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Photography By Henry Horenstein, Russell Hart

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Sales Rank: #2669147 in Books
Published on: 2000-08-03
Original language: English
Number of items: 1
Dimensions: .91" h x 10.88" w x 10.78" l,
Binding: Paperback
435 pages

From the Back Cover

Prentice Hall's exclusive Companion Website™ accompanies Photography and offers unique tools and support that make it easy for students and instructors to integrate this online study guide with the text. The site is a comprehensive resource that is organized according to the chapters within the text and features a variety of learning and teaching modules:

FOR STUDENTS:

Study Guide Modules contain a variety of simulations and demonstrations designed t help students understand photo processes. Also:

chapter summaries that help students organize key concepts to be learned
quizzes with multiple-choice, true/false, and fill-in questions that supply instant scoring and feedback on student mastery of core material.
built-in e-mail routing option that gives students the ability to forward essay responses and graded quizzes to their instructors

Reference Modules contain Web Destinations and Net Search options that provide the opportunity to expand the information presented in the text. Whether through a directory of websites relevant to the subject matter of a chapter or key-term searches that automatically insert terms from the chapter into major search engines, these reference features enable students to quickly reach related information on the Web.
Communication Modules include tools such as Live Chat and Message Boards to facilitate online collaboration and communication.
Personalization Modules include our enhanced Help feature that contains a test page for browsers and plug-ins.

FOR INSTRUCTORS:

The Faculty Module includes resources for teaching. This may include demonstration hints, class activities, and graphics from the text, all coordinated by chapter. This module is accessed via a password provided by our local Prentice Hall representative.
Syllabus Manager™ tool provides an easy-to-follow process for creating, posting, and revising a syllabus online that is accessible from any point within the companion website. This resource allows instructors and students to communicate both inside and outside of the classroom at the click of a button.

The Companion Website™ makes integrating the Internet into your course exciting and easy. Join us online at the address above and enter a new world of teaching and learning possibilities and opportunities.

Excerpt. © Reprinted by permission. All rights reserved.
PREFACE

Photography is now a mainstream art course taught at virtually every level from grade school to college—the latter in art schools, professional schools, and liberal-arts settings. It is taught in continuing education programs, at camera clubs, and in an ever-growing number of year-round workshops. Yet the medium's academic success is a fairly recent phenomenon. If you wanted to study photography just 30 years ago, your options were far more limited. Most art schools didn't have separate photography programs and many major universities didn't even offer an accredited course. And only a few institutions gave graduate degrees in photography.

The growth in photographic education reflects a huge change in photography's social and cultural status. In the art world, photography has finally been accepted as a legitimate medium, worthy of the same attention as painting or sculpture. Museums large and small have permanent collections of photography; hundreds if not thousands of galleries and private dealers exhibit and sell fine-art photography. In the advertising and design communities, photography is used more than ever as a means of persuasion. And where art directors, editors, and clients once told photographers how to work, they now look to photographers for ideas and style.

And there have been many technical changes, too. Photography has always been to a large degree driven by technology, but that has been especially true of the last few years. Commercially available photographic materials and processes have improved in quality, flexibility, and permanence. Photographic equipment—especially cameras—has become highly electronic, allowing precise automation of exposure, focus, and other aspects of picture making. And perhaps most significant, the computer has become photography's handmaiden, in terms of image capture, editing, and output.

Whether digital photography will eventually replace traditional film-based photography—and when—is still a matter of speculation. For the time being, many photographers have adopted a hybrid approach. They make photographs with film and process them conventionally, but then scan them to create digital image files that can be manipulated in the computer and output as digital prints that may or may not look like conventional photographic prints. The level of post-exposure control offered by digital technology generally exceeds that of the conventional darkroom, hence the term digital darkroom. But while filmless photography is making serious inroads, it usually can't match the quality of film, except with expensive and large studio-bound systems.

The purpose of this book is to address the vast changes of photography's past few years, and to help bring photographic education into the twenty-first century. It presents traditional photographic technique in great detail, explaining such basic matters as film exposure, camera controls, film processing, and printing for both black-and-white and color. Rather than treating black-and-white and color photography as separate disciplines, Photography integrates the subjects. And it also provides a thorough exploration of the role of modern technology—camera automation and digital imaging—and how traditional and new technologies can be used together for the best results.

The book's art program plays a critical role in its educational goals. Its many portfolio images come from all areas of photography—technical and commercial to fine-art. The intent was to provide an overview of some of the best creative photographers working today, in whatever field they've chosen to work, and also to help explain in captions something about their working methods and techniques. To a large degree, these portfolio images pick up visually where Vicki Goldberg's photo history (Chapter 1) leaves off, with that chapter providing a visual reference to the past and the portfolios providing a visual reference to today.

A how-to text can take the reader only so far. In eight special profiles, the book details the working methods, thoughts, and visual styles of some of the most visible professionals in a variety of areas of photography. Our goal is to give the reader an understanding of how successful photographers work and also to create a sense of the choices available to future generations of photographers.

The next few years will bring new challenges and opportunities at whit promises to be a very rapid pace. Succeeding editions of Photography will doubtless lean more and more towards automation and digital image capture and processing. The authors are uniquely qualified to interpret and explain these changes. Both are active photographers, working in both the fine-art and commercial areas. Henry Horenstein has been a photography teacher since 1970, currently at the Rhode Island School of Design, and has written several of the most enduring photographic textbooks. Russell Hart had taught photography at the Boston Museum School and Tufts University, and has been a photography writer and editor since 1980, mainly at American Photo and Popular Photography magazines.

ACCOMPANYING
SUPPLEMENTS

Laboratory Manual / Workbook
(0-13-975509-8); (97550-8)
Instructor's Manual (0-13-975491-1);
(97549-0)
Website
www.prenhall.com/horenstein

ACKNOWLEDGMENTS

The authors want to thank the many, many people who helped make Photography happen. Thomas Gearty of the Massachusetts College of Art and the Art Institute of Boston was the glue that held us together; he contributed to all aspects of the book, including writing, picture research, editing, and photography. Huge thanks also to Vicki Goldberg of the New York Times; she produced a compact, lively, and authoritative history of photography for our first chapter.

Dan Richards of Popular Photography magazine wrote an admirable draft of Chapter 11. Many photographers contributed important illustrations, both for the portfolio examples and for specific illustrations. They include Bob Hower, Andrea Raynor, Jim Dow, Thomas Gearty, and Shellburne Thurber. Stacey Greig and Rob Rinaldi did studio photography. Eva Sutton and Hadley Stern contributed much of the information and illustrations for Chapter 17. Evan Scheele printed many of the photographs.

Readers included Neal Rantoul, Larry Volk, and Andrea Raynor, all of Northeastern University; Jim Dow of the School of the Museum of Fine Arts, Boston; Rowena Otremba of Boston's Zona photo lab; M.K. Simqu of Ringling School of Art and Design; and Andrea Hoelscher of the Massachusetts College of Art.

We appreciate the helpful suggestions and insights of the Prentice Hall reviewers:

Jill M. Cason, Central Piedmont Community College
Neil Chapman, Mount San Antonio College
Glenn Hansen, College of DuPage
Charles Luce, County College of Morris
Kim Mosely, St. Louis Community College
Curtis Stahr, Des Moines Area Community College
David Sutherland, Newhouse School of Public Communications, Syracuse University

Thanks also to Elaine O'Neil of the Rochester Institute of Technology for advice on non-silver photography, Karl Baden of Boston College, Soon-M' Yoo and Joanne Lukitsch of the Massachusetts College of Art, and Michelle Kloehn, Amy Townsend-Small, and Rena Berger for a wide variety of tasks. We appreciate the expertise of Elizabeth Thomsen Greenberg, who prepared the online study guide for the Website, and Are Flagan who created the simulations.

Last but decidedly not least, we thank the book's team at Pearson/ Prentice Hall: our forbearing, sympathetic editor and publisher, Bud Therien; our patient and impeccably organized production editor, Barbara DeVries; our very creative art director, Carole Anson; and our talented formatter, Rosemary Ross.

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