MMasking, MaskingMaskos, Heike, AcknowledgementsMatte paper, PresentationMaximum black, Translating Negative Densities to Print TonalitiesMcSavaney, Ray, Acknowledgements, Developing a Personal StyleMechanical drum development, Tray DevelopmentMedium gray, Translating Negative Densities to Print TonalitiesMovement, Elements of Composition, BalanceMyths, Myth #1: The zone system gives you a negative that yields a straight print of exactly what you saw in the field, with no burning or dodging required
NNewman, Arnold, Communication Through PhotographyNoise, The RAW Converter—Processing the RAW Capture
OOverall contrast control, Final Fixing of the Image
PPaper base, Translating Negative Densities to Print TonalitiesPattern, Elements of Composition, Line, Form, Contrast, and EmotionPersonal philosophy, Toward A Personal PhilosophyPhotographic looking, Step 1: Photographic Looking and SeeingPhotographic myths, Exploding Photographic MythsPhotographic seeing, Step 1: Photographic Looking and SeeingPhotographic techniques, Photographic Techniques and Artistic IntegrityPhotography and painting, Photography as Fine ArtPhotography as fine art, Photographic Realism, Abstraction, and ArtPoint of view, SimplicityPollock, Jackson, Simplicity vs. ComplexityPositive/Negative space, Elements of Composition, MovementPostvisualization, How Your Eye Differs from Your CameraPotassium ferricyanide reducing, Inspection, Evaluation, and the Myth of “Dry-Down”Pre-Exposure, Differences Between Photography and Sensitometry: Texture vs. Tone and Zone 4 Shadow PlacementPresentation, Presentation, PresentationPrevisualization, How Your Eye Differs from Your CameraPrint, The PrintPrint finishing, Spotting, Etching, and Correction of DefectsPrinting, Dodging and BurningProPhoto RGB, Basics of Digital CapturePSD, The Digital Zone System
RRag board, PresentationRAW, The Digital Zone SystemRAW converter, The Digital Zone System, The RAW Converter—Processing the RAW CaptureRealism, Photographic Realism, Abstraction, and ArtReciprocity failure, Putting Higher Zones to WorkRelationships, Shutter SpeedResin coated (RC) paper, Variable Contrast vs. Graded PapersRoll film, Development Procedures for Sheet Film and Roll Film
SScale, Local vs. Overall Contrast ControlSelenium toning, ScaleSensitometry, The Exposure/Density Curve and Zone 4 Shadow PlacementSensor, Light and Color Control, The Digital Zone System, Basics of Digital CaptureSexton, John, Nonvisual ArtsShadow mask, Masking to Alter Color IntensitiesShadow placement, Examples of Decreasing and Increasing ContrastSharpening, The RAW Converter—Processing the RAW Capture, Adjusting the Black Point, White Point, and ContrastSheet film, Development Procedures for Sheet Film and Roll FilmShutter speed, Elements of Composition, Depth of FieldSilverman, Bennett, Acknowledgements, Developing a Personal StyleSimplicity, How the Human Eye SeesSpotting, Making Positioning Guides for Print PlacementsRGB, White Balance and Camera ProfilesStop bath, Mechanical Drum Development
TTest print, Make Test Prints, Not Test StripsTexture, Elements of Composition, Positive/Negative SpaceThomas, Reed, AcknowledgementsTIFF, The Digital Zone SystemTonality, Film’s Response to Light: Building the Zone SystemTone, Elements of CompositionTray development, Development Procedures for Sheet Film and Roll FilmTwo-solution development, Developing the Exposed Negative, Explanation of Compensating Development, Make Test Prints, Not Test Strips
UUelsmann, Jerry, Communication Through Photography, How Your Eye Differs from Your CameraUltraviolet light, FiltersUnified thought, How the Human Eye SeesUnsharp masking, Masking
VVariable contrast, Black-and-White Enlarging PapersVisualization, Visualization, Step 1: Photographic Looking and Seeing, Dodging and Burning
WWarm tone papers, Toning, Intensifying, and Reducing NegativesWashing and drying prints, The Shadow MaskWeston, Edward, Communication Through Photography, Communication Through Photography, Self-Critique, Interaction, and StudyWhite balance, The RAW Converter—Processing the RAW CaptureWhite point, The RAW Converter—Processing the RAW Capture
ZZone system, The Zone System of Exposure for Film
About the Author
Bruce Barnbaum, of Granite Falls, WA, entered photography as a hobbyist in the 1960s, and after four decades, it is still his hobby. It has also been his life's work for the past 30 years.
Bruce's educational background includes Bachelor's and Master's degrees in mathematics from UCLA. After working for several years as a mathematical analyst and computer programmer for missile guidance systems, he abruptly left the field and turned to photography.
Bruce has authored several books, some of which have become classics. The Art of Photography was first published in 1994 and remained in print until 2007. Bruce has been self-publishing the book ever since, but with limited distribution (until now).
Bruce is a frequent contributor to several photography magazines. His series "The Master Printing Class" is featured in each issue of Photo Techniques, and his articles are published regularly in LensWork. Through his workshops, articles, lectures, books, and innovative photography, Bruce has become a well-known and highly-respected photographer, educator, and pioneer.
Bruce is recognized as one of the finest darkroom printers on this planet, both for his exceptional black and white work, as well as for his color imagery. He understands light to an extent rarely found, and combines this understanding with a mastery of composition, applying his knowledge to an extraordinarily wide range of subject matter. His work is represented by more than ten galleries throughout the United States and Canada, and is in the collections of museums and private collectors worldwide.
Bruce has been an active environmental advocate for more than three decades, both independently and through his involvement and leadership with organizations such as the Sierra Club, the National Audubon Society, the Stillaguamish Citizens' Alliance, 1000 Friends of Washington, and the North Cascades Conservation Council.