The Daily Book of Photography

Table of contents

1. Cover
2. Title Page
3. Contents
4. Introductions
5. Day 1. Camera-derie
6. Day 2. Ancient Times
7. Day 3. Ansel Adams (1902–1984)
8. Day 4. Night Photography
9. Day 5. Double Exposure
10. Day 6. Life as a Photojournalist
11. Day 7. The Model Test
12. Day 8. World’s Smallest Camera
13. Day 9. Soul in the Window
14. Day 10. Families
15. Day 11. Definition of Photograph/Photograph
16. Day 12. The First Photograph
17. Day 13. Herb Ritts (1952–2002)
18. Day 14. Filling Shadows
19. Day 15. Capturing a Moment
20. Day 16. Toolbox Essentials
21. Day 17. Fashion Stylist Team
22. Day 18. A Child’s Dream Comes to Life
23. Day 19. Mini Mount of Olives
24. Day 20. Uncle Sam Wants You
25. Day 21. Types of Cameras
26. Day 22. Thomas Wedgwood
27. Day 23. Richard Avedon (1923–2004)
28. Day 24. Birds of Prey
29. Day 25. Conceptual
30. Day 26. Serendipity: UC Berkeley Mascot
31. Day 27. Shooting Youth with Drama
32. Day 28. Impressionistic Photography
33. Day 29. Sand Jumper
34. Day 30. Poverty
35. Day 31. SLR vs. Point and Shoot
36. Day 32. Louis Jacques Mande Daguerre
37. Day 33. Annie Leibovitz (1949–)
38. Day 34. Sunrise
39. Day 35. Group
40. Day 36. Using Your Head, Not Your Gear
41. Day 37. Working with a Makeup Artist
42. Day 38. Undressing for Art
43. Day 39. Succulent
44. Day 40. Religion
45. Day 41. Camera Modes
46. Day 42. The Calotype
47. Day 43. Anne Geddes (1956–)
48. Day 44. Sunset
49. Day 45. Comedians
50. Day 46. Use of Light: Silhouetting
51. Day 47. Working with a Hairstylist
52. Day 48. Urban Legends I
53. Day 49. Geen Toegang (No Entry)
54. Day 50. Unity
55. Day 51. Camera Settings
56. Day 52. Stereoscopic Photography
57. Day 53. Diane Arbus (1923–1971)
58. Day 54. Low-Light Photograph
59. Day 55. Use of Color
60. Day 56. Capturing Action
61. Day 57. Casting Your Talent
62. Day 58. Ghost Photography
63. Day 59. Santa Barbara Mission
64. Day 60. Financial Disaster
65. Day 61. The Shutter and Light
66. Day 62. Photography and the American Civil War
67. Day 63. Irving Penn (1917–2009)
68. Day 64. Wind Farms
69. Day 65. Artists
70. Day 66. Celebration
71. Day 67. Lights, Camera ...
72. Day 68. Famous Fakes
73. Day 69. Poppy Red Cars
74. Day 70. Old Age
75. Day 71. The Shutter and Motion
76. Day 72. Motion Studies
77. Day 73. Henri Cartier-Bresson (1908–2004)
78. Day 74. Farm Fields
79. Day 75. Musicians
80. Day 76. Right Place at the Right Time
81. Day 77. Essential Light Modifiers
82. Day 78. Tampering with History
83. Day 79. As One
84. Day 80. Homelessness
85. Day 81. The Aperture and Light
86. Day 82. Eastman Kodak
87. Day 83. Edward Curtis (1868–1952)
88. Day 84. Autumn Color
89. Day 85. Drawing with Light
90. Day 86. Specificity vs. Serendipity
91. Day 87. Essential Light Modifiers
92. Day 88. Revolver Camera
93. Day 89. Vanitas
94. Day 90. Greed
95. Day 91. The Aperture and Depth of Field
96. Day 92. The Study of Photography
97. Day 93. Margaret Bourke–White (1904–1971)
98. Day 94. Tranquility
99. Day 95. Color Cross-Processed
100. Day 96. Off-Field Score
101. Day 97. Essential Light Modifiers
102. Day 98. The Victorian Dead
103. Day 99. Hong Kong from The Peak on a Summer Night
104. Day 100. Mighty Transportation
105. Day 101. Change One, Change Them Both
106. Day 102. Oskar Barnack and the Leica
107. Day 103. Imogen Cunningham (1883–1976)
108. Day 104. The Tree
109. Day 105. Use of Sunlight
110. Day 106. Use of Light: Front Lighting
111. Day 107. Secret Garden
112. Day 108. Urban Legends II
113. Day 109. Bay Bridge
114. Day 110. Employment
115. Day 111. Overview of Lenses
116. Day 112. Nikon
117. Day 113. Dorothea Lange (1895–1965)
118. Day 114. Flowers
119. Day 115. Environmental
120. Day 116. Back Lighting
121. Day 117. Setting the Mood of the Shoot
122. Day 118. The Human Soul
123. Day 119. Victoria Beach Tower
124. Day 120. Daily Routines
125. Day 121. Focusing Your Lens
126. Day 122. Photograms
127. Day 123. Helmut Newton (1920–2004)
128. Day 124. Woodland Paths
129. Day 125. Use of Shadow
130. Day 126. Backlit
131. Day 127. The Ring Flash
132. Day 128. World’s Largest Camera
133. Day 129. Still Life with Nail Polish
134. Day 130. The War Machine
135. Day 131. Focus and Depth of Field
136. Day 132. Stroboscopic Photography
137. Day 133. Patrick Demarchelier (1943–)
138. Day 134. Nature Centers
139. Day 135. Use of Location
140. Day 136. Perspective
141. Day 137. Wardrobing Your Subjects
142. Day 138. Performance Art Meets Photography
143. Day 139. Watching Sunrise
144. Day 140. Humility
145. Day 141. How Lenses Affect Perspective
146. Day 142. Group f/64
147. Day 143. Baron Wolman (1937–)
148. Day 144. Abstracts in Nature
149. Day 145. Black and White
150. Day 146. Negative Space
151. Day 147. Influential Fashion Photographers—Past
152. Day 148. Contemporary Daguerreotypes
153. Day 149. Dark Versus Light, Day Versus Night
154. Day 150. Urban Decay
155. Day 151. What Is ISO?
156. Day 152. Kodachrome
157. Day 153. Eadweard J. Muybridge (1830–1904)
158. Day 154. Creating a Mood
159. Day 155. Colorful
160. Day 156. Framing
161. Day 157. Lights, Camera ...
162. Day 158. The Last First Contact
163. Day 159. The End of the Line
164. Day 160. Marketing Political Ideas
165. Day 161. Overview of Exposure
166. Day 162. Exakta and the Single-Lens Reflex
167. Day 163. Edward Henry Weston (1886–1958)
168. Day 164. Monarch Migration
169. Day 165. Actors
170. Day 166. Being Patient
171. Day 167. Influential Fashion Photographers—Present
172. Day 168. Urban Legends III
173. Day 169. Tulip
174. Day 170. Power
175. Day 171. Light Meters
176. Day 172. Gelatin Dry-Plate Process
177. Day 173. Julia Margaret Cameron (1815–1879)
178. Day 174. Cute Baby Animals
179. Day 175. Polaroid
180. Day 176. Being Patient
181. Day 177. Developing Theme and Concept
182. Day 178. Pigeon Photographers
183. Day 179. Barbie Figure Study #2
184. Day 180. Family Structure
185. Day 181. Filters
186. Day 182. Cyanotypes
187. Day 183. Robert Capa (1913–1954)
188. Day 184. Lovable But Homely Babies
189. Day 185. Wet Collodion
190. Day 186. Off-Field Score
191. Day 187. Urban Location Scouting
192. Day 188. “Witch” Photography
193. Day 189. Moonshimmering Waterfall and Aurora Borealis
194. Day 190. Gender
195. Day 191. Lens Add-Ons
196. Day 192. LIFE Magazine and Photojournalism
197. Day 193. Mary Ellen Mark (1940–)
198. Day 194. The Macro World
199. Day 195. Outtakes
200. Day 196. Jubilation
201. Day 197. Lights Camera. . .
202. Day 198. Lost Authors
203. Day 199. Shadow Bench, Shadow Path, and Dark Door
204. Day 200. The First Family
205. Day 201. Using Natural Light
206. Day 202. Twin-Lens Camera
207. Day 203. Walker Evans (1903–1975)
208. Day 204. Hawk In Flight
209. Day 205. Five Minutes
210. Day 206. Panning for Effect
211. Day 207. Collecting Props that Inspire
212. Day 208. The Photographer of the Mine
213. Day 209. Golden Gate PanoPlanet
214. Day 210. Separation
215. Day 211. Using Artificial Light
216. Day 212. Instant Photography
217. Day 213. Alfred Stieglitz (1864–1946)
218. Day 214. Wading Birds
219. Day 215. Freeze Frame
220. Day 216. Capturing Action
221. Day 217. The Windblown Look
222. Day 218. Photographing the past
223. Day 219. The Lonely Pontiac®
224. Day 220. Technology
225. Day 221. Subject Matter
226. Day 222. The Nikon F
227. Day 223. Minor Martin White (1908–1976)
228. Day 224. Combining Light
229. Day 225. High speed Strobe
230. Day 226. Framing
231. Day 227. Black and White Photography
232. Day 228. Urban Legends IV
233. Day 229. Under shifting Sand
234. Day 230. The Female Vote
235. Day 231. Framing Your Subject Matter
236. Day 232. Underwater Photography
237. Day 233. Willing Eggleston (1939–)
238. Day 234. Water on the Rocks
239. Day 235. Slow Synch Strobe
240. Day 236. Negative Space
241. Day 237. Fashion Apparel On Location
242. Day 238. Eerie Solitude
243. Day 239. Bernal Heights Wormhole
244. Day 240. Providing Life’s Essentials
245. Day 241. Backgrounds
246. Day 242. Color Photography
247. Day 243. Philippe Halsman (1906–1979)
248. Day 244. Stop Action
249. Day 245. Architectural
250. Day 246. Up Close and Personal
251. Day 247. The Seamless Background
252. Day 248. Composite Portraits
253. Day 249. Lightning Assault
254. Day 250. Discontent
255. Day 251. Using Lines
256. Day 252. Collodion Process
257. Day 253. Alfred Eisenstaedt (1898–1995)
258. Day 254. Narrow Depth of Field
259. Day 255. Landscape
260. Day 256. Use of Light
261. Day 257. Couture Posing and Movement
262. Day 258. Photographic Collages
263. Day 259. Lights of Independence
264. Day 260. Street Life
265. Day 261. Using Shapes and Patterns
266. Day 262. Magnum and Photo Collectives
267. Day 263. Howard Schatz (1940–)
268. Day 264. Wide Depth of Field
269. Day 265. Cityscape
270. Day 266. Framing
271. Day 267. Posing Two Models
272. Day 268. Urban Legends V
273. Day 269. Found Cups with Spoon
274. Day 270. Presidential Presence
275. Day 271. Using Color and Contrast
276. Day 272. Flash Photography
277. Day 273. Man Ray (1890–1976)
278. Day 274. Man and the Natural World
279. Day 275. Onstage
280. Day 276. Being Patient
281. Day 277. Beauty Headshot Basics
282. Day 278. Scanner as Camera
283. Day 279. Rose in the Rain
284. Day 280. War
285. Day 281. Using Perspective
286. Day 282. The Instamatic Camera
287. Day 283. William Wegman (1943–)
288. Day 284. Winter’s Fury
289. Day 285. Serendipitous
290. Day 286. Capturing Action
291. Day 287. Competition Quality
292. Day 288. Dog Photography
293. Day 289. Earth Hour—Brisbane
294. Day 290. Sexual Orientation
295. Day 291. Finishing Your Work
296. Day 292. Stock Photography
297. Day 293. Andy Goldsworthy (1956–)
298. Day 294. Natural Camouflage
299. Day 295. Soft Strobe Lighting
300. Day 296. Jubilation
301. Day 297. Retouching
302. Day 298. Camera Tossing
303. Day 299. Brooklyn Bridge
304. Day 300. The Vote
305. Day 301. What Is a Cropping Ratio?
306. Day 302. Photography Museums
307. Day 303. Sally Mann (1951–)
308. Day 304. The Insect World
309. Day 305. Eyes to the Soul
310. Day 306. Perspective
311. Day 307. Post-Production Effects
312. Day 308. Surreal Dreamscapes
313. Day 309. Waning Gibbous
314. Day 310. Quality of Life
315. Day 311. Papers and Printing
316. Day 312. Canon EOS
317. Day 313. Cindy Sherman (1954–)
318. Day 314. Out My Back Door
319. Day 315. Inspired
320. Day 316. Using a Motor Drive
321. Day 317. Collaborating
322. Day 318. Infrared Photography
323. Day 319. St. Joseph's Church
324. Day 320. Wealth
325. Day 321. Mounting
326. Day 322. Adobe Photoshop®
327. Day 323. Robert Frank (1924–)
328. Day 324. Back Lighting
329. Day 325. Painterly Lighting
330. Day 326. Casting Shadows
331. Day 327. Working with Water
332. Day 328. Photographing the Invisible
333. Day 329. For Molly
334. Day 330. Child Labor
335. Day 331. Matting
336. Day 332. Digital Photography
337. Day 333. Robert Doisneau (1912–1994)
338. Day 334. No Tripod? Find an Alternative
339. Day 335. Use of Perspective
340. Day 336. Use of Light
341. Day 337. Shooting Lingerie
342. Day 338. Urban Legends VI
343. Day 339. Motorway Mayhem
344. Day 340. Industry
345. Day 341. Framing
346. Day 342. Camera Phone
347. Day 343. Yousuf Karsh (1908–2002)
348. Day 344. The Digital Revolution
349. Day 345. Optical Illusion
350. Day 346. Anticipation
351. Day 347. Natural Lighting and Beauty
352. Day 348. The Kaleidoscopes of Ryo Ohwada
353. Day 349. Alone
354. Day 350. Health Care
355. Day 351. Creative Projects for Digital Photographs
356. Day 352. Autofocus
357. Day 353. David “Chim” Seymour (1911–1956)
358. Day 354. Be Prepared
359. Day 355. Spiritual
360. Day 356. Peace Out
361. Day 357. Your Book, Your Future
362. Day 358. Remembering the Revolution
363. Day 359. The Hunt
364. Day 360. Community
365. Day 361. For Further Study
366. Day 362. Kodak Goes Digital
367. Day 363. Robert Mapplethorpe (1946–1989)
368. Day 364. Changing Perspective
369. Day 365. Interior Location
370. Sources Cited
371. Bibliography
372. Additional Credits
373. Acknowledgments
374. About the Authors
375. Copyright Page