Understanding Exposure, Fourth Edition: How to Shoot Great Photographs with Any

Description: Understanding Exposure, Fourth Edition by B. Peterson This revised edition of Bryan Petersons popular book demystifies the complex concepts of exposure in photography, allowing readers to capture the images they want. Understanding Exposure shows how to get sharpness and contrast in images, how to freeze action and how to take the best meter readings, while also exploring filters, flash and light. FORMAT Paperback LANGUAGE English CONDITION Brand New Publisher Description This newly revised edition of Bryan Petersons most popular book demystifies the complex concepts of exposure in photography, allowing readers to capture the images they want.This newly revised edition of Bryan Petersons most popular book demystifies the complex concepts of exposure in photography, allowing readers to capture the images they want.Understanding Exposure has taught generations of photographers how to shoot the images they want by demystifying the complex concepts of exposure in photography. In this newly updated edition, veteran photographer Bryan Peterson explains the fundamentals of light, aperture, and shutter speed and how they interact with and influence one another. With an emphasis on finding the right exposure even in tricky situations, Understanding Exposure shows you how to get (or lose) sharpness and contrast in images, freeze action, and take the best meter readings, while also exploring filters, flash, and light.With all new images, as well as an expanded section on flash, tips for using colored gels, and advice on shooting star trails, this revised edition will clarify exposure for photographers of all levels. Notes 4th edition. A new version of Petersons most popular book, with all-new images and updated captions. Author Biography BRYAN PETERSON is a professional photographer, internationally known instructor, best-selling author, and founder of The Bryan Peterson School of Photography at His trademark use of color and strong, graphic composition have garnered him photographic awards fromCommunication Arts and Print magazines. He makes his home in Seattle, Washington. Table of Contents Introduction 1 Defining Exposure What Is Meant by Exposure? 8 The Photographic Triangle 10 The Heart of the Triangle: The Light Meter 16 White Balance 19 Six Correct Exposures Versus One Creatively Correct One 24 Finding Creative Exposure Options 28 Aperture Aperture and Depth of Field 32 Storytelling Apertures 36 Isolation or Singular-Theme Apertures 48 "Who Cares?" Apertures 54 Aperture and Macro Photography 58 Shutter Speed The Importance of Shutter Speed 64 The Right Shutter Speed for the Subject 66 Freezing Motion 68 Panning 73 Implying Motion 76 Implying Motion with Stationary Subjects 80 Making "Rain" 83 Light The Importance of Light: The Importance of Exposure 86 The Best Light 88 Frontlight 92 Overcast Frontlight 95 Sidelight 98 Backlight 102 Exposure Meters 106 18% Reflectance 110 The Gray Card 112 The Sky Brothers 113 Mr. Green Jeans (The Sky Brothers Cousin) 116 Night and Low-Light Photography 118 Flashlights and Starlight 124 Light Painting 126 Special Techniques Polarizing Filters 132 Graduated Neutral-Density Filters 134 Multiple Exposures 136 Electronic Flash The Photographic Triangle and Flash 142 The Three Factors for Correct Flash Photography Exposure 144 The Dangers of Becoming a Flashaholic 148 The Limitations of Your Teenie-Weenie Pop-Up Flash 150 Powering Down the Flash 152 Flash as a Fill Light 153 Wireless Flash 158 Colored Gels 162 Rear Curtain Sync 165 Index 168 Review "Of all the photography books I have on my bookshelf, and believe me, I have quite a few, this is the one that stands out as the most helpful. It is the first one I recommend to new photographers and it is one that I refer to when I need a bit of a refresher. It will take the fear out of moving from the point and shoot modes to the creative modes of your camera."- Digital Photography School Promotional This newly revised edition of Bryan Petersons most popular book demystifies the complex concepts of exposure in photography, allowing readers to capture the images they want. Review Quote "Of all the photography books I have on my bookshelf, and believe me, I have quite a few, this is the one that stands out as the most helpful. It is the first one I recommend to new photographers and it is one that I refer to when I need a bit of a refresher. It will take the fear out of moving from the point and shoot modes to the creative modes of your camera." - Digital Photography School Promotional "Headline" This newly revised edition of Bryan Petersons most popular book demystifies the complex concepts of exposure in photography, allowing readers to capture the images they want. Excerpt from Book INTRODUCTION The year was 1975, but it seems like yesterday that I first introduced the "photographic triangle" to a group of about forty students. It was on a Saturday, and I was running an all-day workshop on understanding exposure on the campus of Portland Community College as part of a program of continuing adult education. I had never presented to a group this "large," and little did I know then that groups of forty students one day would swell toward one thousand attendees. My journey has in many respects been truly humbling. When I first picked up a camera in the summer of 1970 (a suggestion made by my older brother Bill, who was a keen amateur photographer), my intention was to use the camera as a way to record landscapes and cityscapes. I was an "artist" and wanted to capture those scenes for later sketching with my inks and charcoals. Little did I know then that the reference photos I took with my brothers camera would send me on a photographic journey that has lasted more than forty-five years. I have had far more adventures, chance encounters, and good fortune than should be legally allowed for a single lifetime. Of course, all of my adventures have not been without some setbacks, unbelievable obstacles, and momentous challenges, but somehow Im still here churning out another edition of Understanding Exposure . During those first five years, 1970 to 1975, I made it a point to write down every exposure for the reference photographs I took. When I would review each image, I knew which aperture I used and which shutter speed I used and was soon able to determine why one aperture in conjunction with a particular lens would produce a massive depth of field or a very narrow depth of field. I also knew which shutter speeds were capable of creating motion-filled water, windblown flowers and leaves, and razor-sharp action-stopping subjects. I was soon figuring out that in every picture-taking situation, I was presented with no fewer than six possible exposure options and those six exposure situations could easily be changed to a different set of six options merely by changing from one film to the other; an ISO of 50 produces a different set of six possible correct exposure options than does an ISO of 200 or an ISO of 640, and so on. I soon found myself making a drawing of a triangle in one of my notepads, showing the three ingredients of every correct exposure: aperture, shutter speed, and the ISO. Of course at the heart of the triangle was the light meter, whose "job" is 100 percent dependent on the photographers ability tell it which aperture or shutter speed he or she is using and how many "eyeballs" (ISO) he or she wishes to use for a particular scene. I mention all this for one very important reason: I emphatically believe today, just as I did back then, that if you will invest the time needed to understand the vision of the photographic triangle and the many "creatively correct" exposures it offers, your mind will be truly free to create almost any image it can conceive in camera! I am all too familiar with the phrase "the third times a charm," and I honestly thought that when I finished the third edition of Understanding Exposure , it would be the last edition Id write for one simple reason: I felt I had exhausted the subject of understanding exposure. Obviously I was wrong! I am incredibly humbled by the response to the earlier editions, with combined sales of more than one million copies in seven different languages. With numbers like that one might ask, "Why mess with a winning formula?" To be clear, I am not messing with the winning formula, but since the third edition of Understanding Exposure was released in 2009, even more changes have taken place in the photo industry. The one change I readily welcome is the ease of using an electronic flash. One I dont appreciate as much is the extremely high dynamic range that many cameras are quickly approaching. In a single shot, a few of todays cameras sensors are capable of capturing upward of 9 stops of light to dark exposure, and at this rate a sensor soon will be recording the human eyes ability to see a 16-stop range! This is a huge change from the days of film, when one might expect about a 5-stop range of light to dark. Why is this a problem? In some cases it will mean the end of the many beautiful sidelit landscapes of great contrast in which the strong highlights are in marked opposition to the deep and dense shadows. There will no more of this stark contrast because of the sensors ability to create images that cover a much wider exposure and tonal range. On the flip side of all this new technology, I am hearing from more and more amateurs who have not only realized the limitations of their camera phones and are buying DSLRs but are also interested in "getting it right" in camera rather than relying on after-market software to clean up their exposure mistakes. In effect, it seems the trend today is akin to the days of film, when most, if not all, amateur photographers took pride in "owning" their creativity. They relied solely on their knowledge of the multitude of creative exposures that lie within the photographic triangle and a full understanding of the power of light, including the use of electronic flash. I have seen more evidence of "owning ones creativity" in the last twelve months than I have seen in the previous five years, and needless to say, I am thrilled. I am not, nor have I ever been, nor will I ever be a fan of automated exposures. And yes, beyond the choice to shoot in any automated camera-setting mode, my disdain for automation includes the use of highly manipulative photo software, with HDR (high dynamic range) being just one example. I am pleased to say what some call my formula (what I call the photographic triangle) for award-winning exposures has not changed one iota since I first introduced it to a group of forty students way back in 1975. Despite the digital age we are in and will be living in for what I am guessing will be years and years to come, the formula for award-winning exposures is no different today from what it was in 1975 and even as far back as the 1930s. A correct exposure was, is, and always will be a combination of your choosing the right-size hole in your lens (the aperture), and the right amount of time that light is allowed to remain on the digital sensor (shutter speed), and how both of these factors are influenced by your choice of ISO. Back in the day, the pinhole camera proved to be a terrific method of recording an exposure (it was much like a hole in a lightproof shoe box that held a piece of light-sensitive film), and as far as I am concerned, the digital camera of today is nothing more than a lightproof shoe box with a piece of light-sensitive "film" inside. Granted, these cameras dont look like lightproof shoe boxes, but they perform in much the same way, albeit they record a single image a bit faster. Now that the digital age of photography has grown up since the first introduction of the Kodak/Nikon DCS with its whopping 1.3-megapixel charge-coupled device (CCD), its also fair to say that many shooters who are just starting out in photography are more confused than ever before, and for this I hold the camera manufacturers responsible. Because of their attempts to make so much of the picture-taking process automated, the simple manual cameras of yesterday have been replaced by cameras reminiscent of the cockpit of a Boeing 747-400. I dont know about you, but I find the cockpit of a 747-400 amazingly intimidating! The once simple shutter speed dial on the camera body and the once simple aperture dial normally found on the lens have taken a backseat to dials that are crammed with "features" such as Landscape mode, Flower mode, Portrait mode, Aperture Priority mode, Action Sequence mode, Sports mode, Group Portrait mode, Shutter Priority mode, and Program mode, and there is even a bee on the Flower mode! Combine all that supposed automation with auto white balance, auto ISO, and auto flash and youve got a recipe for frustration. Attesting to this frustration are the many shooters who have discovered that automation works only sometimes and only with some subjects. As my email in-box shows on a daily basis, there is nothing worse or more embarrassing to a beginning photographer who has taken a really nice image than being asked how he or she did it and not having a clue. Just last month, I received an email from a young man who had been selected to show his work in his offices cafeteria. He wrote me to say that he had no clue about exposure and was sure that once his prints were on display, many of his coworkers would begin to press him for information about his photographs that he did not have, such as aperture and shutter speed and even lens choice. I do not want to suggest that this is vitally important information that one needs to know to take great photographs, but I believe it is vitally important information if one wishes to make great photographs consistently. Understanding exposure is not hard at all, as more than 900,000 photographers all around the world have already discovered. The only requirement is that you throw away your cameras instruction manual after you reference it to learn one thing: how to set the controls to manual. Here is a clue: On every DSLR, you will find the symbol M, and when the dial is set to M, you are sitting in the copilots seat, about to go on a maiden voyage. Sure, setting your camera to M might seem scary at first, but you should have no worries since I, the captain, am sitting right next to Details ISBN1607748509 Short Title UNDERSTANDING EXPOSURE 4TH /E Edition Description Revised Language English ISBN-10 1607748509 ISBN-13 9781607748502 Media Book Format Paperback Pages 176 DEWEY 771 Year 2016 Publication Date 2016-03-15 Subtitle How to Shoot Great Photographs with Any Camera Country of Publication United States Imprint Amphoto Place of Publication Berkeley Illustrations Yes Edition 4th edition UK Release Date 2016-03-15 AU Release Date 2016-03-15 NZ Release Date 2016-03-15 US Release Date 2016-03-15 Author B. Peterson Publisher Random House USA Inc Replaces 9780817439392 Audience General We've got this At The Nile, if you're looking for it, we've got it. With fast shipping, low prices, friendly service and well over a million items - you're bound to find what you want, at a price you'll love! TheNile_Item_ID:97494293;

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