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| Getting Started | |
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| Camera and Film | |
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| Loading Film into the Camera | |
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| Focusing and Setting the Exposure | |
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| Taking Your Picture | |
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| What Will You Photograph? | |
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| Camera | |
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| Basic Camera Controls | |
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| The Shutter | |
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| The Aperture | |
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| Using Shutter and Aperture Together | |
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| Choosing a Camera | |
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| Special-Purpose Cameras | |
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| Keeping the Camera Steady | |
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| Photographer at Work: Photojournalist James Nachtwey | |
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| Lens | |
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| From Pinhole to Lens | |
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| Lens Focal Length | |
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| Special-Purpose Lenses | |
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| Focusing Your Lens | |
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| Focus and Depth of Field | |
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| Perspective | |
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| How to Make a Close-up Photograph | |
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| Guidelines for Buying a Lens | |
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| Getting the Most from Your Camera and Lens | |
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| Light and Film | |
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| Selecting and Using Film | |
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| How Film Responds to Light | |
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| Using Filters | |
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| Photographer at Work: Another Angle on Sports-Walter Iooss | |
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| Exposure | |
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| Exposure Basics | |
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| How to Meter | |
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| Using Exposure | |
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| Developing the Negative | |
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| How to Process Black-and-White Roll Film | |
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| Processing Black-and-White Roll Film Step by Step | |
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| How Film Processing Affects Your Picture | |
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| Exposure and Development: Under, Normal, Over | |
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| Push Processing | |
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| Printing the Positive | |
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| Black-and-White Printing | |
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| Making a Black-and-White Print Step by Step | |
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| Evaluating Density and Contrast in a Print | |
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| Controlling Contrast | |
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| Dodging and Burning | |
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| Cropping | |
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| Archival Processing for Maximum Permanence | |
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| Toning for Color and Other Effects | |
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| Finishing and Mounting | |
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| Spotting to Remove Minor Flaws | |
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| Mounting a Print | |
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| Color | |
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| Color: Additive or Subtractive | |
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| Color Photographs: Three Image Layers | |
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| Choosing a Color Film | |
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| Exposure Latitude | |
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| Color Balance | |
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| Developing Color Film | |
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| Making a Color Print from a Negative | |
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| Making a Color Print from a Transparency | |
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| Photographer at Work: Advertising Photographer Chris Clemens | |
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| Digital Camera | |
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| A Computer with a Lens | |
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| Using a Digital Camera | |
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| Choosing a Digital Camera | |
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| Digital Darkroom | |
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| Digital Imaging: An Overview | |
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| Scanning a Photograph | |
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| The Digital Photograph | |
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| Working Memory, Storage, and Transmission | |
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| Your Work Area and Tools | |
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| Adjusting the Image Overall | |
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| Compositing | |
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| Other Adjustments | |
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| Printing and Display | |
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| Ethics and Digital Imaging | |
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| Using Digital Imaging | |
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| Photographer at Work: Merging Photography and Illustration-William Duke | |
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| Lighting | |
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| Direction of Light | |
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| Degree of Diffusion: From Hard to Soft Light | |
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| Available Light-Outdoors | |
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| Available Light-Indoors | |
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| Artificial Light | |
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| The Main Light: The Dominant Source | |
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| The Fill Light: To Lighten Shadows | |
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| Lighting with Flash | |
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| Simple Portrait Lighting | |
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| Multiple-Light Portrait Setups | |
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| Lighting Textured Objects | |
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| Lighting Reflective Objects | |
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| Lighting Translucent Objects | |
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| Using Lighting | |
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| Photographer at Work: Dance Photographer Lois Greenfield | |
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| Special Techniques | |
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| Copying Techniques | |
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| Pinhole Photography | |
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| Special Printing Techniques | |
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| Alternative Processes | |
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| View Camera | |
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| Inside a View Camera | |
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| View Camera Movements | |
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| Using a View Camera to Control the Image | |
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| Equipment You'll Need | |
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| What to Do First-and Next | |
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| Loading and Processing Sheet Film | |