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The Visual Dictionary of Photography
David Präkel
This book is a guide to the many and varied terms
used frequently within photography.
From Acutance
to Zoom Lens and Albumen Print to Vignetting, this
book will prove to be an
invaluable resource
to anyone
interested in photography. Each term is
explained
and
contextualised
, giving the reader a greater
understanding of photographic terminology.
More than
250 common
photographic terms
are distilled and
illustrated.
From practical terms such as Autofocus,
Backlighting and Composition to movements and
techniques such as Pictorialism, the Sabbatier
Effect and Tone Mapping, this book contains both
modern terminology
and the
traditional terms
still
in current usage.
The Visual Dictionary
of Photography
The Visual Dictionary
of Photography
An AVA Book
Published by AVA Publishing SA
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Copyright © AVA Publishing SA 2010
All rights reserved. No part of this publication may be reproduced,
stored in a retrieval system or transmitted in any form or by any means,
electronic, mechanical, photocopying, recording or otherwise, without
permission of the copyright holder.
ISBN 978-2-940411-04-7
10 9 8 7 6 5 4 3 2 1
Design by Gavin Ambrose
www.gavinambrose.co.uk
Production by AVA Book Production Pte. Ltd., Singapore
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All reasonable attempts have been made to trace, clear and credit the
copyright holders of the images reproduced in this book. However, if any
credits have been inadvertently omitted, the publisher will endeavour to
incorporate amendments in future editions.
Printed in China
David Präkel
The Visual Dictionary
of Photography
How to get the most out of this book
4
This book is an easy-to-use reference to the key terms
used in photography. Each entry comprises a brief
textual definition along with an illustration or visual
example of the point under discussion. Supplementary
contextual information is also provided.
S
Safelight
212
S
Saturation
213
Key areas addressed in
this book are those terms
commonly used in reference
to the study of photography.
The photographic emulsions on black-and-white printing
paper are sensitive to blue and green light only. As they are
not fogged by exposure to red light, red lamps can be used
to illuminate darkrooms. This lets the photographer work in
something other than complete darkness. Some modern
safelights can be designed to operate with a very narrow
waveband and produce a bright – to our eyes – yellow light.
Original shot from camera
Saturation increased
Saturation reduced
Vibrance increased
Above: a classic orange-red safelight.
Right: a darkroom lit by this light.
Compare this darkroom with the one
seen in white light on page 83.
Saturation is strength of colour. The saturation slider will
increase the saturation of all colours and will clip colours
that are already saturated. The more recently introduced
concept of Vibrance allows the user to adjust only
the colours that are unsaturated, avoiding clipping
already saturated colours. Black, white and grey have
no colour saturation.
see Darkroom 83
see Clipping 57
Entries are presented
in alphabetical order to
provide an easy reference
system.
C
Cameron, Julia Margaret
50
C
Cartier-Bresson, Henri
51
Cartier-Bresson’s name will forever be associated with the photographic
idea of the ‘decisive moment’. The phrase, however, came from his
American publishers; an improvement of the literal French translation of
Images à la sauvette as ‘Images on the run’ for his 1952 portfolio. There
is only one moment when all the elements of composition come
together – the ‘decisive moment’. Born in France in 1908 and considered
by many the founding father of street photography and photojournalism
(one of the founders of the famous Magnum photo agency), Cartier-
Bresson would probably be as happy to be recalled as a painter and
artist. He was an early adopter of the Leica 35mm camera and strongly
disliked publicity. He did little of his own printing, composing in the
camera and having photographs printed, uncropped, with a distinctive
black border showing the limits of the framed image. He died in 2004.
Whisper of the Muse
(1865).
Cameron’s short photographic career, covering just over a decade
towards the end of her life (1815–1879), has been hugely influential.
She moved in a circle of writers and artists, buying her home next to
the estate of the poet laureate Alfred Lord Tennyson, but did not
acquire a camera until her 48th birthday. In her photography, she
sought to express the beautiful and spiritual. Unencumbered by
photographic traditions, Cameron’s strikingly intense portraits and
staged allegorical images – strongly influenced by the Pre-Raphaelites
– were successful, despite her occasional disregard for focus and
motion blur through long exposures. See also her portrait of Sir John
Herschel on page 186. Her home on the Isle of Wight, Dimbola
Lodge, is now a photographic centre and can be visited today.
Dessau: Exposing a Gestapo Informer.
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