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Photography(SecondEdition)
Physicsandartinfocus
Onlineat: https://doi.org/10.1088/978-0-7503-3703-8
Photography(SecondEdition)
Physicsandartinfocus
UniversityofWisconsinOshkosh,Oshkosh,WI,USA
ª IOPPublishingLtd2022
Allrightsreserved.Nopartofthispublicationmaybereproduced,storedinaretrievalsystem ortransmittedinanyformorbyanymeans,electronic,mechanical,photocopying,recording orotherwise,withoutthepriorpermissionofthepublisher,orasexpresslypermittedbylawor undertermsagreedwiththeappropriaterightsorganization.Multiplecopyingispermittedin accordancewiththetermsoflicencesissuedbytheCopyrightLicensingAgency,theCopyright ClearanceCentreandotherreproductionrightsorganizations.
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Multimediacontentisavailableforthisbookfrom https://doi.org/10.1088/978-0-7503-3703-8
ISBN978-0-7503-3703-8(ebook)
ISBN978-0-7503-3701-4(print)
ISBN978-0-7503-3704-5(myPrint)
ISBN978-0-7503-3702-1(mobi)
DOI10.1088/978-0-7503-3703-8
Version:20221201
IOPebooks
BritishLibraryCataloguing-in-PublicationData:Acataloguerecordforthisbookisavailable fromtheBritishLibrary.
PublishedbyIOPPublishing,whollyownedbyTheInstituteofPhysics,London
IOPPublishing,No.2TheDistillery,Glassfields,AvonStreet,Bristol,BS20GR,UK
USOffice:IOPPublishing,Inc.,190NorthIndependenceMallWest,Suite601,Philadelphia, PA19106,USA
PartISomepreliminaryideas
1Whatisscience?Whatisart? 1-1
1.1Thecoherenceofourexperience 1-1
1.2Truthinscience 1-2
1.2.1Provingatheoryfalse 1-3
1.3Operationaldefinitions 1-4
1.4Inspirationandperspiration
1.5Criticismandself-esteem
PartIIThenatureoflight
2Whatlightis
2.1Thespeedoflight
2.1.1Thespeedoflightwithashortwaveradio 2-3
2.1.2Relativityandthespeedoflight 2-6
2.2Geometry 2-6
2.3Waves 2-7
2.3.1Amplitude 2-8
2.3.2Speed,wavelengthandfrequency 2-8
2.3.3Theelectromagneticspectrum 2-11
2.4Particles 2-13
3.3.1Totalinternalreflection 3-8
3.3.2Dispersion 3-11
3.4Diffusereflections 3-13
3.5Scattering 3-14
3.5.1Wavelength-dependentscattering 3-15
3.5.2Wavelength-independentscattering 3-17
3.6Interference 3-19
3.7Diffraction 3-22
3.8Fluorescence 3-25
3.9Polarization 3-26 Reference 3-27
4Theweirdworldofthephoton
4.1Young’sdouble-slitexperimentandthewavemodeloflight 4-2
4.2Thephotoelectriceffectandtheparticlemodeloflight 4-3
4.3Young’sexperimentreconsidered 4-4 References 4-6
5Spectraandsourcesoflight 5-1
5.1Lightanditsspectrum 5-1
5.2Thermalradiation 5-4
5.3Atomicspectra 5-6
5.4Sunlight 5-8
5.5Fluorescentlight 5-9
5.6LEDlightsources 5-10
5.7Lasers 5-11
5.8Manywaystoseeacat 5-12 Reference 5-14
PartIIIGeometryandtwo‐dimensionaldesign
6Geometryandthepictureplane 6-1
6.1From3Dto2D 6-1
6.2Thebrain’sconstructionof3Dreality 6-2
6.3Linearperspectiveandthecameraobscura 6-3
6.4Thepictureplane 6-4
7Lightandshadows1:eclipses
7.5AtmospheresoftheSunandEarth 7-10
7.6Shadowsonasunnyday
8.2.1Photogramsharpnessandexposuretime
8.2.3Cloudydays 8-11
8.3Contactprints
8.3.1Clicheverré
8.4Shadowsanddiffraction
10.4.2ApracticalRWWoodcamera
10.4.3A ‘dry’ RWWoodcamera,versionone
12.4Asymmetryandbrokensymmetry 12-10 References 12-12
13.11.6Theruleoftriangles
13.11.7Thegoldenrectangleandtheruleofthegoldenmean 13-10
13.12Someexamplesof2Ddesigninphotography 13-11
13.12.1
13.12.2 MarilynMonroe,Hollywood byEveArnold(p31) 13-11
13.12.3 Dovinawithelephants byRichardAvedon(p34) 13-12
13.12.4 Andeanboy,Cuzco byWernerBischof(p61) 13-12
13.12.5 Thelambethwalk byBillBrandt(p75) 13-12
13-12
14.4.3Theframingmechanism 14-8
14.5Pointingandfocusing 14-12
14.5.1Viewfindercameras 14-12
19.3Theinversesquarelaw
19.4Illuminanceofthelightonthesubject
19.5Thepowerofthelightinterceptedbythemetaldisk
19.6Thepowerofthelightreflectedbythemetaldisk
19.7Theintensityofthereflectedlightwhenitreachesthecamera
19.8Thepowerofthelightthatentersthecameralens
19.9Theilluminanceofthelightonthecameradetector
19.10Theexposureimpartedtothedetector
22.5ThedefinitionofISOspeed
22.8.1Apertureanddepthoffocus
22.8.3ISOandnoise 22-13
22.8.4Changingthelight 22-13
22.8.5Navigatingthetrade-offs 22-13
22.9Exposurevalue(EV)
23Metering
23.1Direct-readversusnullmeters
23.2Reflected-lightmetering
23.2.1Spot,center-weightedandmatrixmetering
23.2.2Manual,automatic,semiautomaticandprogram exposuremodes
23.3Incident-lightmetering
24Low-sensitivitydetectorsinphotography
24.1Regimesofphotographicexposure
25Ephemeral-processandcyanonegativephotography
25.1CyanonegativeandEPwavelengthresponse
25.1.1Wavelengthcalibration
25.3EPphotography
25.4UsingEPphotographytotesttheJones
PartVTheartandscienceofcolor 26Thephysicalbasisofcolor
26.2Color,lightsourcesandlightdetectors
26.4.1Pigmentsanddyes:colorfromselectiveabsorption
26.4.2Structuralcolors:interferenceandscattering
26.4.3Fluorescentcolors
26.5Thedetectorresponsecurve
29.7Accidentalduo-colorinblack-and-whiteemulsions
29.8Nonsyntheticcolorinphotography
30Filters
30.1Filtersandblack
30.2Filtersandcolorphotography
30.2.1Colortemperatureandwhitebalance
30.3Polarizingfilters
31.1In-cameracolorEPphotographs
31.4Colorephemeralprints
PartVILightdetectors
32Typesofdetectors
32.1Thephysicsofphotons
32.6Thewavelengthresponseofdetectors
33Thecharacteristiccurve
33.1Thecharacteristiccurveandphotoelectronicdetectors
34Silver-basedphotochemicaldetectors1
35Silver-basedphotochemicaldetectors2
35.7Chromoskedasic
36Nonsilverphotochemicaldetectors
37.2.3Mackielines
38Photoelectronicdetectors
38.1.3Siliconphotodiodes
38.1.4Bolometers
PartVIIPhotographyasanartandthemeaningofdigital
42.3.2Spothealingandretouching
43.1.4Physicalandchemicalmanipulationofimagecontent
43.2Image-widemanipulations
43.2.3Digitalfiltersandeffects
43.3Theartandethicsofimagemanipulation
43.3.1Analogantecedents
43.3.2Digitalmimicryofphysicalprocesses
43.3.3Thequestionofcliché
44Theimage,theobjectandtheprocess
44.2.3Ephemeralprints
45.5MattTurner
47.3Aself-containedfisheyewater ‘lens’
48Sometechnicalnoteson ‘ephemeralprocess’ photography
48.2EPphotography:generalconsiderations
48.2.1EPacceleratorformula
48.2.2Choosingthepaper
48.2.3Preparingthepaperforexposure
48.5EPnegativesfromcolorprints
AppendixA:Units,dimensions,andscientificnotation
AppendixB:Notesonthegoldenrectangle
AppendixC:Optimalpinholesizeforapinholecamera
AppendixD:Lambertianreflectorsandemitters
AppendixE:Apracticalwaytodenotevery-lowsensitivity detector ‘speed’
AppendixF:Theopticsofthecamerastupida
Preface
The firsteditionofthisbookwaspublishedinthreevolumesin2018and2019under thetitle ThePhysicsandArtofPhotography.EarlydraftswerewrittenforacourseI firsttaughtintheFallof2013attheUniversityofWisconsin–FoxValley,in Menasha,Wisconsin(USA).Thissecondedition nowallinonevolume is revised,reorganized,andgreatlyexpanded.
Iassumenospecificpriorknowledgeofthereaderexceptforabasicunderstandingofphysicalunits,dimensionsandscientificnotation;abriefreviewcanbe foundinappendixA.Themathematicspresentedinthetextisrudimentary,with onlythemostbasicofalgebra(moredetailedderivations,orthosethatrequire calculus,arerelegatedtotheappendices).
Ifyouhavelittleexperiencewithphotography,itismygoalthat Photography: PhysicsandArtinFocus willhelpformausefulfoundationfromwhichtolearn aboutphotographyinwhateverwaythatworksbestforyou.Ifyouareaseasoned pro,butlookingtosetoffinanewdirection,thenIstillhopethatyouwill findmuch herethatisfreshandinspiring.Itismygoalthatthebookwillhelptoopennew possibilities.
Photography:PhysicsandArtinFocus coverssomematerialthatistypicalof discussionsthatlinkphysicsandphotography.Butitisalsopersonal;itisverymuch myowntakeonthetwosubjects.Iwouldnotsaythatmypersonalviewsregarding scienceandartarecontroversial,buttheyareperhapssomewhatunconventional. Therearefewdetailsherewithwhichotherartistsandscientistsarelikelytostrongly disagree.Itis,rather,whatIhavechosentoemphasize whatIhaveleftoutall togetherandtheparticularconnectionsIpointto thatmostshowmyownpersonal likesanddislikes.
Sincemyformaltrainingisinphysicsandastronomy,andIamessentiallyselftrainedinart(withinformalmentoringfrommanyothers),thesciencepartofthis bookisperhapsmoreconventionalandstraightforwardthanismyportrayalofart. Mychoiceofphysics-relatedtopicsshouldgiveoneafairlybalancedandconventionaltasteofthatsubjectasitrelatestophotography.Regardingphotographyas anart,however,Iamsurelyonshakierground.
Certainly,Idonotpretendtopresentacomprehensiveorbalancedoverviewof artphotography;Iamunqualifiedtoattemptsuchathing.However,Idotryto makeacasethattheparticularthinslicethatIpresentherehassomemeritandis worthspendingalittletimetoconsider,evenifitturnsoutnottobeyourparticular cupoftea.Sinceitismygoaltogetyouthinking,itdoesnotmattermuchwhether youagreewithmeornot.Thus,itis fittingthatmydiscussionofartismore personal,sincemyownartistheweebitaboutwhichIreallydoknowaboutwhatI amtalking.
Onemightcomplainthat Photography:PhysicsandArtinFocus isaverylong artistʼsstatement,justifyingthevalueandrelevanceofmyownart.Thatcomplaint maybepartlytrue,butIdotrytoapproachitinawaythatemphasizesbroad questions,ratherthantheparticularanswersItrytogive(tentatively)withmyown
art.Ihopethisbookdoeshelpalittletomakeyouabetterphotographer,andas suchIdospendtimeonsomeoftheverybasictechnicalaspectsofphotographythat I findimportant.Butindoingso,Itrytousethesetechnicalissuesaspointsof departuretoconsiderthestatusofphotographyasanart, finallyexploringsome issuesrelatingtothisstatusinthedigitalage.
Thisbookmayalsobereadasamanifestoofsortsfortheaspectsofsciencethat havealwaysmovedmethemost.Iaminterestedinsciencenotforthetechnological gizmosithasproducedorforsomenotionofinevitablehuman ‘ progress. ’ Rather, scienceis forme partofthestudyofnature.MyinterestinEinsteinʼsgeneral relativity,forexample,isessentiallythesameasmyinterestinbirdwatching. BecauseIhavespentsometimetolearnabitaboutbirds,Icannowwalkthrough thewoodsfreeofbinoculars lookingonlyatthegroundatmyfeet andaworldis opentomejustbythesoundsIhear.WhenIstumbleonmywayupthestairs,asa physicist,Icantakecomfortintheideathatmyshinincontactwiththestairhas preventedmefromfollowingmynormalstraight-linepaththroughfour-dimensionalspacetime.
Youwill find,throughoutthebook,illustrationsfrommyownphotographyas examples.Thisisconvenient;Iknowmyownpicturesandthestoriesbehindthem, andIdonotneedpermissiontousethem.OfcourseIalsowantyoutolookatother photography,andsoIhaveincludedsomeexamplesfromafewotherartistswhose workIadmire.
Ausefulcompanionis ThePhotographyBook (CookeandKinneberg 2014), whichpresentshundredsofphotographs,spanningtheentirehistoryofphotography.Eachphotographhasashortanalysiswithcrossreferencestootherphotographsthatarerelated.Thephotographs,onlyoneperphotographer,arearranged inalphabeticalorderbyphotographerʼsname.Thus,theorderingofthepicturesis thematicallyrandom,whichoftenresultsinunusualjuxtapositionsonfacingpages. Isometimesrefertopicturesin ThePhotographyBook asexamples,soitisusefulto haveithandy.However,allofthesepicturesarefamousandcaneasilybefound onlineaswell.
Thereaderwillalso find,scatteredthroughoutthethreevolumesandtheir appendixes,detailsandexamplesfromwhatIcall ephemeral-process(EP) photography.EPphotographyismyowninvention sortof andIspendso muchtimeonitbecauseitisperfectforillustratingmanyoftheconceptsin Photography:PhysicsandArtinFocus inawaythatIbelievegoesdirectlytothe heartofthematter.Furthermore,itisaccessible.Thematerialsandequipmentare inexpensive,itrequiresnospecializedfacilities(suchasadarkroom),anditis surprisinglyversatile.Mostimportantly,itisalotoffun.Abriefguidetothe techniquecanbefoundinchapter 48
Mylargerconcernsaretogivethereadersomebackgroundthatishelpfulfor askingimportantquestionsaboutthenatureofartandscience.However,the practiceofphotographyisthepointofdepartureforthesebiggerissues,and Photography:PhysicsandArtinFocus doescontainalotofsimplypractical informationaswell.Thereare fivebasicgoals.
1.Toaskbasicquestionsabouthowphotography fitsinasan art andaboutthe natureofartitself.
2.Toaskbasicquestionsaboutthenatureofphysicsaspartofthestudyofthe naturalworldandaboutthenatureofscienceitself.
3.Togainsomepracticalknowledgethatwillallowthereadertomoreeasily learntechnicalaspectsofphotographyastheyareneeded.
4.Togainsomepracticalknowledgethatwillhelpthereadermoreeasilylearn tobeabetterphotographer.
5.Toexposethereadertoasetofinterestingphotographicprocessesandtools thatarenotusuallycoveredinabeginningphotographycourse.
Oneofthethemesofthisbookisthemeaningofdigitaltechnologyandwhatit hastosayregardingphotographyasanartform.ThismayseemlikeIamspeaking outofturnhere,sinceIhaveneitherformaltraininginart,norhaveIeverbeena professionalphotographerusingprofessionaldigitalequipment.Nevertheless,there isasenseinwhichIamwell-positionedtosaysomethingofinterestaboutthese issues.
Myownphotographyisalmostentirelydevoidoftheuseofadigitalcamera. Ioftenuseequipmentandoldphysicalprocessesthatareaboutasfarremovedfrom moderndigitalphotographyasonecouldimagine.However,Iuseequipmentand processesinnewwaysthatdependabsolutelyonthedigital;manyofmyphotographscouldnotexistwithoutmoderndigitalprocessing,scanningandprinting. Thiskindofinterplaybetweentheoldandnewisoneoftherunningthemesof Photography:PhysicsandArtinFocus.
Despitemycollectionofoldcameras,Iamnotaknee-jerkhaterofdigital imagingtechnology.Iam infact oneofitsearlypractitioners,havingused digitalcamerasandsophisticateddigital-imageprocessinglongbeforemostphotographers.Myformaltrainingisinastronomy,andIwasthere(ingraduateschool) forthedigitalrevolutionasittransformedastronomyinthe1980s.Thechargedcoupleddevicedigitaldetectorsusedinmoderndigitalcameraswerefairlynewthen andstilltooexpensive(andwithinsufficientresolution)tobeofmuchpracticaluse forphotographers.Iamthelastpersononewouldwanttoaskaboutthelatest multithousand-dollarmodelofdigitalsingle-lensreflexcamera.However,Idohave adecades-longunderstandingofsomeofthemostbasicunderlyingprinciplesof digitalphotography.
