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| Preface | |
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| Computers: Understanding the Digital Darkroom | |
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| Introduction: The Digital Darkroom and the Role of the Digital Image | |
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| Why do I need a computer to make photographs? | |
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| Computers and Photography: How to make them work together | |
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| Film or Digital Media: How image needs affect computer choices | |
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| Building Your Own Digital Darkroom | |
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| Selecting the Right System or Components | |
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| Building a Digital Darkroom System: Process and Consideration | |
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| How to cope with technological advances: Keeping your digital darkroom current | |
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| Computers and Photographic Images | |
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| Conclusions | |
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| Digital Cameras and Image Capture | |
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| Introduction to Digital Cameras and Digital Images | |
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| A Brief History of Digital Cameras | |
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| Storage Media for Digital Cameras | |
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| Digital Cameras and Image Transfer | |
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| How Digital Cameras Work | |
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| Image Aspect Ratios | |
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| Types and Levels of Digital Cameras | |
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| Consumer/Novice | |
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| Advanced Professional | |
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| Digital Camera Scanning Backs and Inserts | |
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| Purchasing a Digital Camera | |
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| Pros and Cons of Digital Cameras | |
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| Pros and Cons of Photographing with a Digital Camera | |
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| Conclusions | |
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| Image Acquisition and Properties | |
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| Key Concepts | |
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| Introduction | |
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| Image Acquisition | |
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| Key Applications for Scanners | |
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| How a Scanner Works | |
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| Six Basic Types of Scanners | |
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| Elements of Digital Photographic Images | |
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| The Scanning Process | |
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| Choosing a Scanner | |
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| General Rules of Scanning | |
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| Alternatives to Ownership | |
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| Additional Factors and Problems with the Scanning Equation | |
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| Conclusions | |
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| Alternative Image Acquisition Applications and File Management | |
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| Introduction | |
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| Alternative Image Acquisition: Photo CD, Picture CD, and Picture Disk | |
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| Special Scanning Problems | |
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| Using Your Scanner as a Creative Tool | |
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| File Management and Image Archiving | |
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| Conclusions | |
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| Fundamentals of Image Editing | |
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| Conventions Used in Image-Editing Programs | |
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| Image Editing with Adobe Photoshop | |
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| Preparing to Work in the Digital Darkroom | |
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| Image Modes | |
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| Adjusting for Brightness and Contrast | |
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| Adjusting for Color Balance | |
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| Rotating and Cropping the Image | |
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| Defining the Tools | |
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| Working with a Selection | |
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| Basic Selection Tools | |
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| Conclusions | |
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| Advanced Imaging Techniques | |
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| Introduction | |
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| Layers | |
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| Channels | |
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| Custom Colors | |
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| Custom Brushes | |
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| Custom Textures | |
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| History Palette | |
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| Third-Party Plug-Ins | |
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| Automating Image-Processing Tasks | |
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| Applications of Advanced Image Enhancement | |
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| Conclusions | |
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| Color Management: A Digital Photographer's Approach | |
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| Introduction | |
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| What is Color Management, Who Needs it, and Why? | |
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| Color Models, Color Modes and Color Management: from RGB to CMYK, through CIELAB | |
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| Working in RGB or CMYK: Which Choice is Right? | |
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| Color Standards: Transformation for Color-Managed Solutions | |
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| Utilizing Traditional Methods for Color Management: a Photographer's Perspective | |
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| Achieving Consistency Through a Color-Managed Workflow: the Application of Color Management | |
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| Image Environments and Profiles | |
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| From Concept to Final Product: A Color-Managed Environment | |
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| Where to Go From Here | |
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| Conclusions | |
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| Output: Creating Image Products | |
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| Introduction | |
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| Output Devices | |
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| Halftones and Screens | |
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| Precision Output: Setting Target Highlight and Shadow Values | |
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| Color Separations | |
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| Preparing Images for Output | |
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| Materials and Image Handling | |
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| General Output Settings | |
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| Conclusions | |
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| Service Bureaus: Outsourcing Digital Photography Services | |
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| What is a Service Bureau? | |
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| Where to Find a Service Bureau | |
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| How to Speak Their Language | |
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| File Formats and Backups | |
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| A Negotiated Solution | |
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| Images for Web and Electronic Media Design | |
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| Standard Formats for Web and Electronic Media | |
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| Electronic Transfer of Digital Images | |
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| Establishing a Relationship with Your Service Bureau | |
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| How to Budget Your Workflow | |
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| Advantages and Disadvantages of Outsourcing | |
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| Building Your Own System versus Using a Service Bureau | |
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| Conclusions | |
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| Copyright: An Image-Maker's Guide to Intellectual Property Rights | |
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| Introduction | |
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| What is Intellectual Property? | |
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| Why do photographers need to know about copyright? | |
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| Copyrights, Trademarks, Service Marks, and Patents | |
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| Mandatory Deposit for Works Published in the United States | |
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| Works for Hire | |
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| What if I don't want to register my works? | |
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| Professional Photographic/Design Business Practices | |
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| Copyright in Other Countries | |
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| Beyond Copyright and Trademark: Technical Protections | |
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| Digital Watermarking | |
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| Conclusions | |
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| Glossary of Terms | |
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| Acronyms and Pseudo-Acronyms | |
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| Index | |