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Not long ago the course title "Digital Photography" implied a course on Photoshop. As digital cameras have become increasingly popular, the introductory course has also gone digital so you are now introduced to photography using a digital camera. As this new era of digital photography matures, it won’t be long before the "digital" in "digital photography" becomes redundant. It will be assumed, because that is the way almost all photography will be done. One of the primary reasons for this rapid movement from film to digital imaging is that photography is embedded in a world that has gone digital. To take full advantage of the digital world in which we live, photographs also need to be digital. For awhile, capturing images on film and then scanning them into a digital format was a solution. However, this process is expensive and time consuming. Digital cameras remove those impediments and capture images that are already in a universally recognizable digital format that makes them easy to display and share. You can insert digital photographs into word processing documents or PowerPoint presentations, print them on almost any material, send them by e-mail, integrate them into slide shows to be played on the TV, post them on a Web site where anyone in the world can see them—even have them laser-etched into glass or granite. A digital camera, a computer, and a high-speed Internet connection make each of us a member of an ever-expanding network or community of photographers and viewers.

Just as digital images make it easy to integrate photos into many of the other things we do, digital technology makes it easy to add cameras to other devices. One of the current trends is to embed cameras into cell phones and other mobile devices. With just a push of a few buttons, you can snap a picture and immediately e-mail it or post it on a Web site. It won’t be long before there are digital cameras everywhere, all the time. What impact this will have on our photography remains to be seen, but if history is any indicator, people will soon be discovering practical, creative, and even artistic ways to use these new tools.

Changes in technology always open new opportunities and present approaches that change the way images look and are used. For example, the introduction of the 35mm Leica in the 1930s was a revolutionary change that made it easier to capture fast-moving action. Images became more spontaneous and fluid, a far cry from the more formally posed images required by much larger and more awkward cameras. Smaller cameras allowed photographers to discretely capture life on the street and people in motion, without modifying the flow of action by his or her simple presence. Reality could be captured unchanged and unposed. With cameras built into almost all cell phones in the near future, an even larger impact is possible.

Although it’s both the immediacy and flexibility of digital photography that has made it so popular, there is one aspect that is rarely mentioned. This is the new freedom it gives you to explore creative photography. In the 1870s when William Henry Jackson carried 20 x 24 glass plate negatives around the West on a mule, you can bet he hesitated before he took a photograph. He had to set up a darkroom, coat a glass plate, expose the image, develop the negative and then take down and repack all of the gear. We may not be carrying window-sized glass plates, but you and I also hesitate before taking a picture. We’re always doing a mental calculation "is it worth it?" Subconsciously we’re running down a checklist of costs, times, effort, and so on. During that "decisive moment," the image is often lost or we fail to try new things. We lose the opportunity for creative growth and choose to stay with the familiar that has delivered for us in the past. Surprisingly, Jackson had one big advantage we’ve lost over the last century. If an image didn’t turn out, or if he was out of glass plates, he could just scrape the emulsion off a previously exposed negative, recoat the plate, and try again. Digital photography not only eliminates that nagging "is it worth it?" question, it also returns us to that era of endlessly reusable film (and we don’t need a mule to carry it). Hand the camera to the kids, take weird and unusual angles, shoot without looking through the viewfinder, and ignore all previously held conceptions about how to take photographs. You may be surprised at the photos you get if you exploit this new era of uninhibited shooting.

Digital cameras are only a few years old, and we are only at the dawn of this new era. Where it will lead no one really knows, but it’s exciting to play a part in this dramatically changing world. As you begin to explore the field, you will be awash in technical jargon. Most of it can be safely ignored. To show how some things never change, here is what Jacob Deschin, the photographic editor of the New York Times, wrote in 1952 about the earlier era when the Leica revolutionized photography:

"When 35mm was in full flower in this country–in the miniature’s golden Thirties–photographers in the new medium became "experts" overnight, full of tall talk about small grain and big enlargements. They had to, in self defence, for in those early days of the miniature it seemed important to be technically hep, at least in conversation. Never mind the pictures! In spite of much hokum, much good came to the surface, survived the babel and exerted an influence that has since benefitted all photography."

Chapter 1 Digital Cameras & Images

In the Beginning
What is a Digital Photograph?
Digital Photography—The Past and the Future
Why Go Digital?
Types of Digital Cameras
Jump Start—Taking Photos with Full Auto Mode
Camera Controls
Composing Images
Capturing Images
Continuous Photography
Playback Mode
When Things Go Wrong
Image Sensors—Introduction
Image Sensors—Types
Image Sensors—Image Size
Image Sensors—Sizes and Aspect Ratios
Image Sensors—Sensitivity and Noise
Image Sensors—It’s All Black and White After All
Image Sensors—Cleaning

Chapter 2 Digital Workflow

Digital Workflow
Image Formats
In-Camera Image Storage Devices
How Photos Are Stored in your Camera and Computer
Transferring Images
Storing Images—On Your System
Storing Images—On the Road
Organizing Your Photo Files
Image Managers
Evaluating Your Images—Basics
Evaluating Your Images—Histograms
Photo-editing—Global Editing
Photo-editing—Local Editing
Color Management–Color Models and Color Spaces
Color Management—The Workflow

Chapter 3 Controlling Exposure

The Importance of Exposure
How Exposure Affects Your Images
Exposure Controls—The Shutter and Aperture
Exposure Controls—Why So Many Choices?
Exposure Modes
Using Scene Specific Exposure Modes
The Shutter Controls Light and Motion
The Aperture Controls Light and Depth of Field
Using Shutter Speed and Aperture Together
How Your Exposure System Works
When Automatic Exposure Works Well
When to Override Automatic Exposure
How Overriding Autoexposure Works
How to Override Automatic Exposure

Chapter 4 Controlling Sharpness

Eliminating Blur From Camera Movement
Image Stabilization
Increasing Sensitivity (ISO)
Sharpness Isn’t Everything
How to Photograph Motion Sharply
Focusing—The Plane of Critical Focus
Focusing—Focus Areas
Focus—Techniques
Depth of Field
Circles of Confusion
Controlling Depth of Field
Using Maximum Depth of Field
Using Shallow Depth of Field
Conveying the Feeling of Motion

Chapter 5 Capturing Light & Color

Where Does Color Come From?
White Balance
Color Balance and Time of Day
Sunsets and Sunrises
Weather
Photographing at Night
The Direction of Light
The Quality of Light

Chapter 6 Understanding Lenses

Introduction to Lenses
Understanding Focal Lengths
Zoom Lenses
Normal Focal Lengths
Short Focal Lengths
Long Focal Lengths
Portraits and Focal Length
Macro Mode and Macro Lenses
Perspective in a Photograph
Lens Accessories

Chapter 7 On-camera Flash Photography

Flash Power and Range
Flash Sync and Shutter Speeds
Autoflash
Redeye Reduction
Using Fill Flash
Flash Off
Using Slow Sync Flash
Controlling Flash Exposures
Using External Flash
External Flash Accessories

Chapter 8 Studio Photography

Using Continuous Lights
Using Strobes
Connecting the Camera and Studio Lights
Understanding Hard and Soft Light
Using Fill Cards and Reflectors
Using Diffusers
Other Lighting Controls
Putting it All Together—Exposure and White Balance
Choosing a Background
Positioning the Camera
Portrait and Product Photography—Introduction
The Main Light
The Fill Light
The Background Light
The Rim Light
Thinking About Your Photograph

Chapter 9 Displaying & Sharing Photos On-screen

Sending Photos to Others—E-mail
Sending Photos to Others—Instant Messenger
Sending Photos to Others—Peer-to-peer Photo Sharing
Slide Shows—On the TV
Slide Shows—On the Computer Screen
Slide Shows—Editing & Polishing
File Formats—The Final Payoff
Slide Shows—Digital Projectors
Slide Shows—Digital Picture Frames
Publishing Your Photos—eBooks
Publishing Your Photos—Photo Sharing Sites
Publishing Your Photos—Your Own Web Site
Publishing Your Photos—Photo Blogs
Publishing Your Photos—RSS
Entertaining Yourself—Wallpaper or Desktop Background Managers
Entertaining Yourself—Screen Savers
Mapping Your Photos

Chapter 10 Displaying & Sharing Printed Photos

How Color Photographs are Printed
Making Prints—On-line
Making Prints—for Profit
Making Prints—Locally
Making Prints—Do-it-yourself
Inkjets—Printing Paper
Inkjets—Inks
Inkjets—Archival Issues
Mating & Mounting Prints
Framing, Hanging & Storing Prints
Photo Books—Do It Yourself
Photo Books—Having Them Done
Scrapbooks
Photos on Fabrics
Photos on Smooth Surfaces
Photo Gifts and Novelties
Laser-Etching and Fired Ceramics

Chapter 11 Beyond the Still Image

Panoramic Photography
Stereo Photography
Animations
Shooting Movies
Panning & Zooming Still Photographs
Morphing
Lenticular Photography—Prints that Move
Flipbooks—Handheld Animations
Photographing in Black & White and Infrared
Night Vision
Pin Hole Photography

Download Link Textbook of Digital Photography(111 Pages PDF Files, 4.5 Mb)