Bibliography

Sources are grouped by confidence tier, following the book's citation-honesty policy (see _style-bible.md §7). Tier 1 are works we are confident exist — named photographers and their monographs, foundational craft books, and technical standards (sRGB, Adobe RGB, EXIF); Tier 2 are real ideas whose exact publication we have not pinned down; Tier 3 are constructed teaching examples and the book's recurring described scenes, labeled where they appear.

Tier 1 — Verified canonical sources (named photographers, monographs, technical standards, primary docs)

• "A stop" = a doubling or halving of light — standard exposure terminology (owned Ch. 3), used to map lighting ratios to stops in §12.5.
• Behind the Gare Saint-Lazare (1932), Cartier-Bresson's famous "leaping man" photograph — the photographer, approximate year, Paris location, and the small 35mm Leica rangefinder camera class are matters of public record, as is the well-known account that it was shot through a gap in a fence. (Analyzed as a Described Photograph in Case Study 10.1; the exact technical settings are NOT claimed.)
• A camera's depth-of-field preview button — a real hardware feature on many cameras that stops the lens to the shooting aperture so the actual depth of field is visible before the shot.
• American Society of Media Photographers (ASMP) — professional body publishing widely used guidance on business practices, licensing, and contracts for working photographers.
• Annie Leibovitz (American, born 1949), portrait photographer — cited as a modern master moving between elaborate multi-light productions and stripped-back portraits; used as a study in reading multi-light setups (§12.4).
• Annie Leibovitz — portraiture across the full range of depth of field, from intimate shallow-focus faces to deep environmental setups; a model of choosing depth of field to fit subject and story.
• Ansel Adams (American, 1902–1984), photographer — the chapter's governing philosophy ("the negative is the score, the print is the performance"). Subject of Case Study 25.1 (the famous moonrise over a New Mexico town, 1941), rendered as a constructed Described Photograph in his manner — not a reproduction; no specific plate, exact quote, exposure value, or printing figure is claimed as his data. His authorship of the Zone System, his co-founding of the f/64 group, and his documented practice of producing visibly different prints from the same negative across decades are matters of record. The two epigraphs ("The negative is the equivalent of the composer's score, and the print the performance" and "You don't take a photograph, you make it") are widely attributed to Adams; attributed cautiously, not pinned to a page.
• Ansel Adams — concept of previsualization and mastery of tonal range; relevant to light for black-and-white and landscape (developed in Ch. 8, 16, 26).
• Ansel Adams — the Case Study 23.2 epigraph ("You don't take a photograph, you make it.") is widely attributed to him; his Zone-System / previsualization legacy (owned in Ch.8) is the conceptual ancestor of deciding tonal range deliberately, here recast as directing the computation rather than accepting it.
• Ansel Adams — the chapter epigraph ("You don't make a photograph just with a camera… all the pictures you have seen") is widely attributed to him; also the previsualization/Zone-System thread connecting high-/low-key to Ch. 8.
• Ansel Adams's Moonrise (a famous late-1940s New Mexico landscape: a moon over a small desert town, lit grave-markers, dark mountains and sky), made on a large-format view camera — the subject of Case Study 3.1. Photographer, rough era, place, camera class, and the Zone-System connection are matters of record.
• Ansel Adams, The Camera / The Negative / The Print (the Adams trilogy) — named as a master class in foreground-to-background depth, balance, and horizon/anchor placement (§6.4–6.5); fuller treatment deferred to Ch.8, 16, 26.
• Ansel Adams, The Camera and The Negative (The Ansel Adams Photography Series) — the classic technical treatment of optics, the plane of focus, depth of field, the circle of confusion, and maximizing front-to-back sharpness (§4.6).
• Ansel Adams, The Negative and The Camera (from his technical trilogy) — the foundational exposition of the Zone System.
• Ansel Adams, The Negative and The Print (the last two volumes of his "The Camera / The Negative / The Print" technical trilogy, New York Graphic Society / Little, Brown) — named in Further Reading as the source-text whose darkroom logic (tonal placement, local burning and dodging, interpretation) maps decision-for-decision onto a mobile developer. Editions exist; specific pages not cited.
• Ansel Adams, the concept of "previsualization" — imagining the finished image before releasing the shutter.
• Ansel Adams, the concept of the Zone System — mapping a scene's tones onto a numbered black-to-white scale and exposing to place them deliberately; a matter of record that Adams founded and popularized it. Formally introduced in this book in Ch.8.
• Bit depth as the reason RAW holds more than JPEG (8 bits/channel = 256 levels for JPEG vs. ~10–14 bits = 1,024–16,384 levels for a phone RAW) — standard digital-imaging fact, given plainly in the §25.2 Physics box; deepened in Chapter 26.
• Brassaï (Gyula Halász, Hungarian-French, 1899–1984), photographer — Paris de nuit (Paris by Night, 1930s), the foundational photographic document of the European city at night. Named in Further Reading as essential context for §21.6 and Case Study 21.2.
• Bryan Peterson, Learning to See Creatively (and, named in passing, Understanding Exposure) — energetic, example-driven teaching of the elements of design and composition.
• Bryan Peterson, Understanding Exposure (Amphoto/Watson-Guptill) — the series' touchstone exposure text; underpins the dynamic-range, highlight/shadow, and exposure-triangle judgment that the HDR and override decisions rest on. Named in Further Reading.
• Bryan Peterson, Understanding Exposure — standard popular text; connects color/white balance to exposure.
• Bryan Peterson, Understanding Exposure — the standard popular text on exposure and leaving Auto mode.
• Cambridge in Colour — free, diagram-rich tutorials on Depth of Field, the Circle of Confusion, and Hyperfocal Distance, with interactive calculators; among the most trusted free photography references.
• Chase Jarvis (American photographer) — the chapter epigraph ("The best camera is the one that's with you.") is widely attributed to him; it is also the title of his book/app project on phone photography. Used to open the chapter's argument that the always-present computational camera is the one that matters.
• Color temperature and the kelvin scale; the black-body radiation basis for it — standard physics, given in plain form in §5.3 and the Physics box.
• Daido Moriyama (Japanese, born 1938), photographer — grainy, high-contrast street style; named in Further Reading as a contrasting personal-style example.
• Dark current and thermal noise in image sensors; the principle of dark-frame subtraction (long-exposure noise reduction) — standard sensor physics, given in plain form in §21.2 and the Physics box.
• David duChemin, Within the Frame and The Visual Toolbox — composition as vision in service of meaning; named for the move from rules to intent (§6.6).
• Depth of field and hyperfocal distance as the mechanism enabling zone focusing — standard optics, owned by Ch.4 and applied (not re-derived) in §17.2.
• Dorothea Lange (American, 1895–1965), photographer — Farm Security Administration documentary work of the 1930s, including Migrant Mother (1936); referenced in §17.3 and the quiz as the model of documenting hardship with dignity, and as the documentary-portrait Master Image Gallery entry (returns in Ch.13, 32, 36). Described, never reproduced.
• Dorothea Lange and the Farm Security Administration (FSA) photographers — named as masters of composition-by-subtraction; Migrant Mother (1936) referenced as the Ch.1 case-study anchor. (Lange is Tier-1; the FSA/OWI archive at the U.S. Library of Congress is a real, free public collection.)
• Dorothea Lange, Migrant Mother (1936) — the Chapter 1 case study, referenced here as the face-first/soft-directional-light counterpoint to Salgado's silhouette-and-backlight approach.
• Dorothea Lange, Migrant Mother (1936), made for the U.S. Farm Security Administration near Nipomo, California; subject later identified as Florence Owens Thompson. A landmark of documentary photography.
• Elliott Erwitt (American, 1928–2023) — Magnum photographer known for wit and impeccable comic timing; named as proof the decisive moment can be funny.
• Elliott Erwitt (American, 1928–2023) — the Case Study 12.2 epigraph ("photography is an art of observation… little to do with the things you see and everything to do with the way you see them") is widely attributed to him.
• Fil Hunter, Steven Biver, Paul Fuqua, Light: Science and Magic — respected technical treatment of how light behaves on surfaces (specular/diffuse, size-and-distance rules).
• Fil Hunter, Steven Biver, Paul Fuqua, Robin Reid, Light: Science and Magic — the standard respected technical text on the principles of photographic lighting (behavior of light on surfaces, building setups from first principles). Tier-1 craft reference.
• Garry Winogrand (American, 1928–1984) — prolific American street photographer; named as the counter-model of the restless, off-balance, energetic instant.
• Garry Winogrand (American, 1928–1984), street photographer — prolific shooter whose work is a master class in the edit; named in Further Reading in support of §17.6.
• George Eastman, founder of Eastman Kodak — popularizer of accessible photography; the chapter epigraph ("Light makes photography… know light…") is widely attributed to him.
• George Eastman, founder of Eastman Kodak — the chapter epigraph ("Light makes photography… know light…") is widely attributed to him (also used in Ch. 5).
• George Hurrell (American, 1904–1992), Hollywood glamour portraitist — associated with butterfly/Paramount lighting and theatrical rim/separation; cited for the butterfly pattern (§12.3).
• Gordon Parks (American, 1912–2006), photographer — documentary and photo-essay work (incl. for picture magazines and the FSA tradition) addressing poverty and injustice; named in Further Reading. The "camera as a weapon" framing is widely attributed to him.
• Helen Levitt (American, 1913–2009), street photographer — humane neighborhood-life and street photographs; named in Further Reading as the warm, non-predatory pole of the genre.
• Henri Cartier-Bresson (French, 1908–2004), co-founder of Magnum Photos — his 1952 book The Decisive Moment (originally published in French as Images à la sauvette) is the source of the chapter's central concept; his definition of the decisive moment as the simultaneous recognition of the significance of an event and the precise organization of forms is widely quoted and foundational. (Subject of Case Study 10.1, rendered as a constructed Described Photograph "in his manner" / "after" him — explicitly not a reproduction.)
• Henri Cartier-Bresson (French, 1908–2004), photographer — co-founder of Magnum Photos (1947), champion of the 35mm Leica rangefinder, and author of the work published in English as The Decisive Moment; the early-1930s image widely known as Behind the Gare Saint-Lazare (man leaping a puddle) is among the most reproduced photographs of the 20th century. Subject of Case Study 6.1, rendered as an attributed Described Photograph (after Cartier-Bresson) — never a reproduction of the plate. The book's epigraph and case-study epigraph lines are given as attributed ("attributed to Henri Cartier-Bresson"), not pinned to a verified page.
• Henri Cartier-Bresson — the decisive moment, worked at smaller apertures with deep depth of field and zone focusing (previewed for Ch.17); the counter-example where deep focus is the right storytelling choice.
• Henri Cartier-Bresson, the concept of "the decisive moment" — the alignment of content and form at a precise instant.
• Henry Carroll, Read This If You Want to Take Great Photographs (Laurence King Publishing) — accessible, seeing-first introduction.
• High-dynamic-range (HDR) imaging and tone mapping — standard, named computational-imaging techniques; defined plainly in §23.2. (The general technique is canonical; no single inventor or proprietary implementation is claimed.)
• Irving Penn (American, 1917–2009), portrait and fashion photographer — cited (in further-reading) as a peer of Avedon in stripped-down studio portraiture against plain backgrounds with soft directional light; a study in subtraction. Tier-1 attribution of the kind of work; no specific plate/quote claimed.
• Joel Meyerowitz & Colin Westerbeck, Bystander: A History of Street Photography — standard narrative history of the genre. Named in Further Reading.
• John Berger, Ways of Seeing (BBC/Penguin) — classic on how images carry meaning and how looking is never neutral; named in Further Reading and Ch.1 as background to the §17.3 ethics.
• John Berger, Ways of Seeing (book and the original BBC television series) — named as the most influential short treatment of how images are read; sets up the critique/ethics chapters (31, 32).
• John Berger, Ways of Seeing — on how images carry meaning and how looking is never neutral.
• John Harrington, Best Business Practices for Photographers — a standard reference on pricing, licensing, copyright, and contracts in professional practice.
• Magnum Photos — the cooperative photo agency (founded 1947; Cartier-Bresson among the founders); its archive is named as a browsable well of composed documentary moments.
• Magnum Photos — the photographers' cooperative co-founded by Cartier-Bresson (with Robert Capa, David "Chim" Seymour, and others); its archive and essays are a canonical source on decisive-moment work.
• Major museum online photography collections — the Metropolitan Museum of Art, the Museum of Modern Art (MoMA), the J. Paul Getty Museum, the George Eastman Museum — real institutions hosting large, free, searchable photography collections with curatorial notes.
• Marc Levoy & collaborators — Stanford computational/digital-photography course materials (e.g. "Digital Photography" lecture notes, publicly posted online). Named in Further Reading as the single best place to move from "what" to "why" on sensors, demosaicing, HDR, and multi-frame imaging. (General attribution to a real, well-known course; no specific lecture number, slide, or figure is pinned down.)
• Marc Levoy (American, born 1953), computer scientist — foundational researcher in computational photography and light-field imaging (the Stanford "light field" and "Frankencamera" work), who later led influential phone-camera research that brought widely-deployed computational HDR and night-photography modes (popularized as "Night Sight"–style modes) from the lab to consumer phones, c. 2017–2019. Subject of Case Study 23.1, rendered as a constructed Described Photograph representative of the night-mode genre — not a reproduction of any specific image, and with no proprietary algorithm detail, EXIF, or verbatim quote-about-a-particular-photo claimed. The CS-01 epigraph is a paraphrase of the kind of formal light-field definition foundational to his work, attributed in spirit, not as verified verbatim text.
• Michael Freeman, The Photographer's Eye (Ilex/Focal Press) and his writing on the digital photographer's workflow — cited in Further Reading for "workflow as a craft": the idea that a repeatable order of operations is itself a skill, which §25.2 (the develop order) and §25.5 (export) formalize. A book-wide touchstone.
• Michael Freeman, The Photographer's Eye — composition as a visual language.
• Michael Freeman, The Photographer's Eye — the foundational modern text on composition and visual design in photography (frame as a design problem: balance, placement, line, the dynamics of the rectangle). Named as this chapter's closest "parent" text. (Tier-1 craft book per style-bible §7.)
• Michael Kenna (English, born 1953), photographer — decades of atmospheric long-exposure black-and-white landscapes and seascapes, small hand-printed sheets, near-square format, exposures from fractions of a second to many hours; recurring subjects include water, trees, industrial structures, and the snowscapes of Hokkaidō, Japan. (Subject of Case Study 21.1, rendered as a constructed Described Photograph in his manner — not a reproduction; no specific plate, title, location, or exposure time is claimed as his data.)
• Polaris / the celestial pole as the centre of apparent star-trail rotation in the Northern Hemisphere — standard astronomy, stated plainly in §21.4.
• Professional Photographers of America (PPA) — professional association offering business education, contract resources, and benchmarking for portrait and commercial photographers.
• ProRAW (Apple's marketed RAW format) and DNG (the RAW container Android phones commonly expose) — these formats exist and are named generically as "mobile RAW"; no proprietary internals or specs are claimed.
• RAW vs. JPEG/HEIC as captured-data vs. processed-interpretation — standard, factual distinction (owned in Ch.2); the technical backbone of §23.6's "shoot RAW to override the pipeline."
• Rayleigh scattering — the standard explanation for the blue of the sky and of open shade, named in the §5.3 Physics box.
• Rembrandt van Rijn (Dutch, 1606–1669), painter — the namesake of Rembrandt lighting; his portrait paintings characteristically use the triangular cheek light the pattern reproduces. Standard, verifiable art-historical attribution.
• Richard Avedon (American, 1923–2004), portrait and fashion photographer — his white-seamless portraiture and the large-format project In the American West (mid-1980s, photographing working people across the western U.S. against white backgrounds) are matters of public record. Subject of Case Study 12.1, rendered as a constructed Described Photograph in his manner — NOT a reproduction; the specific lighting diagrams are an informed reconstruction, not a transcription of his exact rig. The epigraph ("My photographs don't go below the surface… readings of the surface… full of clues") is widely attributed to him.
• Robert Capa (Endre Friedmann, Hungarian-American, 1913–1954), photographer and Magnum co-founder — the line "If your pictures aren't good enough, you're not close enough" is widely attributed to him; used as the Case Study 17.2 epigraph.
• Robert Capa — the saying "if your photos aren't good enough, you're not close enough" is widely attributed to him (given as attributed in §6.1, not as a verified quotation).
• Robert Doisneau (French, 1912–1994) — humanist street photographer of fleeting Paris moments; named in Further Reading as a study in caught gesture and glance.
• Saul Leiter (American, 1923–2013), photographer — pioneering colour street photography using reflection, weather, and layered windows; named in Further Reading as the lyrical/oblique pole of the genre.
• Sebastião Salgado (Brazilian, born 1944) — documentary photographer (Chapter 5 case study); named here for combining the decisive instant with dramatic light over long projects. The documentary The Salt of the Earth exists.
• Sebastião Salgado (Brazilian, born 1944), documentary photographer — major long-form black-and-white projects Workers, Migrations (also published as Migrations: Humanity in Transition / The Children), Genesis, and Amazônia; his immersive working method (living among subjects for extended periods) and his collaboration with Lélia Wanick Salgado are matters of public record. (Subject of Case Study 5.1, rendered as a constructed Described Photograph in his manner — not a reproduction.)
• Sebastião Salgado (Brazilian, born 1944), photographer — large-scale long-term documentary projects (Workers, Genesis); named in Further Reading and connected to the ethics-of-hardship thread (also Ch.5 case study, Ch.32).
• Sebastião Salgado (Brazilian, born 1944), photographer — named in Further Reading as a study subject for fully interpreted black-and-white tonal range (the standard contrast and local adjustments reach toward); also previews Chapter 28. No specific plate reproduced or claimed.
• Sebastião Salgado — monumental black-and-white documentary work, mostly deep-focus, where the relationships across the whole scene carry the image.
• sRGB and the standard color spaces (Adobe RGB, ProPhoto) — canonical technical standards; referenced for why web/social exports should be sRGB and why a print path differs. Stated in general terms.
• Steve McCurry — the photographer of the portrait known as Afghan Girl (1984; published on a 1985 magazine cover), made on 35mm color transparency film in a refugee camp near Peshawar, Pakistan; a vast body of saturated, shallow-focus environmental portraiture where the eyes are the one sharp anchor. Analyzed (not reproduced) as a Described Photograph in Case Study 4.1.
• Susan Sontag, On Photography (Farrar, Straus and Giroux) — sceptical meditation on photographing the world and other people; named in Further Reading as the ethical counter-voice to the genre.
• Susan Sontag, On Photography — named as an essential set of essays on what photographs do to us and the world; preparation for Ch.31–32.
• Teju Cole (American, born 1975), writer and photographer — known for essays and criticism on photography and the ethics of looking (incl. work as a photography critic); named in Further Reading as a contemporary voice. Named generally; no specific essay title or date claimed.
• The EXIF standard, by which cameras record settings (aperture, shutter, ISO) into image files — the basis for Exercise 3.27's "read your old photos' settings."
• The ISO standard for film/sensor sensitivity, set by the International Organization for Standardization (the digital descendant of film speed) — a standards fact.
• The 500 rule (and the stricter 300 rule) for keeping stars as points — a standard, widely taught astrophotography rule of thumb (500 ÷ focal length in 35mm-equivalent mm = approximate longest exposure in seconds before star streaking).
• The Bayer color-filter array / demosaicing — standard, named sensor technology (owned conceptually in Ch.2); cited plainly in §23.5's pipeline (Figure 23.6) as the first stage that reconstructs full color from the sensor's color mosaic.
• The Berne Convention for the Protection of Literary and Artistic Works — the international treaty establishing automatic copyright on creation across member countries.
• The Farm Security Administration (FSA) photography program (U.S., 1930s) — the canonical body of American documentary photography; named in §17.4 and Further Reading as the documentary tradition the reader is joining.
• The general legal principle that, in many jurisdictions (incl. much of the U.S. and Europe), one may photograph what is plainly visible in a genuinely public place — including people — without consent for personal/editorial use, hinging on the absence of a reasonable expectation of privacy — a standard, widely stated principle, given in §17.3 in broad strokes with explicit caveats that jurisdictions vary and that publishing/commercial use differ. (Full legal machinery — informed consent, model release, right of publicity — owned by Ch.32.)
• The inverse-square law (light falls off with the square of distance) — standard physics, applied in §12.5 to set lighting ratios by moving lights; first defined in Ch. 11 §11.5.
• The Leica 35mm rangefinder camera — the small, fast camera that enabled Cartier-Bresson's mobile, candid working method; a matter of photographic history.
• The Library of Congress FSA/OWI photograph collection — a real, free, browsable public archive (Lange, Walker Evans, Gordon Parks, and others); named as the best free composition resource on the chapter's list.
• The reader's own camera or phone manual — the authoritative source for how a given body names AF-S/AF-C, AF-area modes, eye detection, focus peaking, back-button assignment, and phone AF/AE lock.
• The reciprocal "1/(focal length)" rule of thumb for the slowest hand-holdable shutter speed — a long-standing, widely taught craft heuristic.
• The standard print-resolution rule of thumb (~240–300 pixels per inch of paper for a sharp photographic print; e.g. a 12-inch edge needs on the order of 3,000 px) — a widely used industry working figure, given as a range, not a fixed claim.
• The U.S. Copyright Office (copyright.gov) — primary source on copyright basics, registration, and work-for-hire in the United States.
• Time-of-flight depth sensing and stereo (two-camera) triangulation for depth estimation — standard, named 3-D sensing methods; described factually in §23.4 as two of the ways a phone builds a depth map. Human binocular (two-eye) stereo depth perception is standard, uncontroversial vision science used as the analogy.
• Vivian Maier (American, 1926–2009) — street photographer discovered posthumously; named as a study in anticipation and the moment in everyday life. The documentary Finding Vivian Maier exists.
• Vivian Maier (American, 1926–2009), street photographer — extraordinary eye, modest gear, unknown in her lifetime; named in Further Reading and Ch.1 as proof that the eye, not the equipment or audience, makes the work.
• Vivian Maier — street photographer; named in Further Reading as a study in finding existing good light.
• W. Eugene Smith (American, 1918–1978), photographer — known for the crafted photo essay (e.g. Country Doctor; Minamata); named in Further Reading as the model of the sequenced essay (previewed §17.4, owned Ch.38).
• Yousuf Karsh (Armenian-Canadian, 1908–2002), portrait photographer — renowned for dramatic, high-ratio, sculptural studio portraiture with deep shadows and precise separation; cited as a study in Rembrandt-style key light and high lighting ratios (§12.3, §12.5).

Tier 2 — Attributed (specifics unverified)

• "Beauty dish gives light between hard and soft / shows facial structure with flattering punch," and modifier-character generalizations (softbox = controlled, umbrella = sprays, grid = narrows without softening): standard, widely-taught modifier characterizations.
• "Chimping" as the habit of checking the rear screen after every frame, and as a street liability — a common, widely used informal term and a standard piece of street-shooting advice; given in §17.2.
• "Exposing to the right" (ETTR) — a widely taught technique of pushing exposure as bright as possible without clipping highlights to capture the cleanest data; named as a forward pointer to Ch.26, attributed cautiously.
• "Lead room" / "nose room" as the working term for space left ahead of a looking or moving subject — standard craft vocabulary; the same instinct re-applied to motion in Ch.10 and Ch.20.
• "Vibrance" as a protective, non-linear saturation control (lifts muted colors more, already-saturated colors less, typically protects skin tones) versus global "Saturation" — standard behavior of the controls in serious developers, described generically (no app-specific algorithm claimed).
• "Your first 10,000 photographs are your worst" — a remark widely attributed to Cartier-Bresson; used as the Case Study 10.2 epigraph with attribution hedged ("attributed to").
• Adams's own retellings of how Moonrise was made (driving home, no meter, reasoning the exposure from the remembered luminance of the moon, time for essentially one frame) — drawn from his later recollections; the fine details (exact light, precise readings) soften with memory, and the specific stop-by-stop numbers attributed in the case study are illustrative of his method, not a transcript.
• Approximate color-temperature values for common sources (candle ~1,800 K; tungsten ~2,700–3,000 K; sunrise/sunset ~3,000–4,000 K; midday ~5,200–5,500 K; overcast ~6,000–7,000 K; open shade ~7,000–9,000 K) — standard published ranges; real values vary, so all are given as approximate.
• Bruce Fraser & Jeff Schewe — Real World Camera Raw (Fraser, later Schewe & Fraser) and Schewe's The Digital Negative and The Digital Print (Peachpit Press) — named in Further Reading as the deepest serious treatment of why you develop a RAW in a given order, plus output sharpening for screen vs. paper and resizing for delivery; the clearest explanation of the §25.5 export-and-sharpen logic. Authors and works are well established; specific editions/pages not pinned.
• Camera "pre-capture" buffering modes (some modern cameras record frames from before the full shutter press) — a real and increasingly common feature; described generally because specifics vary by model. (Deepened in Ch. 20.)
• Chase Jarvis (American, photographer) — the Case Study 25.2 epigraph "The best camera is the one that's with you" is widely attributed to him (and is the title of his 2009 iPhone-photography book The Best Camera Is the One That's With You); attributed cautiously.
• David duChemin, Within the Frame and related titles on photographic vision — a working photographer writing on intention over gear and being present to the moment; attributed generally.
• Documentaries Finding Vivian Maier and The Salt of the Earth — these films exist; readers are pointed to them for the photographers' working method, not for specific cited claims.
• DPReview technical articles/explainers and reputable camera-and-imaging editorial sites — useful when they explain mechanisms and test failure modes rather than rate products; named in Further Reading (specific articles to be confirmed by the reader; site availability noted as subject to change).
• Edward Weston — the chapter epigraph ("To consult the rules of composition before making a picture is a little like consulting the law of gravitation before going for a walk") is given as attributed to Weston; commonly quoted, exact source not pinned.
• Frame-stacking applications for star trails and cleaner starfields (several free and paid options exist) — described generally; the specific current tool is to be confirmed by the reader.
• Google AI / Google Research public write-ups of computational-photography techniques (HDR+ / "burst photography," Night Sight, portrait-mode / dual-pixel depth). The research teams behind widely-deployed phone modes have published readable, illustrated explanations of burst capture, alignment, merging, and depth estimation. Named in Further Reading; treated as the closest thing to a primary source on the concepts, with specific product details flagged as point-in-time and subject to change.
• Human reaction time of roughly 0.2 seconds, plus camera shutter/focus lag — standard, commonly cited approximations used to explain why reacting to a peak fails; given as approximate ranges, not precise specs.
• John Szarkowski (former MoMA Director of Photography) — named in §6.6 in support of "rules are a floor, not a ceiling"; the attribution is given loosely ("and many teachers since have stressed"), not as a precise quotation.
• Lance Keimig, Night Photography and Light Painting: Finding Your Way in the Dark (Focal Press) — a dedicated, well-regarded practical treatment of this chapter's territory; edition details to be verified by the reader.
• Light-pollution / dark-sky atlas maps (several online atlases exist) — used to find dark sites for astrophotography; specific current map to be confirmed by the reader.
• Manual-camera phone apps that allow setting and locking focus distance and exposure for zone-style shooting on a phone — such apps exist across platforms; described generally, no specific product named or endorsed.
• Manufacturers' official photography/camera documentation and support pages (Apple, Google, Samsung, etc.) — the authoritative source for what a given phone's modes do and how to shoot RAW, lock exposure, and adjust simulated aperture. Named in Further Reading as Tier 1 for their own features; listed here at Tier 2 because exact behaviors change with software updates and are described generally, not pinned to a version.
• Martin Evening — the Adobe Photoshop Lightroom classic reference series (Focal Press) — cited because Lightroom's mobile version shares its engine and vocabulary with the desktop, so his explanations of the develop module, local masks, presets, and export map closely onto mobile practice. A real, well-known reference; editions not pinned. (Named as a category example of the developer app, not an endorsement.)
• MIT OpenCourseWare and similar university open courseware on digital/computational imaging — real, freely-posted lecture notes and assignments on image processing, HDR, tone mapping, and depth estimation. Named in Further Reading (specific course numbers to be confirmed by the reader).
• Output sharpening differing by destination and paper (modest for a screen resize; stronger for print; more for matte than glossy, because matte spreads ink more) — standard practical workflow guidance; reasoning given, exact amounts left to the file.
• PhotographyLife — a reputable, practitioner-run site with practical articles on depth of field, AF-S vs. AF-C, and back-button focus; verify specifics against your own camera's manual.
• PhotoPills (and general depth-of-field / hyperfocal calculator apps) — long-running mobile tools that compute the exact hyperfocal distance and near/far limits of sharpness from camera, focal length, and aperture; verify the current app before relying on it.
• Rut Blees Luxemburg — contemporary large-scale long-exposure photographs of the nocturnal city in saturated artificial colour; named in Further Reading (specific titles to be confirmed by the reader).
• Semantic segmentation and machine-learned (single-image) depth estimation in phone cameras — real, deployed techniques in which a trained model labels regions (sky/face/foliage/food) or estimates depth, enabling region-specific processing and synthetic bokeh (§23.4–§23.5). Described generally as a class of technique; no specific model, training set, or vendor implementation is claimed.
• SIGGRAPH presentations and university guest lectures on computational photography (burst imaging, HDR+, depth estimation), widely posted online — real talks by the researchers who built these modes; named in Further Reading (specific talks to be located by the reader via technique name + "talk/lecture").
• Sun-position apps (PhotoPills, The Photographer's Ephemeris, Sun Surveyor) — real apps providing sunrise/sunset/golden-hour and sun-direction data; feature tiers change over time, described generally (introduced Ch. 5).
• Sun/light-planning apps (PhotoPills, Sun Surveyor, the free Sun Seeker) — these apps exist and predict where low light will fall; named in Further Reading as composition-adjacent tools (composition and light are inseparable, Ch.5). Specific feature tiers change over time and are described generally.
• Sun/moon/blue-hour and Milky-Way planning apps (PhotoPills, The Photographer's Ephemeris, Sun Surveyor) — these apps exist and provide sunrise/sunset/blue-hour times, moon phase, and sun/Milky-Way direction overlays; specific feature tiers (free vs. paid) change over time and are described generally.
• That stricter image-rights regimes in some jurisdictions restrict publishing an identifiable stranger photographed in public without consent — a real and commonly noted contrast with the permissive rule, stated in §17.3 in general terms without naming a specific statute. (Specifics owned by Ch.32.)
• The "build from darkness, one light at a time" studio method: widely taught as a foundational studio discipline (notably popularized for small-flash shooters by the Strobist "Lighting 101/102" approach); attributed as common practice, not to a single source.
• The "cost of doing business" method of building a day rate (annual overhead and living wage divided by realistic billable days) — a widely taught approach; exact formulas and calculators vary by source.
• The "Dutch angle" (deliberate horizon tilt for unease/energy) — standard film/photography term; described, not sourced to a specific origin.
• The "expose to protect the highlights" principle for mixed/bright light (a blown highlight is unrecoverable even in RAW, while a dark shadow can be lifted) — standard practical teaching, given as a working rule in §25.6 and Case Study 25.2.
• The "memory color" boost — the well-documented tendency of consumer cameras/phones to render skies bluer, foliage greener, and skin warmer than measured, toward what people remember and prefer. A real, widely-discussed phenomenon (§23.5); described generally, with no specific manufacturer's proprietary tuning claimed.
• The "rule of thirds" as a simplified, teachable cousin of older proportion ideas (the "golden ratio" / "phi grid," whose dividing lines sit slightly closer to center than exact thirds) — commonly taught; presented qualitatively, with the explicit note that the reader does not need the math.
• The "rule of thumb" that depth of field falls roughly one-third in front of the focal plane and two-thirds behind it — widely taught as a practical approximation; exact distribution varies with distance and focal length.
• The "watercolor" / over-smoothing artifact of aggressive noise reduction, over-sharpening halos, and the "HDR look" of heavy local tone mapping — widely observed, named failure modes of phone image pipelines (§23.2, §23.5). Presented as commonly-described artifacts, not as a measured claim about any one device.
• The account that Cartier-Bresson shot Behind the Gare Saint-Lazare nearly blind, poking his lens through a fence — comes from his own much-later recollections and is recounted in that spirit (memory, softened), not asserted as documentary fact about the exact instant.
• The atmospheric explanation for golden-hour warmth and softness (longer path through atmosphere scatters blue, leaves warm tones, and diffuses the light) — well-established and commonly taught; presented qualitatively.
• The claim that a modern full-frame camera at high ISO can look as clean as a small-sensor phone at a much lower ISO — directionally true and widely observed, given without a specific tested figure (no fabricated numbers).
• The commonly quoted "acceptable" circle-of-confusion figure of ~0.03 mm for a full-frame sensor at normal viewing size — a standard convention, not a hard physical constant; the exact value depends on viewing size and the viewer.
• The duration of "blue hour" as roughly 20–40 minutes after sunset (and before sunrise) — a widely taught working approximation that varies with latitude and season; given as a range, not a precise claim. (Blue hour itself is owned and defined in Ch.5 §5.4; used here as a production idea.)
• The English title The Decisive Moment vs. the French Images à la sauvette (roughly "images on the run" / "stolen images") — the discrepancy and the rough translation are widely discussed; the nuance of the French phrase is given qualitatively, not as a precise lexical claim.
• The epigraph "If you wait, people will forget your camera and the soul will drift up into view." — attributed to Steve McCurry; presented as an attributed quotation, exact source unverified.
• The epigraph "If your pictures aren't good enough, you're not close enough." — commonly attributed to Robert Capa; widely repeated, exact original wording and source not pinned here. Used as the chapter epigraph and discussed (the "get closer" principle) in Case Study 4.1.
• The epigraph "Twelve significant photographs in any one year is a good crop." — attributed to Ansel Adams; widely circulated, exact source unverified. Used as the Case Study 4.2 epigraph.
• The etymology of "photography" from Greek phōtos + graphē — standard and well attested, given here in plain form.
• The five-part "anatomy of a photo essay" (establishing shot → portrait → detail → interaction → the moment → closer) — a commonly taught working structure for the photo essay, presented as a useful skeleton rather than a fixed canon. (Full treatment owned by Ch.38.)
• The general principle that licensing is priced by the value of use (media, term, geography, exclusivity) rather than by the photographer's time — standard professional practice, taught across industry resources; specific rate figures vary by market and are not pinned to a single source.
• The hyperfocal approximation $H \approx f^2 / (N \cdot c)$ — a standard, widely taught optics approximation (focal length $f$, f-number $N$, circle of confusion $c$); presented in an optional Physics box, not as a value to compute by hand.
• The iPhone Photography Awards and mobile-photography communities — these awards and communities exist and are named in Further Reading as evidence that phone-captured, phone-edited images stand beside any camera's work; specific winners are not cited.
• The later identification and locating of the subject of Afghan Girl by the photographer and magazine years after the original frame — a matter of published record; the subject is referred to here only as "the young woman in the photograph" out of respect, and her name is not reproduced.
• The named portrait lighting patterns — loop, Rembrandt, butterfly/Paramount, split — and the broad/short lighting distinction: long-standing, widely-taught studio portraiture vocabulary. Presented as standard craft terminology; no single originating publication is claimed.
• The naming and behavior of sun-planning tools (PhotoPills, The Photographer's Ephemeris, Sun Surveyor) — these apps exist and provide sunrise/sunset/golden-hour times and sun-direction overlays; specific feature tiers (free vs. paid) change over time and are described generally.
• The reading of a diagonal as conveying depth because parallel lines appear to converge as they recede (linear perspective) — standard, commonly taught; given qualitatively.
• The Rembrandt lighting pattern as an example of directional (high side) light borrowed from painting — commonly taught; formally treated in Ch. 12.
• The roughly hour-long duration of "golden hour" and ~20–40-minute duration of "blue hour" — widely taught working approximations that vary with latitude and season; given as ranges, not precise claims.
• The rule of thumb "white snow, add; black cat, subtract" for exposure compensation — commonly taught, given in plain form.
• The street-photography practice of "find a strong background and wait for a person to complete it," and of pre-setting/zone-focusing to work fast — standard, widely taught street methods attributed generally rather than to one source.
• The widely recounted account of Lange making only five or six exposures and turning her car around after passing the camp — drawn from Lange's own later recollections; details soften with memory.
• Third-party manual/"pro" camera apps and mobile RAW-developing apps that expose exposure lock, RAW capture, and noise-reduction/white-balance control — such apps exist across platforms; named in Further Reading and described generally (no specific current app endorsed; capability, not brand, is the point). The mobile RAW workflow is owned/taught in Ch.25.
• Thoughtful photography video essayists (e.g. Sean Tucker; channels such as "The Art of Photography") — real creators who publish substantive composition/seeing content; named generally and by search, with the caveat to favor "why an image works" over gear.
• Todd Hido — atmospheric, often long-exposure images of suburban houses and foggy roads at night; named in Further Reading (specific series to be confirmed by the reader).
• Typical computational-mode behaviors used as teaching defaults (e.g. night mode running ~1–6 seconds handheld and longer on a tripod; HDR merging ~2–3 bracketed exposures; portrait mode offering an adjustable "simulated aperture") — standard, widely-observed working approximations that vary by device and version; all presented as ranges and starting points, never as a precise spec of any product.
• Typical guidance that a white seamless background should be lit roughly 1.5–2 stops brighter than the subject to read pure white: commonly taught studio practice; the exact figure varies and is given as a starting range, not a fixed rule.
• Typical mobile-export starting points (web/social ~2,000–2,560 px long edge; messaging ~1,600 px; stories ~1,920 px wide; print at full resolution) and the observation that over-large uploads are re-compressed harder by social platforms — widely taught practical starting points that vary by platform and change over time; all presented as starting points to adjust, not fixed recipes.
• Typical night-photography starting exposures (e.g. lit city street ~f/8, ISO 200, a few seconds; Milky Way ~f/2.8, ISO 1600–6400, 500-rule shutter; smoothed water ~½–10 s) — standard practical starting points that vary with the scene; all presented as starting points to adjust via the histogram, not recipes.
• Typical reactive street starting settings (bright day ~f/8, 1/500 s, Auto ISO ceiling ~3200–6400; zone focus ~3 m giving roughly a 2–5 m sharp zone at f/8) — standard, widely taught practical starting points that vary with light, lens, and sensor; presented as starting points to adjust, not recipes.
• William Albert Allard (American, National Geographic photographer) — the Case Study 6.2 epigraph ("You've got to push yourself harder… looking for pictures nobody else could take") is given as attributed to him; the sentiment is well known but the exact wording/source is not pinned down.

Tier 3 — Illustrative / constructed (labeled in text)

• "Coffee, isolated" (Figure 4.3) — a constructed teaching example illustrating the three levers stacked for maximum background melt.
• "The red door" (Figure 1.2) — the book's recurring constructed subject, an illustrative example, not a specific real photograph.
• "The red door" (Figures 5.5; recurring) — the book's constructed recurring subject; the golden-hour-vs-flat-noon comparison is an illustrative teaching example, not a specific real photograph.
• "The red door" and the four recurring locations — the book's constructed recurring anchors.
• "The red door" lit and painted at night (Figure 21.7; recurring anchor) — the book's constructed recurring subject; the light-painted version is an illustrative teaching example continuing the off-camera-flash treatment from Ch.11, not a specific real photograph.
• "The vendor's hands" (Figure 4.7) — a constructed teaching example illustrating shallow focus extracting one sharp element from a chaotic market scene.
• All ASCII diagrams (Figures 4.1, 4.2, 4.4, 4.5, 4.6, 4.8) — schematic teaching diagrams, not photographs.
• Case Study 17.2 (the market shoot-along) and its Figures CS17.2–CS17.5 ("What the scout sees," "Into the light," "The cow and the customer," "The flower vendor") — a constructed teaching shoot in a recurring location (busy market), with illustrative settings; all Described Photographs labeled constructed teaching examples.
• Case Study 21.2 (the city-block-at-night shoot-along) and its Figures CS21.2–CS21.5 — a constructed teaching shoot in a recurring location, with illustrative exposure values.
• Case Study 25.2 (the Saturday-market shoot-along, set in the recurring busy-intersection/market location) and its Figures CS25.2–CS25.8 — a constructed, representative teaching shoot; all settings are honest starting points and all described results are illustrative teaching examples, not reproductions. The "Market Warm" preset is a constructed example.
• Case Study 3.2, the golden-hour park-trail shoot-along (Figures CS3.2–CS3.4: the backlit seed-head, the stream at 1 second, the walker on the footbridge at ISO 3200) — a constructed, representative teaching shoot, explicitly labeled as illustrative rather than a record of a specific outing.
• Figure 10.1 ("The leap over the puddle") — a constructed Described Photograph after Cartier-Bresson's 1930s street manner; an attributed homage, explicitly not a reproduction of any specific plate.
• Figure 17.1 ("The leap over the puddle," after Cartier-Bresson) — a constructed Described Photograph in the manner of his best-known street work, explicitly not a reproduction of any specific plate; no title, location, date, or exposure claimed as his.
• Figure 23.4 ("The quiet corner, after midnight") — a constructed Described Photograph (illustrative teaching example), set in the recurring city block at night location, used to show night mode succeeding on a still scene.
• Figure 23.5 (how portrait mode fakes shallow depth of field, with the depth-map blob) — a constructed teaching diagram.
• Figure 5.2 ("Hard light / soft light, same face") and the five-direction face diagram (Figure 5.3) — constructed teaching examples.
• Figure 6.2 (the rule-of-thirds grid + power points), Figure 6.4 (a leading line carrying the eye), Figure 6.6 (symmetrical vs. asymmetrical balance), Figure 6.7 (framing within the frame + depth layers), Figure 6.9 (negative space) — constructed ASCII teaching diagrams.
• Figure 6.5 ("Lines at the crossing") — a Described Photograph of the kind of image Cartier-Bresson made famous, explicitly labeled "after Cartier-Bresson… described, not reproduced"; proper analysis of his work deferred to Ch.10.
• Figure 6.8 ("Window light, three layers" — the kitchen window) — a constructed teaching example in a recurring location.
• Figure CS10.1 ("Behind the Gare Saint-Lazare") — a constructed Described-Photograph analysis of the real, famous image, rendered "after Cartier-Bresson, 1932"; not a reproduction.
• Figure CS17.1 ("Man on the stairs," after Cartier-Bresson) — a constructed, representative Described Photograph in his manner; not a reproduction; no claimed plate, title, location, or data.
• Figure CS21.1 ("Posts and a long tide, after dusk") — a constructed, representative nightscape in Michael Kenna's manner, explicitly not a reproduction of any specific plate, with no claimed title, location, or exposure data.
• Figure CS23.1 ("The candlelit table, handheld") — a constructed Described Photograph representative of the computational night-mode genre (c. 2018), explicitly not a reproduction of any real image; no EXIF, title, location, or proprietary detail claimed. (Case Study 23.1.)
• Figure CS25.1 ("Moonrise over a New Mexico town," after Ansel Adams) — a Described analysis of a real, famous image rendered in the book's six fields, explicitly not a reproduction; labeled "[after Ansel Adams, 1941 — a described analysis, not a reproduction]," with no claimed exact tones, exposure data, or quote presented as Adams's literal data.
• Figure CS5.1 ("Workers in low backlight") — a constructed, representative composite in Salgado's manner, explicitly not a reproduction of any specific plate.
• Figure CS6.1 ("The leap behind the station") — an attributed Described Photograph after Cartier-Bresson's early-1930s puddle-leap; an analysis of the kind of composition his work is famous for, explicitly not a reproduction of the plate and not a claim to his exact circumstances.
• Figures 10.2, 10.3, 10.4, 10.6 — constructed teaching diagrams (the crosswalk prefocus map, the single-vs-burst decision chart, the "snap" geometry schematic, the pre-flight checklist).
• Figures 10.5 ("Change") and 10.7 ("Spilling the cereal") — constructed teaching examples (the market exchange; the kitchen-window everyday moment).
• Figures 17.2, 17.3, 17.4 (the zone-focus diagram, the street-ethics gut-check, the photo-essay-anatomy diagram) — constructed teaching diagrams.
• Figures 21.1, 21.2, 21.4, 21.6, 21.8 (the shutter-dial map, the moving-light-to-trail diagram, the 500-rule diagram, the light-painting top-down map, the blue-hour brightness-balance diagram) — constructed teaching diagrams.
• Figures 21.3, 21.5, 21.9 ("The interchange at rush hour," the two-ways-to-shoot-the-sky pair, "The skyline at blue hour") — constructed Described Photographs (illustrative teaching examples).
• Figures 23.1, 23.2, 23.3, 23.6, 23.7 (the stacking-cleans-noise one-pixel diagram; the single-exposure-vs-HDR-merge-vs-tone-map diagram; the night-mode step-by-step pipeline; the "phone look" pipeline; the override decision table) — constructed teaching diagrams.
• Figures 25.1–25.6 (the four-app-categories map, the develop-order table, the four-local-tools table, the aspect-ratio table, the export pipeline) — constructed teaching diagrams in ```text blocks.
• Figures 25.3 ("Blue-hour street, before and after the develop pass") and 25.7 ("Kitchen-window cup, finished") — constructed Described Photographs (labeled illustrative teaching examples); the blue-hour street reuses the recurring city-block-at-night location, the cup reuses the recurring kitchen-window location.
• Figures CS23.2–CS23.5 (the backlit-window setup top-down map; "The baseline failures"; the HDR result; the portrait-mode result/critique) — constructed teaching diagrams and Described Photographs from the Case Study 23.2 shoot-along, with illustrative settings. Set in the recurring kitchen window location.
• Figures CS6.2–CS6.8 (the park-path shoot-along: top-down scene map plus the tourist frame, low-and-raking, three-layers, placed-and-clean, the figure on the path, and the keeper) — a constructed teaching shoot in the recurring park/trail location, phone-sufficient.
• The "Behind the Image" bus-ride vignette in §25.6 — labeled "a constructed but representative vignette."
• The "Behind the Image" community-kitchen / "mannequin faces" vignette in §23.6 — a constructed but representative vignette illustrating over-smoothing and the RAW fix; explicitly labeled as constructed.
• The "Behind the Image" diner vignette (§17.4) and the "Behind the Image" almost-didn't-ask vignette (Case Study 17.2) — constructed but representative.
• The "Behind the Image" four-light-headshot vignette in §12.4 — a constructed but representative teaching vignette, labeled as such.
• The "Behind the Image" puddle vignette in Case Study 21.2 — constructed but representative.
• The "Fix the Photo" scenarios in the exercises (the grey snow; the lost sunset) — constructed failed-shot descriptions for diagnosis.
• The "forty-five minutes with an egg" vignette — a constructed but representative example.
• The "kitchen-window studio" shoot-along in Case Study 12.2 (the subject, the room, the four phases, and the named result frames CS12.2a–c) — a constructed, illustrative shoot; representative technique, not a record of a specific person or session. Labeled as such.
• The "Scott Lorenzo" epigraph in the case study — a constructed maxim, attributed as such.
• The busy-intersection scene (Figure 3.5, "two shutter speeds") — a constructed teaching example.
• The Case Study 10.2 intersection shoot-along and its Figures CS10.2, CS10.2a–CS10.2c — a constructed, illustrative teaching shoot in a recurring location (the busy intersection), explicitly not a log of specific real frames.
• The Case Study 5.2 park golden-hour shoot-along and its Figures CS5.2a–CS5.2d — a constructed teaching shoot in a recurring location.
• The coffee-roaster rebrand job in Case Study 35.2, and all dollar figures throughout the chapter — constructed teaching examples, explicitly labeled as illustrative, not recommended rates.
• The described "failed shots" in the Fix-the-Photo exercises (soft-eyed portrait, cluttered background, soft landscape, soft action) — constructed diagnostic scenarios.
• The Described Photographs "Rembrandt, one light" (Figure 12.4) and the high-key/low-key, modifier, pattern, ratio, and four-light setup ASCII diagrams (Figures 12.1–12.7) — constructed teaching examples illustrating the chapter's principles; not based on specific public works.
• The Described Photographs inside the exercises and quiz ("Lone hiker on a ridge," "Beach sunset, over-cooked," "Spotlit portrait, haloed," "Posted and ruined," "Down the market row," etc.) — constructed teaching examples, each labeled "[constructed teaching example]."
• The five-equivalent-exposures table (Figure 3.8) and all exposure-triangle/meter/histogram diagrams (Figures 3.1–3.11) — constructed teaching figures, not data from a specific camera.
• The heron-strike "Behind the Image" vignette and the various crosswalk/market/kitchen example moments — constructed but representative examples.
• The hilltop-portrait "Behind the Image" vignette and the café/office/subway Light Log entries — constructed but representative examples.
• The kitchen-window lemon shoot-along (Figures CS2.1–CS2.6) — a constructed teaching sequence.
• The kitchen-window strawberry shoot-along (Figures CS4.2–CS4.5) — a constructed, representative shoot, an illustrative walkthrough, not a record of a specific session.
• The recurring "busy intersection / market" location used throughout — the book's constructed recurring location, not a specific real place.
• The recurring locations (the kitchen window) and the red door anchor — the book's illustrative threads (Tier 3 per the style bible §3/§7).