Introduction |
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1 | (14) |
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From Peak Experience to Well-Crafted Image |
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8 | (7) |
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Chapter 1 Digital Photography Fundamentals |
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15 | (20) |
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15 | (7) |
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Depth of Field and Hyperfocal Distance |
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22 | (3) |
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25 | (3) |
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28 | (2) |
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30 | (1) |
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31 | (1) |
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32 | (3) |
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Chapter 2 Landscape Photography Looks So Easy |
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35 | (12) |
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36 | (2) |
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38 | (1) |
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39 | (1) |
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40 | (1) |
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41 | (2) |
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43 | (1) |
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44 | (3) |
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Chapter 3 In Search of Extraordinary Landscapes |
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47 | (24) |
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Have an Image in Mind Before Leaving Home |
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48 | (1) |
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Time in an Area Is the Greatest Luxury |
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49 | (2) |
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Map and Compass Fundamentals |
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51 | (2) |
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Always Carry a Compass and a Smartphone with a Sunrise/Sunset App |
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53 | (1) |
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Keep Other Seasons in Mind as You Scout |
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54 | (2) |
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Shoot Study Frames and Take Notes So You Can Relocate Favorite Subjects |
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56 | (1) |
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The Diligent Local Photographer Should Always Have the Best Photos of Nearby Areas |
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56 | (4) |
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Whenever Possible, Scout Sunrises the Day Before |
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60 | (1) |
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When Scouting for Flowers, Density Trumps Breadth |
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61 | (1) |
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Steep Slopes Are Problematic |
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62 | (3) |
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Sometimes the Best Possible Shot Is an ERNI |
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65 | (1) |
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Sit Tight, Don't Gun and Run--Usually |
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66 | (1) |
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As You're Scouting, Look for Other Possible Vantage Points |
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67 | (4) |
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71 | (20) |
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Using Maps to Help Visualize Photographs |
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71 | (8) |
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Searching for the Position of the Sun, Moon, and Galactic Center |
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79 | (3) |
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Planning an Image of the Full Moon Over Longs Peak |
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82 | (9) |
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Chapter 5 The Art and Science of Light |
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91 | (38) |
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92 | (2) |
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Blue Skies and Red Sunsets |
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94 | (9) |
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White Clouds and White Haze |
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103 | (2) |
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105 | (6) |
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Calculating Rainbow Positions |
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111 | (3) |
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114 | (3) |
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117 | (12) |
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Chapter 6 The Art and Science of Composing Compelling Images |
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129 | (26) |
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The Essentials of Graphic Design |
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134 | (3) |
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137 | (5) |
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142 | (6) |
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148 | (7) |
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Chapter 7 The Perfect Exposure |
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155 | (22) |
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155 | (1) |
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156 | (4) |
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160 | (4) |
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The Four Basic Exposure Strategies |
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164 | (1) |
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164 | (2) |
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The Limiting Factor Exposure Strategy |
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166 | (1) |
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167 | (2) |
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Graduated Neutral-Density Filters |
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169 | (3) |
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The Digital Version of the Rembrandt Solution |
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172 | (1) |
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172 | (1) |
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The Universal Exposure Strategy |
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173 | (4) |
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Chapter 8 Digital Capture and Processing of High-Contrast Scenes |
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177 | (38) |
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178 | (3) |
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How Our Visual System Processes High-Contrast Scenes |
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181 | (2) |
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Capturing Rembrandt Solution Images in the Field |
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183 | (5) |
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Merging Rembrandt Solution Images in Photoshop |
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188 | (4) |
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The Rembrandt Solution Lite |
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192 | (4) |
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HDR: A Technique That Has Come of Age |
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196 | (3) |
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199 | (4) |
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Tone-Mapping HDR Images in Lightroom |
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203 | (3) |
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206 | (5) |
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Final Thoughts on Realism and HDR |
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211 | (4) |
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Chapter 9 Take a Walk on the Wide Side |
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215 | (24) |
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Setting up a Single-Row Panorama |
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215 | (5) |
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220 | (2) |
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Camera Settings for Single-Row Panoramas |
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222 | (2) |
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224 | (3) |
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Shooting and Processing High-Contrast Panoramas |
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227 | (4) |
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231 | (8) |
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Chapter 10 The Landscape at Night |
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239 | (46) |
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Equipment for Night Photography |
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239 | (2) |
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Focusing and Composing at Night |
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241 | (2) |
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243 | (1) |
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Maximum Shutter Speed Chart |
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244 | (1) |
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Photographing the Milky Way |
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245 | (3) |
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Holding Detail in the Land |
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248 | (2) |
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Processing Milky Way Images |
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250 | (6) |
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The Modified Rembrandt Solution |
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256 | (3) |
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Shooting Milky Way Panoramas |
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259 | (5) |
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Photographing Star Trails |
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264 | (4) |
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Processing Star Trails Images |
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268 | (1) |
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Closing the Gaps in Star Trails Images |
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268 | (3) |
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271 | (4) |
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Photographing Moonlit Landscapes |
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275 | (3) |
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Can Night Photographs Be Authentic? |
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278 | (7) |
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Chapter 11 The Psychology of the Compelling Landscape |
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285 | (15) |
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Landscape Photography and Evolution |
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288 | (8) |
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On Culture and Creativity |
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296 | (4) |
Index |
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300 | |