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| Preface | |
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| Introduction | |
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| How to See Photographically | |
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| Seeing Photographically | |
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| Making Abstract All Sensory Input Except for Visual Input | |
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| Focusing on the Visual Aspects of the Scene | |
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| Learning to See in Two Dimensions | |
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| Recreating Depth, the 3rd Dimension, in a 2-Dimensional Medium | |
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| How to Compose a Photograph | |
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| Introduction to Composition | |
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| The Strongest Way of Seeing | |
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| There is More Than One Way to Compose a Scene | |
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| One Composition Among Many | |
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| Walking the Scene | |
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| Using a "Cutout" Finder | |
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| Rules of Composition | |
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| Conclusion | |
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| How to Choose the Best Lens for a Specific Composition | |
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| The Importance of the Lens | |
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| Human Eyes and Camera Eyes | |
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| One Landscape: Three Main Lens Choices | |
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| Which Lens Should I Take? | |
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| Photographic Skills Enhancement Exercises | |
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| Conclusion | |
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| How to Find the Best Light for a Specific Photograph | |
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| And God said, Let there be light: and there was light (Genesis 1:3) | |
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| Drawing with Light | |
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| Three Governing Rules Regarding Light | |
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| How to Find the Best Light | |
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| Sunrise and Sunset - The Best Light | |
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| Other Light Choices | |
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| The Various Types of Natural Light | |
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| Photographic Skills Enhancement Exercises | |
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| Conclusion | |
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| How to Select the Best "Film" for a Specific Photograph | |
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| Introduction to Film Choice | |
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| A Look at Photography in History | |
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| Film and Seeing | |
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| The Importance of Raw Conversion | |
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| Color or Color | |
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| Let's Use Film (or digital capture); Let's Not Let Film Use Us! | |
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| Color or Black and White? | |
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| Duotones, Tritones and Quadritones | |
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| Film Speed | |
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| Photographic Skills Enhancement Exercises | |
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| Conclusion | |
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| How to Determine the Best Exposure for a Specific Photograph | |
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| Introduction to Exposure | |
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| The Importance of Proper Exposure | |
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| Gray Cards, Overexposure, and Underexposure | |
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| How to Determine the Contrast Range that the Film or Digital Camera Can Capture | |
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| The Power of the Histogram | |
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| Exposure for Digital Captures | |
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| The Importance of Shooting RAW | |
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| Exposing to the Right | |
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| Some Examples of Common Histograms | |
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| Bracket, Bracket, Bracket | |
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| Study the Scene Being Photographed | |
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| High Contrast Remedies | |
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| Familiarize Yourself with Hand Held Light Meters | |
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| Spot Meter Meets PDA | |
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| Photographic Skills Enhancement Exercises | |
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| Conclusion | |
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| Keepers or Non-Keepers? | |
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| Keepers or Non-Keepers? | |
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| Which Ones Are Good; Which Ones are Bad? | |
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| My Personal Selection Criteria | |
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| Technical Excellence vs. Aesthetics | |
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| The Selection Criteria | |
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| Photographic Skills Enchancement Exercises | |
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| Conclusion | |
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| How to Create a Portfolio of Your Work | |
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| Introduction to Creating a Portfolio | |
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| What is a Portfolio? | |
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| Portfolios and Portfolios | |
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| Goal and Purpose | |
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| Audience | |
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| Portfolios Are Not Necessarily Aimed at Showcasing a Photographer's Best Work | |
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| The Contents of a Portfolio | |
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| Some Important Questions About Portfolios | |
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| Photographic Skills Enhancement Exercises | |
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| Conclusion | |
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| How to Establish a Personal Photographic Style | |
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| Introduction to Personal Style | |
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| Who Are We? | |
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| Who Am I? | |
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| A Personal Style is a Unique and Personal way of Seeing | |
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| Choosing a Subject is Not Developing a Personal Style | |
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| Choosing a Subject is Not the Same as Choosing a Genre | |
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| Personal Discovery is Not Personal Style | |
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| A Personal Style Is a Combination of Choices | |
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| A Personal Style Is Fine Tuning Choices to Fit Your Own Personality | |
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| My Personal Style | |
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| Fortuitous Attempts and Defining Images | |
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| Photographic Skills Enhancement Exercises | |
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| Conclusion | |
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| Being an Artist | |
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| Introduction to Being an Artist | |
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| Freedom of Expression: Let Us Be Artists | |
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| Being an Artist Is a Lifestyle; Not a Temporary Situation | |
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| Being an Artist Does Not Mean Making an Income from Your Art | |
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| Being an Artist Does Not Mean Exhibiting or Publishing Your Work | |
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| Being an Artist Means Having an Audience | |
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| Being an Artist Means Having an Appreciation for the Arts | |
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| Being an Artist is Knowing How to React When You are Told that "Artists are Lucky!" | |
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| Being an Artist Does not Mean Being an Art Critic | |
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| What About Talent? | |
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| Photographic Skills Enhancement Exercises | |
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| Conclusion | |
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| How to be an Artist in Business: My Story-Part 1 | |
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| Introduction to Being an Artist in Business | |
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| The Beginning of a Career | |
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| The Straw that Broke the Camel's Back | |
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| Doing What I Love | |
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| Why Didn't I Think of this Before? | |
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| Opportunities Often Come Under the Guise of Hard Work | |
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| The Best Place to Start a Business Is on the Navajo Reservation | |
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| How to be an Artist in Business: My Story-Part 2 | |
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| The Break | |
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| The People | |
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| The Approach | |
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| The Progression of the Grand Canyon Show | |
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| Quantity | |
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| Transitions: How the End of One Opportunity Can Be the Beginning of Another | |
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| The Second Best Place to Start a Business is Phoenix, Arizona | |
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| Teaching Again | |
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| Quality, Not Quantity | |
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| New Shows | |
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| Longer and More Thoughtful Chapters | |
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| New Projects | |
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| Becoming a Music Producer | |
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| Setting Up the Ideal Studio | |
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| Two Businesses in One | |
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| Learning Never Ends | |
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| Conclusion | |
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| How You Can Do it Too | |
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| Introduction to How You Can Do It | |
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| Do What You Love | |
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| Take Control of Your Own Destiny | |
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| Fame or Fortune? Make a Choice! | |
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| Confront your Fears | |
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| Seek Help from People Who Are Where You Want to Be | |
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| Opportunities Often Come Under the Guise of Hard Work | |
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| Press On Regardless | |
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| It's About You | |
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| Quality or Quantity? Make a Choice! | |
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| Do a Little Bit Every Day | |
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| Integrity | |
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| Best Sellers | |
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| Photographic Skills Enhancement Exercises | |
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| Conclusion | |
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| Conclusion | |
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| Index | |