nature, Plate VI, April 1844.
Salt print from a calotype negative. 14.4 3 19.5 cm. Courtesy of George Eastman
House, International Museum of Photography and Film
1.20 Robert Adamson and David Octavius Hill, Agnes and Ellen Milne, ca. 1845.
Gelatin silver print, 21.3 3 15.9 cm. Modern print by A.L. Coburn. Gift of Alvin
Langdon Coburn. Courtesy of George Eastman House, International Museum of
Photography and Film
1.21 Tom Grill, Weak Frames. 1990
1.22 John Baldessari, Wrong. 1966–68. Acrylic and photo-emulsion on canvas, 59 3 45
inches © 2004 John Baldessari
1.23 John Baldessari, The Spectator Is Compelled … 1966–68. Acrylic and photo-
emulsion on canvas, 59 3 45 inches. © 2004 John Baldessari
1.24 Garry Winogrand, Presidential Candidates’ Rally, Statehouse, Providence, R.I.
1971. Gelatin-silver print. © The Estate of Garry Winogrand, courtesy Fraenkel
Gallery, San Francisco, USA
1.25 Limestone stela of Tjetji (detail: lower half). Egyptian limestone bas-relief of the
XIth Dynasty, c. 2100 bc. From the tomb of Tjetji, in Thebes, showing a man and
a woman carrying food for the dead man. © The Trustees of the British Museum
1.26 Francesco Borromini (1599–1667), Galleria Prospettica. Palazzo Spada, Rome,
Italy. © 2010. Photo Scala, Florence. Courtesy of the Ministero Beni e Att. Culturali
1.27 Dirk Bouts, (central panel) Triptych of the Last Supper. 1464–68. Oil on oak panel,
1.8 3 1.51 m. Repository: St. Pierre (Louvain, Belgium). © 2010. Photo Scala,
Florence
F i g u r e s xi

1.28 B rook Taylor, New Principles of Linear Perspective, 1811. Third edition, revised and
corrected by John Colson. London, Printed for John Ward, at the Kings-Arms in
Little Britain: 1749. Courtesy of Special Collections Library, University of Michigan.
1.29 John Pfahl, 228 Grant Avenue, San Francisco, California (December 1980) from the
series: Picture Windows, 1978–1981. Ektacolor print. © John Pfahl
1.30 John Baldessari, Two Opponents (Blue and Yellow). 2004. Courtesy of Gemini
G.E.L., Los Angeles, CA. © 2004 John Baldessari and Gemini G.E.L. LLC
1.31 Anders Östberg, Window Standpoint, Eskilstuna, Sweden. February 13 2005.
Digital photograph. Courtesy of the artist
1.32 Ernst Mach, Inner Perspective. 1885, illustration from The Analysis of Sensations,
1885
1.33 Tim Hawkinson, Blindspot. 1991, Photomontage, 22 3 16 3 ¾ inches. Photograph
courtesy PaceWildenstein, New York. © Tim Hawkinson
1.34 Claude Lorrain, Pastoral Landscape (Sunset). 1645–50. Oil on canvas, 74 3 110
cm. Repository: Galleria Sabauda (Turin, Italy). © 2010. Photo Scala, Florence.
Courtesy of the Ministero Beni e Att. Culturali
1.35 Middle distance garden. 2009, Chelsea, MI. Photo © Rebekah Modrak
1.36 Thomas Cole, The Hunter’s Return. 1845, Oil on canvas, 401/8 3 60 ¼ inches.
Courtesy of Amon Carter Museum, Fort Worth, Texas, 1983.156
1.37 Carleton E. Watkins, Three Brothers, 4480 ft., Yosemite. ca. 1865–66. Albumen
print. Courtesy Fraenkel Gallery, San Francisco, USA
1.38 Robert Irwin, Black Plane, Fifth Avenue and 42nd Street, New York. 1977. © ARS,
NY and DACS, London 2010
1.39 John Pfahl Pink Rock Rectangle, Artpark, Lewiston, New York. August 1975. From
the series: Altered Landscapes, 1974–78. Ektacolor print. © John Pfahl
1.40 Paul Ramirez Jonas, Untitled (anamorph). 1991, 14 3 14 3 12 inches. Two images
of Lincoln and one of Jefferson Davies are printed as an anamorph. The image can
be seen undistorted as a reflection on the pitcher. Courtesy of the artist
1.41 John Pfahl, Red Arrow, Roan Mountain, North Carolina. June 1975. From the series:
Altered Landscapes, 1974–78. Ektacolor print. © John Pfahl
1.42 Chris Taylor, Twin Buttes. May 15, 2009. Digital photograph. Looking northwest
from Twin Buttes towards White Sands National Monument and missile test range.
Courtesy of the artist
1.43 Lan Ying, Scholar in a Landscape. China, Ming Period (1368–1644). Album leaf,
ink and color on paper, 125/16 3 8¾ inches. Collection: University of Michigan
Museum of Art. Museum purchase made possible by the Margaret Watson Parker
Art Collection Fund. 1979/2.19
xii F i g u r e s

1.44 Central Park, Kanazawa, Japan. Photo © Nick Tobier

1.45 Home, Simien Mountains, Ethiopia. 2001. Photo © Arjuna Durrant
1.46 Athanasius Kircher, Large portable camera obscura, 1646. © Gernsheim Collection.
Harry Ransom Humanities Research Center. The University of Texas at Austin
1.47 Janet Cardiff, Her Long Black Hair. 2004, Audio walk with photographs, 46 minutes.
Curated by Tom Eccles for the Public Art Fund. Central Park, New York. (June
17–Sept 13, 2004). Courtesy of the artist, Luhring Augustine, New York and The
Public Art Fund, New York
1.48 and 1.49 Janet Cardiff, In Real Time, 1999. Video walk, 18 minutes. Curated by
Madeleine Grynsztejn for the 53rd Carnegie International at Carnegie Library,
Carnegie Museum of Art, Pittsburgh (November 6, 1999–March 26, 2000). Courtesy
of the artist, Luhring Augustine, New York and The Carnegie Museum of Art,
Pittsburgh
1.50 Rebecca Cummins, Tamworth by Bus (bus camera obscura). 1996. Courtesy of
the artist
1.51 Rebecca Cummins, Tamworth by Bus: Road. 1996. C print, 16 3 20 inches. Image
taken by a bus converted into a camera obscura, sponsored by the Tamworth Art
Gallery, Tamworth, New South Wales (NSW), Australia. Courtesy of the artist
1.52 Franz John, Golden Gate Bridge. 1996. Color photograph. Courtesy of the artist
1.53 Franz John, Roaming Through Bunkers. 1996. Color photograph. Courtesy of the
artist
1.54 Franz John, Battery Cranston. 1996. Camera obscura, light on concrete. Courtesy
of the artist
1.55 Franz John, The Copied Gallery. 1987. Portable photocopier, thermography. Franz
John in process of copying the gallery. Courtesy of the artist
1.56 Left: Franz John, Sky Nude. 1992. Flatbed scanner, computer, light from the sky.
Photo © Achim Kukulies. Franz John scanning the sky. Right: Franz John, Sky
Nude, 1992. Flatbed scanner, computer, light from the sky. Courtesy of the artist
1.57 Joseph Mallord William Turner, Sun Setting over a Lake. c. 1840–45. Oil on canvas,
36 3 48 inches. © Tate, London 2009
1.58 Jan Dibbets, Shortest Day at the Guggenheim Museum New York. 1970, Color
photograph, 94½ 3 551/8 inches. © Jan Dibbets. Courtesy Gladstone Gallery
1.59 Lewis W. Hine, Doffer Girl in New England Mill, 1909, 1909. Gelatin silver print,
5 3 7 inches. Courtesy of George Eastman House, International Museum of
Photography and Film.
1.60 Claude Monet, La Grenouillère. 1869. Oil on canvas, 74.6 3 99.7 cm. H.
O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929. Acc.n.:
29.100.112. © 2010. Digital image, The Metropolitan Museum of Art / Art Resource
/ Scala, Florence
F i g u r e s xiii

1.61 A lfred Stieglitz, Equivalent, 1929. Gelatin silver print, 11.8 3 9.3 cm. Part purchase
and part gift of An American Place, ex-collection Georgia O’Keefe. Courtesy of
George Eastman House, International Museum of Photography and Film
1.62 Aaron Siskind, The Most Crowded Block. 1939. Gelatin silver print. © Aaron
Siskind. Harlem Document, c. 1937–39. Courtesy of the Aaron Siskind Foundation
1.63 Aaron Siskind, San Luis Potosi 16. 1961. © Aaron Siskind. Courtesy of the Aaron
Siskind Foundation
1.64 Kurt Schwitters, Untitled (Ebing). 1920. Collage, 15 3 12cm. © DACS 2009
1.65 Ashley Elander, Destruction Series. 2009. Thaumatropes, watercolor. Courtesy of
the artist
1.66 Lauren Nordhougen, Reliving the News. Zoetrope with image strips, 2009
1.67 Holmes stereoscope. Digital photo, 2006. Photo © Dave Pape, University at Buffalo
1.68 Liza McConnell, Diorama Obscura: Wind Machines. 2001. View of bike, generator,
projection and curved wall in lit room. Courtesy of the artist
1.69 Liza McConnell, Diorama Obscura: Wind Machines. 2001. View in operation in dark
room with rider. Courtesy of the artist
1.70 View-Master. Photo © Shawn Scully
1.71 Matt McCormick, Vladmaster Performance at the 2005 Portland Documentary and
Experimental Film Festival. April 2005. Digital photo
1.72 Vladimir, Still from The Public Life of Jeremiah Barnes. November 2004. 16 mm still
1.73 William Kentridge, Drawing for the film Stereoscope. 1999. Charcoal and pastel
on paper, 47¼ 3 63 inches. © William Kentridge. Courtesy of Marian Goodman
Gallery
1.74 Keystone View Company, #12315-(d). Caption: “Oh! You mustn’t, Mr. Brown, If the
madam should see, What in the world would become of me?” c. 1903. Collection
of Rebekah Modrak
1.75 Merry Alpern, #2 Windows Series. 1994. © Merry Alpern / Courtesy Bonni Benrubi
Gallery, NYC
1.76 Merry Alpern, #23 Windows Series. 1994. © Merry Alpern / Courtesy Bonni Benrubi
Gallery, NYC
1.77 Alexander Rodchenko, Suchov-Sendeturm (Shuchov transmission tower). 1929.
Gelatin silver print, 513/16 3 87/8 inches. © Rodchenko & Stepanova Archive, DACS 2010
1.78 Eugene de Salignac, Painters on Suspenders, Brooklyn Bridge. 1914. Gelatin silver
print. © Eugene de Salignac, 1914. Courtesy NYC Municipal Archives
1.79 László Moholy-Nagy, Untitled. 1923, gelatin silver photogram, 18.9 3 13.9 cm. ©
Hattula Moholy-Nagy / DACS 2010
1.80 Alexander Rodchenko, Kino-Glaz. Poster for the film Cine-Eye by Dziga Vertov.
1924, Lithograph on paper, 90.8 3 67.9 cm. © Rodchenko & Stepanova Archive,
DACS 2010
xiv F i g u r e s

1.81 A lbert Renger-Patzsch, Shoemaking Irons, Fagus Works, Alfeld. 1928. © Albert
Renger-Patzsch Archiv / Ann und Jürgen Wilde, Zülpich / VG Bildkunst, Bonn /
DACS, London 2010
1.82 Honoré Daumier, Nadar Elevating Photography to the Height of Art. 1862, lithograph,
36.5 3 29.9 cm. Originally from the journal Boulevard, May 25, 1862. © Courtesy of
George Eastman House, International Museum of Photography and Film
1.83 William Anders, Earthrise, December 24, 1968. © Photo courtesy of NASA,
Washington, DC.
1.84 Paul Ramirez Jonas, Multicell Square Box Kite, after Joseph Lecornu. 1994. 62
3 18 3 62 inches. Kite made after pre-existing original, photograph, alarm clock
triggering device, and spool with line. Courtesy of the artist
1.85 Paul Ramirez Jonas, Multicell Square Box Kite, after Joseph Lecornu. 1994. 24 3
36 inches. Photo. Courtesy of the artist
1.86 Surveillance camera. Photo © Sarah Buckius

P R A C T I C E 1 : vision : T ools , M a teri a ls , a nd

P rocesses

1.87 Passage of light. Illustration by Jacqueline Mahannah

1.88 Retina wall. Illustration by Jacqueline Mahannah
1.89 Signals to brain. Illustration by Jacqueline Mahannah
1.90 Personal Horizon Lines. Wearable Tension Fabric, 2005, 2006. Sculptures and
Photo © Jessica Frelinghuysen 2005, 2009
1.91 Exterior view of refrigerator box camera obscura. Photo © Doug Aikenhead
1.92 Caitlin Costello, Backyard View. 2005. Chalk pastel drawing of camera obscura
image
1.93 Digital photograph of projection inside box camera obscura, recorded with video
camera. Dimension of box approx 18 3 18 3 18 inches. Photo © Aaron Miller
1.94 Portable box camera obscura over entire head, with towel wrapped around to
prevent light leaks. Illustration by Jacqueline Mahannah
1.95 Portable box camera obscura fitted onto the bridge of the nose, with towel as hood.
lllustration by Jacqueline Mahannah
1.96 Viewing with box camera obscuras. Photo © Rebekah Modrak
1.97 35mm underwater camera with optical viewfinder and pop-up frame viewfinder.
Photo © Rebekah Modrak
1.98 Optical viewfinder on a digital SLR camera. Photo © Rebekah Modrak
1.99 Point-and-shoot digital camera with optical viewfinder and LCD display. Photo ©
Rebekah Modrak
F i g u r e s xv

1.100 T he same subject can appear vastly different, depending upon how we order it
through the viewfinder. Photo © Rebekah Modrak
1.101 and 1.102 Eye level and worm’s eye view. © Sarah Buckius, digital photograph,
8 x 10 in. 2009
1.103 Single lens reflex viewing system. Illustration by Shawn Scully
1.104 Single lens reflex camera. Small-format DSLR camera. Photo courtesy of Canon
USA
1.105 Rangefinder and viewfinder viewing systems. Illustration by Shawn Scully
1.106 Parallax error. The black outline shows what the viewfinder sees. The red outline
shows what the lens sees. Photo © Shawn Scully
1.107 Medium-format 6x7 cm camera. Rangefinder viewing system. Photo © Shawn
Scully
1.108 Small-format disposable 35mm camera. Viewfinder viewing system. Photo ©
Rebekah Modrak
1.109 Point-and-shoot digital camera with LCD display. Photo © Sarah Buckius
1.110 Large-format camera with ground-glass viewing system. Photo © Shawn Scully
1.111 Large-format viewing system. Photo © Shawn Scully
1.112 No focus (f2.8 at 1/8 second). Photo © Julia Farina and Rebekah Modrak
1.113 Focus on the foreground (f2.8 at 1/8 second). Photo © Julia Farina and Rebekah
Modrak
1.114 Mid-ground in focus (f2.8 at 1/8 second). Photo © Julia Farina and Rebekah
Modrak
1.115 SLR lens (left) and DSLR lens (right). Photo courtesy of Nikon Inc., Melville New
York
1.116 Pinhole lens. Illustration by Charles Fairbanks
1.117 Pinhole lens. Illustration by Charles Fairbanks
1.118 Light reflecting off a single point. Illustration by Charles Fairbanks
1.119 Point of focus. Illustration by Charles Fairbanks
1.120 Subjects of different distance to the camera lens. Illustration by Charles Fairbanks
1.121 Autofocus (AF) points. © Julia Farina and Rebekah Modrak
1.122 Autofocus (AF) lock. © Julia Farina and Rebekah Modrak
1.123 and 1.124 Garth Amundson, Objective Distortion—Large Lens. Recycled plastic
and thread, 2000–09
1.125–1.130 Creating focus blur with Photoshop. Adobe product screen shots reprinted
with permission from Adobe Systems Incorporated
1.131 Normal lens focal length. Illustration by Sarah Buckius
1.132 Zoom lens. Photo courtesy of Nikon Inc., Melville New York
1.133 Supplementary magnification lenses. Photo © Rebekah Modrak
1.134 Angle of view. Photo © Rebekah Modrak
xvi F i g u r e s

1.135 Wide-angle lens (14mm). Photo courtesy of Nikon Inc., Melville New York
1.136 Wide-angle lens (28mm). Photo © Julia Farina and Rebekah Modrak
1.137 Normal focal length. Photo courtesy of Nikon Inc., Melville New York
1.138 Normal lens (50mm). Photo © Julia Farina and Rebekah Modrak
1.139 Long focal length. Photo courtesy of Nikon Inc., Melville New York
1.140 Long lens (85mm). Photo © Julia Farina and Rebekah Modrak
1.141 Wide-angle lens. Photo © Rebekah Modrak
1.142 Long lens. Photo © Rebekah Modrak
1.143 Wide-angle lens; distance from subject 4 feet. Photo © Rebekah Modrak
1.144 Normal lens; distance from subject 12 feet. Photo © Rebekah Modrak
1.145 Long lens; distance from subject 22 feet. Photo © Rebekah Modrak
1.146 Sarah V. Cocina, Two Pots. 2002. Stereographic image. Each frame within the
card is 3 3 3 in.
1.147 Aligning images. Photo © Sarah V. Cocina
1.148 Viewing stereocard with toilet paper stereoviewer. Photo © Michael Tanzillo
1.149 Toilet paper stereoviewer. Photo © Michael Tanzillo
1.150 Medium format. 6 3 7cm negative. Photo © Shawn Scully
1.151 Small format. 35mm negative. Photo © Shawn Scully
1.152 Large format. 4 3 5 in. negative. Photo © Shawn Scully
1.153 Small format, disposable 35mm film camera. Rangefinder viewing system. Photo
© Rebekah Modrak
1.154 Nikon’s S550 Coolpix. Small format. LCD screen. Photo courtesy of Nikon Inc.,
Melville New York
1.155 Nikon’s FM3A. Small format. SLR 35mm film camera. Photo © Shawn Scully
1.156 Canon’s Rebel T1i. Small format. DSLR camera. Photo courtesy of Canon USA
1.157 Lomographic Society’s Zero Pinhole 35. Small format, 35mm film. No viewfinder.
25° angle of view. Photo courtesy [Link]
1.158 Table of small-format film and digital cameras. © Sarah Buckius
1.159 Medium format. Plastic Diana F+ camera. Viewfinder viewing system. Photo
courtesy [Link]
1.160 Medium-format 6 3 7cm camera. Rangefinder viewing system. Photo © Shawn
Scully
1.161 Medium-format Zero pinhole camera. Photo courtesy [Link]
1.162 Table of medium-format film and digital cameras. © Sarah Buckius
1.163 Large-format 4 3 5 in. camera. Photo © Shawn Scully
1.164 Table of large-format cameras. © Sarah Buckius
1.165 Lomographic Society pinhole camera. Available in 35mm or medium-format sizes.
Photo courtesy [Link]
1.166 Lomographic Society 35mm pinhole camera. View from open back. Photo
courtesy [Link]
F i g u r e s xvii

1.167 L omographic Society Paper pinhole camera. 35mm. Viewfinder viewing system.
Photo courtesy [Link]
1.168 Table of pinhole cameras. © Sarah Buckius
1.169 Fujifilm Instax 200 camera and Instax 200 instant color film. Photo courtesy of
Fujifilm
1.170 Polaroid PoGo Instant Digital Camera. Photo courtesy of Polaroid PoGo™
1.171 Table of instant photo cameras. © Sarah Buckius
1.172 Marc Tasman, Every New Year’s Day. From the Ten Year Polaroid Project,
2000–09, SX-70 and Polaroid 600 film
1.173 Nokia N86 8MP small-format cellphone digital camera. Photo courtesy of Nokia
1.174 Osman Khan and Omar Khan. SEEN: Fruits of our Labor. August 08, 2006. Acrylic,
Infrared LEDs, Custom Electronics, Computer, Wire
1.175 Epson Perfection V500 flatbed scanner. Photo courtesy of Epson America, Inc.
1.176 Film scanner. Photo © Rebekah Modrak
1.177 Photocopier. Photo courtesy of Epson America, Inc.
1.178 Epson Workforce 600. Photo courtesy of Epson America, Inc.
1.179 Table of scanners. © Sarah Buckius
1.180–1.182 Jonathan B. Duke, detail of The Big Game, 2005, silver gelatin prints from
pinhole camera negatives, each image is 5 3 10in.
1.183 Pinhole camera diagram. Photos © Alana Quinn and Rebekah Modrak; illustration
by Sarah Buckius
1.184 Watermelon pinhole camera. Photo © Alana Quinn
1.185 Image from watermelon camera. Photo © Alana Quinn
1.186 6-inch box pinhole camera. Photo © Alana Quinn
1.187 Image from 6-inch box camera. Photo © Alana Quinn
1.188 12-inch box pinhole camera. Photo © Alana Quinn
1.189 Image from 12-inch box camera. Photo © Alana Quinn
1.190 Rectangular box pinhole cameras have flat film planes. Photo © Alana Quinn
1.191 Film camera diagram. Illustration by Sarah Buckius; photo © Shawn Scully
1.192–1.194 Loading film into a camera. Photos © Rebekah Modrak
1.195 Digital camera diagram. Illustration by Sarah Buckius; photos of Nikon cameras
courtesy of Nikon Inc., Melville New York; photos of Canon cameras courtesy of
Canon USA
1.196 Scan software. Illustration by Rebekah Modrak; photo © Nick Tobier, Proposal for
Glass Shower, 2000, photo collage
1.197 The Ruler Tool. Photo © Nick Tobier, Proposal for Glass Shower. 2000. Photo
collage. Adobe product screen shots reprinted with permission from Adobe
Systems Incorporated
1.198 The Ruler Tool. Adobe product screen shots reprinted with permission from
Adobe Systems Incorporated
xviii F i g u r e s

1.199 T he Ruler Tool. Photo © Nick Tobier, Proposal for Glass Shower. 2000. Photo
collage. Adobe product screen shots reprinted with permission from Adobe
Systems Incorporated
1.200–1.202 The Straighten Tool. Photos © Rebekah Modrak. Adobe product screen
shots reprinted with permission from Adobe Systems Incorporated
1.203 Ann Chwatsky, Lace Planets. August 2008. Scan, camera-less print. © Ann
Chwatsky
1.204 Lens showing aperture settings. Illustration by Sarah Buckius; photo © Aaron
Miller
1.205 Guide for scene. Photo © Julia Farina and Rebekah Modrak
1.206 Wide aperture (f/2.8) at 1/8 second. Photo © Julia Farina and Rebekah Modrak
1.207 Small aperture (f/22) at 4 seconds. Photo © Julia Farina and Rebekah Modrak
1.208 A wide aperture (here f/4) produces large circles of confusion (shallow depth of
field). Illustration by Charles Fairbanks
1.209 A small aperture (here f/22) produces circles of confusion that are imperceptibly
small. Illustration by Charles Fairbanks
1.210 Creating shallow depth of field in a digital image. Photo © Sarah Buckius,
Nightmare, 2009. Digital photograph, 8 3 10 inches. Adobe product screen shots
reprinted with permission from Adobe Systems Incorporated
1.211 Activate Quick Mask mode. Adobe product screen shots reprinted with permission
from Adobe Systems Incorporated
1.212–1.213 Gradient Tool. Adobe product screen shots reprinted with permission from
Adobe Systems Incorporated
1.214 Drag Gradient Tool. Photo © Sarah Buckius, Nightmare, 2009. Digital photograph,
8 3 10 inches. Adobe product screen shots reprinted with permission from Adobe
Systems Incorporated
1.215 Quick Mask red overlay appears. Photo © Sarah Buckius, Nightmare, 2009.
Digital photograph, 8 3 10 inches. Adobe product screen shots reprinted with
permission from Adobe Systems Incorporated
1.216 Exit Quick Mask mode. Photo © Sarah Buckius, Nightmare, 2009. Digital photo-
graph, 8 3 10 inches. Adobe product screen shots reprinted with permission from
Adobe Systems Incorporated
1.217 Convert to Smart Object. Adobe product screen shots reprinted with permission
from Adobe Systems Incorporated
1.218 Gaussian Blur. Adobe product screen shots reprinted with permission from Adobe
Systems Incorporated
1.219 Final image. Photo © Sarah Buckius, Nightmare, 2009. Digital photograph, 8 3
10 inches.
1.220 Focal plane shutter completely closed. Photo © Sven Kahns
F i g u r e s xix

1.221 Focal plane shutter completely open. Photo © Sven Kahns

1.222 Focal plane shutter as it moves from side to side. Photo © Sven Kahns
1.223 The Split Cam camera. Photo courtesy of [Link]
1.224 Shutter lag. Photo © Sven Kahns
1.225 Cable release. Photo © Rebekah Modrak
1.226 and 1.227 Sven Kahns, A Study of Motion: White Arm. 2003. Digital photograph.
© Sven Kahns
1.228 Panning. Photos © Sven Kahns
1.229 Aperture and shutter equivalents. Illustration by Sarah Buckius; photo © Aaron
Miller
1.230 and 1.231 The effect of shutter and aperture on depth of field and motion. Photo
© Sarah Buckius, JUMP!, 2009. Digital photograph, 8 3 10 inches

T H E O R Y 2 : L ight a nd S h a dow

2.1 H enry Peach Robinson, Fading Away. 1858. Albumen print, combination print
from five negatives, 24.4 3 39.3cm. Gift of Alden Scott Boyer. Courtesy of George
Eastman House, International Museum of Photography and Film
2.2 Joseph Nicéphore Niépce, View from the Window at Le Gras, 1826. First Photograph,
heliograph, 1826 and Helmut Gernsheim and Kodak Research Laboratory’s
retouched print of the First Photograph, gelatin silver print with applied watercolour
reproduction, 1952. © Gernsheim Collection. Harry Ransom Humanities Research
Center. The University of Texas at Austin.
2.3 William Henry Fox Talbot, Lace (Plate XX in The Pencil of Nature), 1844–46, Calotype.
© V&A Images / Victoria and Albert Museum, London. [Museum No: RC R 1]
2.4 Adam Fuss, Love. 1992. Cibachrome photogram. © Adam Fuss, courtesy Fraenkel
Gallery, San Francisco
2.5 Hiroshi Sugimoto, Radio City Music Hall, New York. 1978. Gelatin-silver print. ©
Hiroshi Sugimoto, courtesy Fraenkel Gallery, San Francisco
2.6 Paul Ramirez Jonas, Model 3: Wake. 1998 Cibachrome, 20 3 30 inches
2.7 Cai Guo-Qiang, Clear Sky Black Cloud (edition). 2006. Realized at the Iris and Gerald
B. Cantos Roof Garden, The Metropolitan Museum of Art, New York, daily at noon,
Tuesday through Sunday from April 25–October 29, 2006, approximately 5 to 13
seconds, Black Smoke Commissioned by The Metropolitan Museum of Art. Photo
by Hiro Ihara, courtesy Cai Studio.
2.8 International Shadow Project. August 6, 2009, Ann Arbor, Michigan. Photo © Sarah
Buckius
xx F i g u r e s

2.9 O
 lafur Eliasson, The Weather Project. 2003. Monofrequency lights, projection
foil, haze machine, mirror foil, aluminum, and scaffolding. Dimensions variable.
Installation view at the Tate Modern, London 2003. Photo: Jens Ziehe. © Olafur
Eliasson 2003. Courtesy the artist and Tanya Bonakdar Gallery, New York
2.10 Rineke Dijkstra, Tecla, Amsterdam, Netherlands. Chromogenic color print, 60¼ 3
50¾ inches.1994. Courtesy of the artist and Marian Goodman Gallery, New York
2.11 Adrienne Salinger, Bridget B. 1993. Type C photograph
2.12 O. Winston Link, Hot Shot Eastbound at Iaeger, West Virginia (August 2, 1956).
1956. Gelatin silver print. Catherine Edelman Gallery
2.13 Andres Serrano, Immersions (Piss Christ). 1987. Cibachrome, plexiglas, wood
frame. 32¾ 3 45 inches (83.2 3 114.3 cm) frame. © Andres Serrano. Courtesy of
the artist and Yvon Lambert, Paris, New York
2.14 Esther Bubley, Office of Price Administration Stenographer and a Friend in
their Boardinghouse. 1943. Gelatin silver print. © Library of Congress, Prints &
Photographs Division, FSA/OWI Collection
2.15 Hans Bellmer, Second Doll (on Bed). 1935. © ADAGP, Paris and DACS, London
2010. Published in Les Jeux de la poupée
2.16 Anna Gaskell, Untitled #35 (“Hide”). 1998. © Anna Gaskell. Courtesy of the artist
and Yvon Lambert Paris, New York
2.17 Gregory Crewdson, Untitled from Twilight series. 1999. Laser-direct C-print.
Luhring Augustine Gallery, New York. © Gregory Crewdson. Courtesy of the
Crewdson Studio
2.18 Yinka Shonibare, Dorian Gray. 2001. Eleven black and white resin prints, one digital
lambda print. Each print 30 3 37½ inches; overall 130 3 175 inches. Courtesy of
the artist and Stephen Friedman Gallery
2.19 Still from The Cabinet of Dr. Caligari. 1920. Directed by Robert Wiene from a
screenplay by Hans Janowitz and Carl Mayer. Courtesy of Kino International
2.20 Krzysztof Wodiczko, Tijuana Projection. 2001. © Krzysztof Wodiczko. Courtesy
Galerie Lelong, New York
2.21 Bapak Gogon Margono, Sanggar Wayang Gogon puppet production studio. Javanese
Shadow Puppet of Hanuman. 2008. Surakarta, Indonesia. Photo © Sarah Buckius
2.22 Gregory Barsamian, Postcards from the Fringe. 2002. © Gregory Barsamian, 2002.
Courtesy of the artist
2.23 Christian Boltanski, Les Bougies. 1986. Copper figurines, tin shelves, candles.
Installation view, Chapelle de la Salpêtrière, Festival d’automne, Paris, 1986. ©
ADAGP, Paris and DACS, London 2010
2.24 Kara Walker, Danse de la Nubienne Nouveaux. 1998, paper silhouette installation,
120 3 240 inches overall. The Broad Art Foundation, Santa Monica
2.25 Forkscrew Graphics, iRaq [Abu Ghraib Prisoner]. Silkscreen, 2004, Los Angeles,
CA. Courtesy of the Center for the Study of Political Graphics
F i g u r e s xxi

P R A C T I C E 2 : light a nd sh a dow T ools , M a teri a ls ,

a nd P rocesses

2.26 Direction of light: front 90°. Photo © Michael Tanzillo

2.27 Front lighting creates few shadows, so the subject seems flatter. © Michael Tanzillo
2.28 Direction of light: left 90°. Photo © Michael Tanzillo
2.29 Side lighting creates drama, with one side in shadow and the other in light. ©
Michael Tanzillo
2.30 Direction of light: back. Photo © Michael Tanzillo
2.31 Back lighting silhouettes the head in shadow, outlined by a halo of light. © Michael
Tanzillo
2.32 Direction of light: lower right. Photo © Michael Tanzillo
2.33 Another example of side lighting, subtly emphasizing texture. © Michael Tanzillo
2.34 Direction of light: overhead. Photo © Michael Tanzillo
2.35 Overhead lighting creates harsh shadows. © Michael Tanzillo
2.36 Direction of light: bottom. Photo © Michael Tanzillo
2.37 Bottom lighting creates ominous shadows. © Michael Tanzillo
2.38 Direct sun. Sarah Buckius, getting back to my daily activities, 2006, color photo-
graphs, each 5 3 7 inches. © Sarah Buckius
2.39 Open shade. Sarah Buckius, getting back to my daily activities, 2006, color photo-
graphs, each 5 3 7 inches. © Sarah Buckius
2.40 Mixed light. Sarah Buckius, getting back to my daily activities, 2006, color photo-
graphs, each 5 3 7 inches. © Sarah Buckius
2.41 Overcast. Sarah Buckius, getting back to my daily activities, 2006, color photo-
graphs, each 5 3 7 inches. © Sarah Buckius
2.42 Daylight-tinted bulb in an inexpensive reflector. Photo © Rebekah Modrak
2.43 Tungsten bulb screwed into a reflector, and clamped on a light stand. Photo ©
Rebekah Modrak
2.44 Flashlight with tungsten bulb. Photo © Rebekah Modrak
2.45 Professional tungsten light with barndoors. Image courtesy of Lowel-Light Mfg, Inc.
2.46 Slide projector with halide lamp. Courtesy of Navitar, Inc.
2.47 Built-in electronic flash. Photo © Rebekah Modrak
2.48 External flash unit. Photo © Rebekah Modrak
2.49 Studio flash head. Courtesy of Speedotron
2.50 Flash power pack: an electrical supply for electronic flash heads. Courtesy of
Speedotron
2.51 Synchronization (sync) cord. Photo © Rebekah Modrak
2.52 Digital (LCD) projector. Photo courtesy of Epson America, Inc.
2.53 Perspective and keystoning. © Sarah Buckius, digital photographs, 2007
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and fully enjoy the joy of reading.

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