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Mindful Photographer Operating Manual for the Mindful Photographer Ed Heckerman Copyright © 2017 Cerritos College and Ed Heckerman 11110 Alondra Blvd., Norwalk, CA 90650 Second Edition, 2018 This interactive PDF was made in partial fulfillment for a sabbatical during the academic year 2016 - 2017. No part of the text of this book may be reporduced without permission from Cerritos College. All photographs were taken by Ed Heckerman and produced independently from sabbat- ical contract. Ed Heckerman maintains the copyright for all the photographs and edition changes. No images may be copied from this manual for any use without his consent. Contents Part 1 — Insights and Aspirations 1 contents page Introduction 1 What is Photography? 2 What is a Photograph? Motivations — Why Make Photographs? Photography and Mindfulness 6 Thoughts On Tradition ��������������������������������������������������������������������������12 Part 2 — Navigating Choices ������������������������������������������������������������� 14 Cameras Loading Your Camera Unloading Your Camera Manual Focus Autofocus Sensitivity and Resolution — ISO Controlling Exposure — Setting the Aperture and Shutter Speed Shutter Speed Coordinating Apertures and Shutter Speeds Exposure Metering Systems ��������������������������������������������������������������� 25 Full-frame Average Metering Center Weighted Metering Spot Metering Multi-Zone Metering Incident Metering Exposure Metering Modes �����������������������������������������������������������������26 Manual Mode Aperture priority automatic — Emphasizing Depth of Field Shutter priority automatic — Emphasizing Deliberate Blur and Stop Action Fully Automatic Program Mode Exposure Considerations 28 Intermediate Exposure Advanced Exposure Black and White Film Shutter Speed Synopsis ����������������������������������������������������������������������� 23 Stop Action Deliberate Blur Color Negative Film (Process C-41) Color Reversal Film (Process E-6) Digital Capture 32 JPEG vs. RAW Formats �����������������������������������������������������������������������������������������������������34 Film Formats and Camera Types Digital Formats Lenses �������������������������������������������������������������������������������������������������������36 Basics Normal Telephoto Zoom General Remarks on Lenses and Perspective Filters ��������������������������������������������������������������������������������������������������������� 43 Depth of Field Synopsis ����������������������������������������������������������������������� 45 Quality of Light 48 What is Light? Direct Diffused Directional-Diffused The Golden Hour The Magic Hour Stormy Weather Light as Metaphor in Psychology and Spirituality Darkroom ��������������������������������������������������������������������������������������������������57 How to Develop Film Loading a Plastic Reel and Tank Loading a Metal Reel and Tank Devoloping Film Evaluating and Caring for Negatives Making a Proof Sheet Evaluating a Proof Sheet Making a Print Evaluating a Print Common Problems Advanced Darkroom Printing Methods Concluding Thoughts about Darkroom Printing Introduction to Digital Processing ��������������������������������������������������� 67 Determining the Best Software for Your Needs Starting with Adobe Bridge ���������������������������������������������������������������69 Continuing With Adobe Camera Raw 70 Start With Lens Corrections Basics Tone Curve Detail Panel HSL / Grayscale More Lens Corrections Effects Camera Calibration Presets Snapshots White Balance Tool Selecting Color Space and Saving Further Refinements in Adobe Photoshop 80 Opening a File Reviewing Your Choices Checking Sharpness Levels Curves Dodge and Burn Sharpening Smart Objects Making Your Image Black and White in Photoshop Retouching Adobe Lightroom 86 Helpful Keyboard Commands Inside Lightroom Part 3 — The Open Photograph �������������������������������������������������������90 Composition �������������������������������������������������������������������������������������������90 Thirds (Or Maybe Not) Lines Harmony (Or Maybe Not) Other Compositional Criteria How Photographs Make Meaning 100 The Image The Observer The Context The Image, Observer, and Context in Union Defining And Making A Series ��������������������������������������������������������� 105 Portfolio Development Discourses of Contemporary Photography ���������������������������������108 Amateur Professional Fine Art Post-modern Photography Photo-Based Documentary Style ������������������������������������������������������������������������������114 Directorial Photography ��������������������������������������������������������������������118 Image, Text, and Narrative 120 Anchorage Relay The Third Meaning Text As Image The Photographic Book ��������������������������������������������������������������������� 122 Portrait Photography ������������������������������������������������������������������������� 126 Portraiture Goals The Self-Portrait The Studio Portrait The Casual Portrait The Clinical Portrait Aesthetic The Extended Portrait Documentary Portraiture The Celebrity Portrait The Invented Portrait Approaches to Studio Lighting ��������������������������������������������������������135 Reproduction of Artwork Lighting Textured Objects Lighting Metal Objects Lighting Transparent Objects Distinguishing Form Through Lighting Color 141 Photography of the Landscape ������������������������������������������������������� 148 Experimental Photography 152 Photomontage Camera-less Photography Indeterminacy and Photography New Genres Traditional, Contemporary and Alternative Display ����������������� 159 Alternative Display Archival Practices Questions and Considerations for Critique ��������������������������������� 163 Photography Health and Safety Issues ����������������������������������������� 164 Problems and Solutions Using the Traditional Black and White Darkroom Problems and Solutions Using Computers Glossary of Technical Terms ������������������������������������������������������������� 166 List of Photographs ������������������������������������������������������������������������������172 Acknowledgements 174 About the Author 174 Part 1 — Insights and Aspirations Introduction Learning photography happens four ways. Firstly, at consistent results. In the service of this goal, this by taking a lot of pictures. Secondly, by looking at book will encourage the reader to look into what a lot of pictures in exhibitions, in books, and in the photography is and what its relationship is to art. world. Thirdly, by getting advice from teachers, who The text will also explore the many reasons why we can considerably speed up the process of helping make photographs. The bulk of the book will cover those who are open to learning. Fourthly, by reading the craft of photography, both analog and digital. about photography in all its myriad aspects. This However, technique will not be venerated as an end book is intended to be a resource to help you learn. in itself, but rather as a support for whatever the It is not a recipe book for good pictures. You should photographer is endeavoring to show and evoke. not blindly believe what is written here, but verify In other words, this text will be a tool to help the the claims made here yourself through your own aspiring photographer learn how to make and apply experience. The author of this text is often far from meaningful choices. The heart of the matter will mainstream in his opinions and methods. Take from always return to the practice of photographing with this what is useful. mindfulness — remaining present in the ongoing moment2 and remembering the task at hand with Contrary to popular opinion, photography is not, introspection and contemplative awareness. It will and never has been, entirely mechanical and objec- require effort to reach a point where photography tive. Whenever we look at a photograph that we done consciously comes effortlessly. don’t like or think is untrue is some way, we are acknowledging the fact that the photographer could It may surprise the reader that this book covers have made different choices to make the picture both analog photography (shooting film and doing better or more true.1 The purpose of this book is traditional wet darkroom work), and also digital to help you make sound choices in the process of photography. The author is well aware that in pop- making photographs. All of us already know how ular culture and commercial photography digital is to take pictures robotically with cameras designed the status quo. An amateur or commercial photogra- to eliminate the possibility of choices. This is not pher has no choice but to embrace the values of the to say that having more choices is always better. industry, and that means working digitally. However, Sometimes cameras are overly complicated, offer- artists do have a choice. This book is a support for ing many frivolous choices that the photographer those choices. needs to
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