Science for the curious photographer an introduction to the science of photography
While there are many books that teach the "how-to" of photography, Science for the Curious Photographer is a book for those who also want to understand how photography works. Beginning with an introduction to the history and science of photography, Charles S. Johnson, Jr. addresses questio...
| Otros Autores: | |
|---|---|
| Formato: | Libro electrónico |
| Idioma: | Inglés |
| Publicado: |
New York, New York ; London, [England] :
Routledge
2017.
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| Edición: | Second edition |
| Materias: | |
| Ver en Biblioteca Universitat Ramon Llull: | https://discovery.url.edu/permalink/34CSUC_URL/1im36ta/alma991009631281606719 |
Tabla de Contenidos:
- Cover
- Half Title
- Title Page
- Copyright Page
- Dedication
- Table of Contents
- Preface to the First Edition
- Preface to the Second Edition
- Permissions
- Chapter 1: What Is Photography?
- Chapter 2: What Is Light?
- Chapter 3: The Camera-An Introduction
- 3.1: Introduction
- 3.2: The Camera Body
- 3.3: The Lens
- 3.4: Film and Sensors
- 3.5: Digital Camera Design
- Chapter 4: Images: What Is Perspective?
- Chapter 5: Why Does a Camera Need a Lens?
- Chapter 6: Elementary Optics: How Do Lenses Work?
- Chapter 7: The Simple Thin Lens and What it Does
- 7.1: Introduction
- 7.2: Optical Surfaces
- 7.3: Compound Lenses
- 7.4: Conclusion
- Chapter 8: How to Make Lenses that Are Good Enough for Photography
- 8.1: Introduction
- 8.2: Aberrations
- 8.3: The Petzval Sum
- 8.4: Optical Materials
- 8.5: Anti-Reflective Coatings
- 8.6: Conclusion
- Chapter 9: Coming to Terms with Real Camera Lenses
- 9.1: Introduction
- 9.2: The Thin Lens
- 9.3: The Compound lens
- 9.4: Gaussian Optics
- 9.5: Entrance Pupil, Stop, and Illumination of the Image
- 9.6: Vignetting
- 9.7: Metalenses and the New Optics of the 21st Century
- 9.8: Conclusion
- Chapter 10: Wide-Angle Lenses, Fisheye Lenses, and Panoramas
- 10.1: Introduction
- 10.2: Conventional or Rectilinear Lenses
- 10.3: Types of Fisheye Lenses
- 10.4: How Fisheye Lenses Accomplish Their Magic
- 10.5: Examples and Illustrations
- 10.6: Panoramas
- 10.7: Conclusions
- Chapter 11: What Is an Equivalent Image?
- 11.1: Introduction
- 11.2: Determinants of Image Appearance
- 11.3: Comments and Conclusions
- Chapter 12: How to Get Very High Magnification
- 12.1: Introduction
- 12.2: Supplemental Lenses
- 12.3: Extension
- 12.4: Teleconverters (Tele-Extenders) for Cameras with Interchangeable Lenses
- 12.5: Afocal Teleconverters for Fixed Lens Cameras.
- 12.6: Combinations of Lenses and Extenders for Real World Macrophotography
- 12.7: Special Problems Resulting from High Magnification
- 12.8: Lighting for Close-Up Nature Photography with High Shutter Speeds
- 12.9: The Optimum F-Number for Macrophotography
- 12.10: Expanding the Depth-of-Field
- 12.11: Conclusions
- Chapter 13: Do We Need Filters Anymore?
- 13.1: Introduction
- 13.2: Absorption Filters
- 13.3: Polarization Filters
- 13.4: Polarization in Nature
- 13.5: UV and IR Photography
- Chapter 14: The Limits of Human Vision
- 14.1: Introduction
- 14.2: Structure of the Eye
- 14.3: Operation of the Visual Receptors
- 14.4: Visual Acuity
- 14.5: Sensitivity
- 14.6: Conclusions
- Chapter 15: How Can Color Be Managed?
- 15.1: Introduction
- 15.2: Color Theories
- 15.3: Colorimetry
- 15.4: Color Spaces for Digital Photography
- 15.5: Color Management in the Tristimulus World
- 15.6: Goethe-Hering Theory
- 15.7: Monochrome and Monotone Images
- 15.8: Color Constancy and the Land Theory
- 15.9: Color Opponent Cells in the Retina and Brain
- Chapter 16: Image Capture and Processing
- 16.1: Introduction
- 16.2: Capturing Photons with Image Sensors
- 16.3: CCD and CMOS Image Sensors
- 16.4: Encoding of Color
- 16.5: How Film/Sensor Speed (ISO) Is Defined
- 16.6: How the Dynamic Range Is Determined
- 16.7: Exposure Settings for High Image Quality
- 16.8: Saving and Storing the Image
- 16.9: Image Processing and Manipulation
- 16.10: Artifacts Resulting from Inadequate Periodic Sampling
- 16.11: Gamma Correction
- 16.12: Capturing the Light Field
- 16.13: Does the Sensor Really Determine the Resolution of My Digital Camera?
- Chapter 17: What Is Perceived Image Quality?
- 17.1: Introduction
- 17.2: Image Blurring and Softness
- 17.3: Focus
- 17.4: Camera Motion
- 17.5: Signal-to-Noise Ratios.
- 17.6: Diffraction
- 17.7: Lens Performance
- 17.8: Sensor Resolution
- 17.9: Perceived Image Quality
- 17.10: Sharpening by Means of Image Processing
- 17.11: Contrast Sensitivity Function
- 17.12: Subjective Quality Factor
- 17.13: A Caveat
- Chapter 18: The Creation and Appreciation of Art in Photography
- 18.1: What Is a Good Photograph?
- 18.2: Art and Consciousness
- 18.3: How Images Are Perceived
- 18.4: Why Do Images Attract or Repel?
- 18.5: How Knowledge of the Visual System Can Enhance the Artist's Bag of Tricks
- 18.6: Reflections on Art in Photography
- Chapter 19: What We See and How We Photograph It
- Appendices
- A: Historical Note on Enlargers
- B: What Is Behind the Rules of Optics?
- C: Derivation of the Lens Maker's Equation
- D: Gaussian Optics and the Principal Planes
- E: A Macro Lens with Attachments
- F: Observing and Managing Color: Dealing with Color Vision Anomalies
- G: Capturing Photons with Photographic Film
- H: Microelectronics and the Path to Digital Sensors
- I: Irradiance and Illuminance Units
- J: All about Depth-of-Field and Hyperfocal Distance
- Index.
