Index

References are by chapter and section number.

"All rights" / rights grab — 35.4
"HDR look" (overcooked) — 23.2
"In focus" as a threshold (not a fact) — 4.1
"Say cheese" smile (avoiding) — 13.3, 13.6
"steal like an artist" — 39.2
"White snow, add; black cat, subtract" — 3.6
"You are exactly as good as your edit" — 17.6
1:1 / 4:5 / 9:16 / 16:9 — 34.4
3:2 / 4:5 / 1:1 / 9:16 / 16:9 (ratios) — 25.5

A

a photograph is a decision repeated — 40.6
About page and statement — 34.3
Accurate vs. evocative — 27.6
Achromatic diopter — 19.3
Adjacency (images that "talk") — 34.1
adjacency (in sequencing) — 40.2
Advertising retouching (puffery) — 29.4
AE/AF lock — 22.2
Aerial composition — 24.5
AF-area mode (single point / zone / wide) — 20.2
AF-area modes — 4.3
After the shutter (duties) — 32.6
Afterglow (post-sunset light) — 16.6
AI denoise — 33.2
AI in the editing pipeline — 33.2
AI masking / selection — 33.2
AI sharpening / lens correction — 33.2
AI upscaling — 33.2
Airy disc — 19.2
Alt text — 34.3
alt text — 40.3
Altitude as abstraction dial — 24.5
Ambient exposure — 11.3, 15.1
Ambient/flash balance — 15.1
Ambient/flash balance spectrum — 15.1
Analogous colors — 7.2
Analysis (critique stage) — 31.2
Anatomy of a photo essay — 17.4
Angle and background — 9.3
angle of view — 2.2
Ansel Adams — 36.3
Ansel Adams (grand vista, Zone System) — 16.1, 16.5
Ansel Adams (negative as score) — 26.3
Anticipation — 10.2
Anticipation (street gesture) — 17.1
Aperture — 3.2
aperture (as the adjustable hole) — 2.1
Aperture (f/8 for the zone) — 17.2
aperture priority (A / Av) — 2.6
Aperture scale (full-stop sequence) — 3.2
Aperture, as a depth-of-field control — 4.2
Aperture-priority mode (A / Av) — 3.2, 3.5
Apparent size (of a light source) — 12.2
Approaching strangers — 17.5
APS-C sensor — 2.3
Architecture photography — 18.1, 18.2, 18.3, 18.5, 18.6
Archive — 30.6
Artist statement — 34.5
artist statement (anatomy) — 40.3
Artist statement (written last) — 38.6
Ask vs. explain (critique) — 31.5
Asked-for portrait — 17.5
Asking permission (the "may I?" gesture) — 24.2
Aspect ratio — 6.1
Aspect ratio (platform) — 25.5
Astrophotography — 21.4
Asymmetry — 6.4
Atmospheric perspective — 7.3
Audience vs. community — 34.6
Auto / AI mask — 25.3
Auto ISO (street) — 17.2
Auto ISO (with a ceiling) — 3.4, 3.5
Auto White Balance (AWB) — 5.3
Auto white balance, failures of — 7.5
Autofocus (AF) — 4.3
Available-light interior — 18.4

B

Back-and-side light — 14.3
Back-button focus — 4.4
back-catalogue audit — 39.3
Background distance (subject-to-background separation) — 4.2
Background light — 12.1, 12.4, 12.6
Background separation (portrait) — 13.4
Background, controlling by position — 9.3
Background, product/food — 14.5
Backlight — 5.2
Backlight (rim, separation) — 8.4
Backlighting small subjects — 19.4, 19.6
Backlit dew (Figure 19.6) — 19.6
Backup vs. sync — 30.4
Balance — 6.4
banned words (artist statement) — 40.3
baseline develop / preset (recalled) — 26.6
Bayer array — 2.4
Beauty dish — 12.2
Behind the Gare Saint-Lazare (the leaping man) — 10.1
Benefit question — 32.4
Berenice Abbott (Changing New York, context) — 18.5 (further reading)
Bernd and Hilla Becher (typology, repetition) — 18.1 (further reading)
Better metrics (saves, comments, prints) — 34.4
Bird's-eye view — 9.1
bit depth — 2.4, 26.1
Bit depth (RAW vs JPEG) — 25.2
Black and white, why convert — 8.1
Black card (flag / negative fill) — 14.2, 14.3
Black-and-white conversion — 28.1, 28.2
Blue hour — 5.4
Blue hour (city at night) — 21.6
Blue hour (exterior, lit windows) — 18.5
Blue hour (landscape) — 16.3
Blue hour (phone shoot) — case study 22.2
Blue hour interior — 18.4
Blue-hour balance — 21.6
Blue-hour portrait with fill — 15.4
Body image and retouching — 29.5
Body of work as the unit — 34.1
Bokeh — 4.5
Bokeh (portrait) — 13.4
Bounce card — 14.3
Bounce flash — 11.4
bracing technique — 2.6
Bracket and blend — 18.4
Bracketing (interiors) — 18.4
Bracketing (vs. graduated ND) — 16.4
Breaking the pattern (the "break") — 18.1
Breaking the rules (on purpose, intention) — 6.6
Breaking weather / clearing storm — 16.3
Bright-field lighting — 14.2
Broad lighting — 12.3, 13.1
broken link (missing file) — 26.4
Broken link / relocate (missing files) — 30.5
Brush (local selection) — 25.3
Buffer — 20.6
Build order (kill ambient, key, fill, rim, background) — 12.1
Building trust (documentary) — 17.4
Bulb mode — 21.1
Bullseye framing (centering, as a mistake) — 6.2
Burn (darken) — 28.4
Burnout sprint — 34.6
Burst (continuous drive) — 10.3
Burst mode (continuous drive) — 20.6
Business models (service, license, print, teaching) — 35.1
Business of photography — 35.1, 35.2, 35.6
Butterfly lighting (Paramount) — 12.3
Buyout — 35.3, 35.4

C

Calibration — 27.1
calotype — 36.1
Camera height — 9.1
Camera height as abstraction (staircase straight up/down) — 18.6
camera obscura — 2.1, 36.1
camera shake — 2.6
Camera shake (and the 1/focal-length rule) — 3.3
Camera within reach and ready — 10.6
Camera, importance relative to photographer — 1.3
Candid — 17.5
Caption / alt text (as metadata) — 30.3
Captioning truthfully — 17.4
capture sharpening — 26.5
Capture-to-conjured spectrum — 33.2
Cartier-Bresson, Henri — 10.1
Case Study House program — CS-01
catalog (library) — 26.4
Catalog (map vs. territory) — 30.5
Catchlight — 13.6
Catchlight (flash) — 11.4, 11.5
Catchlight (in the studio) — 12.3, 12.4
Celestial pole (Polaris) — 21.4
changeable ISO (vs. fixed-roll) — 36.5
Changing the constraint — 38.5
Channel mixer — 28.2, 28.3
Channel mixing (vs. desaturation) — 28.2
Chasing vs. waiting — 10.2
Chimping — 3.6, 10.5, 17.2
chimping — 36.5
Chin and neck (posing) — 13.2
chromatic aberration — 26.5
chunking (perceptual) — 37.1
Circle of confusion — 4.1
Cityscape at night — 21.6
Clean edges — 14.6
Clip-on lens (phone) — 22.5
Clip-on macro lens (phone) — 19.3
clipping — 26.2
Clipping (highlight / shadow) — 3.6
clipping warning (blinkies) — 26.2
Clone-stamp repetition — 29.1
Cloning (clone stamp) — 29.1
Close-up (vs. macro) — 19.1
Close-up lens (diopter) — 19.3
Closing the loop (sending the photo) — 17.5
Clutter (interior/exterior) — 18.4, 18.5
Color accent — 7.4
Color as depth — 7.3
Color as emotion — 7.3
Color cast — 5.3, 15.3, 15.5, 27.1
Color contrast — 7.4
Color correction — 27.1
color film (acceptance of) — 36.4
Color grading — 27.3, 27.6
Color harmony — 7.2
color noise — 26.5
Color of light — 5.3
Color temperature (kelvin) — 5.3
Color temperature mismatch — 15.3
Color temperature, introduced — 1.4
Color theory (for photographers) — 7.1, 7.2, 7.3, 7.4, 7.5, 7.6
Color wheel — 7.1, 7.2
color-filter array — 2.4
Color-grading wheels — 27.3
Color-vision deficiency (color-blind-safe accents) — 7.5
Colored filters (digital equivalent) — 28.3
Colored-gel wash — 15.6
Comfort zone (wildlife) — 20.4
Community consent — 32.5
Comparison trap (social media) — 34.4
Complementary colors — 7.2, 7.4
Complementary split (grading) — 27.3
Complete mobile edit (pipeline) — 25.6
Compose the stage, then wait for the actor — 6.2, case study 6.1
Composition — 6.1
Compositional framing (framing-within-the-frame) — 6.5
Compression — 9.2
Computational color / memory-color boost — 23.5
computational photography (future) — 40.5
computational photography (in historical context) — 36.6
Computational photography (preview) — 22.1
Computational photography (recap from Ch.22) — 23.1, 23.6
Condensation — 14.4
Confidence (working manner) — 17.2
Connection (portrait) — 13.3
Consent (interiors / private spaces) — 18.4
Consent (portrait) — 13.3
Consent (street/documentary) — 17.3
Consent across a language gap — 24.2
Consent and candid photography (preview) — 10.6
Consent, how to ask — 32.1
Consistency (sharing cadence) — 34.6
consistency vs. novelty — 39.5
Consistency without sameness — 25.4
Consistent look — 27.4
constraint-based practice — 37.3
Content credentials — 33.4
Context (include vs. exclude) — 18.5
Continuous AF tracking — 20.2
Continuous autofocus (AF-C / AI Servo) — 4.3
Continuous autofocus (AF-C / servo) — 20.2
Contract (photography agreement) — 35.5
contrast — 26.3
Contrast, tonal — 8.3
Convergence on purpose (drama) — 18.3
Converging verticals — 9.1, 9.5, 18.2, 18.3
Convert-or-keep decision — 28.1
Cool colors — 7.3
Copy vs. move (card handling) — 30.1
Copyright (ownership) — 35.4
Copyright and AI — 33.5
Copyright vs. privacy vs. publicity — 32.1
Cost of doing business (CODB) — 35.2
Counterweight — 6.4
Craft problem — 31.3
Craft vs. taste — 31.3
Creative mixed-light looks — 15.6
Crewed aircraft right of way — 24.6
Critique — 31.2, 31.3, 31.4, 31.5, 31.6
Critique group — 31.5, 31.6
Critique journal — 31.6
Critiquing your own work — 31.4
crop factor — 2.3
Cropping for reach — 20.4
Cropping for the destination — 34.4
Cropping into the subject (at the edge) — 6.6
Cross-cultural photography — 32.5
CTB (Color Temperature Blue) — 15.3
CTO (Color Temperature Orange) — 15.3
Culling — 30.2
Culling the take / editing action — 20.6
curation — 40.1
Curve / S-curve — 6.3
Cutout edge (segmentation artifact) — 23.4

D

daguerreotype — 36.1
Dark current — 21.2
Dark frame — 21.2
Dark-field lighting — 14.2
Day rate, building a — 35.2
Daylight white balance (for sunsets) — 5.3
De-aging (and refusing it) — 29.5
Deciding the number first (editing) — 34.1
Decisive expression — 13.6
Deliberate photograph, making a — 1.6
deliberate practice — 37.2
Delivery (export for destination) — 30.6
democratization (three waves) — 36.4, 36.5, 36.6
demosaicing — 2.4
demosaicing (recalled) — 26.1
Deposit (non-refundable) — 35.5
Depth (front-to-back, in landscape) — 16.2
Depth (layering) — 6.5
Depth comes from returning (not reaching) — 38.1
Depth map — 23.4
Depth of field (deep, on phone) — 22.4
Depth of field (DoF) — 4.2
Depth of field (zone focusing) — 17.2
Depth of field, as aperture's side effect — 3.2
Depth of field, collapse in macro — 19.2
Depth-of-field distribution (⅓ front, ⅔ behind) — 4.6
Depth-of-field preview — 4.6
Desaturation (the bad way) — 28.2
Described Photograph — 1.5
Description (critique stage) — 31.2
destructive editing — 26.4
Detail (close-up) range — 24.1
Develop order (global) — 25.2
develop order (repeatable) — 26.6
Developer (app, the darkroom) — 25.1
Diagonal line (energy, depth) — 6.3
Diffraction — 4.6, 19.2
Diffraction (aperture limit, landscape) — 16.2
Diffraction (softening) — 14.6
Diffraction limit — 19.2
Diffuse reflection — 14.1
Diffuser (flash) — 11.4
Diffuser (softening hard light) — 5.1, 5.5
Diffusion — 14.3
Diffusion (macro lighting) — 19.4
Diffusion model — 33.1
digital zoom — 2.2
Digital zoom — 22.1, 22.4
Dignity (subject) — 17.3
Dignity and agency (the ♿ test) — 24.2
Dignity checklist — 32.4
Diminishing scale — 6.5
Directing a subject — 13.3
Direction of light — 5.2
Direction of subject motion (across vs. toward) — 20.1
Disclosure — 29.6, 32.3
Disclosure (AI) — 33.4
Distance and perspective — 9.2
distortion (lens) — 26.5
Distraction test — 29.3
DNG (RAW on phone) — 25.2
document vs. art (the founding tension) — 36.2
Documentary contract — 32.3
Documentary photography — 17.4
Documentary project — 17.4
Documentary retouching — 29.4
documentary tradition (FSA) — 36.3
Dodge (lighten) — 28.4
Dodge and burn (retouching) — 29.1
Dodging and burning — 28.4
Dominant hue — 7.4
Dominant-hue image — 7.4
Dominant-hue image (color) — 27 (case study 1)
Door vs. wall (statement) — 34.5
Dorothea Lange — 36.3
Dorothea Lange (documentary dignity) — 17.3
Dragging the shutter — 15.2
Dragging the shutter (preview) — 11.3
Dramatic sky (blue luminance) — 27.2
Drawing in the air (light) — 21.5
Drone (UAV) — 24.5, 24.6
Drone ethics (the commons) — 24.6
Drone law — 24.6
Drone privacy and disturbance — 24.6
DSLR — 2.5
Dusk portrait — 15.4
Dutch angle (deliberate horizon tilt) — 6.6
Dwell time (light painting) — 21.5
Dye-transfer process — 27 (case study 1)
Dynamic range — 23.2
Dynamic range (on phone) — 22.4
Dynamic range (window vs. room) — 18.4
Dynamic range and gamut (print) — 34.2

E

Edit log — 29.6
edit recipe (instructions) — 26.4
Editing a street take — 17.6
Editing for the set, not the single image — 34.1
Editing for variety — 24.1
Editing vs. generating (the line) — 33.3
Editorial vs. commercial use — 32.2, 32.3
Effort is invisible in the edit — 38.4
Ego traps (defensiveness, self-flagellation) — 31.4
Electronic level (virtual horizon) — 6.4
electronic shutter — 2.1
electronic viewfinder (EVF) — 2.5
Elevated vantage points — 24.5
Eliot Porter (intimate landscape) — 16.1
Embrace the split strategy (Strategy 3) — 15.5
Enhancement — 29.3
Enhancement vs. manipulation (applied to AI) — 33.3
Environmental portrait — 13.5
Environmental portrait (travel application) — 24.2
Ephemeris / sun-position planner — 16.6
Equivalent exposures — 3.5
Establish / develop / turn / resolve (essay structure) — 38.3
Establishing shot — 17.4, 24.1
Establishing-to-detail sequence — 24.1
Ethics in public space — 17.3
Ethics line (by context) — 29.4
Exclusion (composition by subtraction) — 6.1, 6.6
Exclusive vs. non-exclusive license — 35.3
EXIF — 30.3
Exoticism — 32.5
Expansion (perspective) — 9.2
export — 26.4, 26.6
Export / resize — 25.5
expose to the right (ETTR) — 26.2
Expose to the right (for conversion) — 28.6
Exposing for room vs. view — 18.4
Exposing for the sky — 15.4
exposure (develop) — 26.3
Exposure compensation — 3.6
Exposure compensation (placing tones) — 8.5
Exposure lock (AE/AF lock) — 22.2
Exposure slider (phone) — 22.2
Exposure triangle — 3.5
Exposure, definition of — 3.1
Expression (the eyes) — 10.4
Extension tube — 19.3
Exterior architecture — 18.5
Extraction vs. collaboration — 32.4
Eye level (ethics of camera height) — 32.4
Eye-AF — 13.4, 13.6
Eye-detection autofocus — 4.3
Eye-level (animals) — 20.4
Eye-level view — 9.1
Ezra Stoller (architectural photography) — 18.6 (further reading)

F

F-number (and the backwards scale) — 3.2
Fairness test (four questions) — 32.2
False material claim — 29.4
Fast prime (in a travel kit) — 24.4
favorite-child trap — 40.1
Feathering — 12.2, 12.5
Feathering (masks) — 25.3
Feldman method (art criticism) — 31.2
Fifty-fifty complementary clash (mistake) — 7.2
File by capture, find by keyword — 30.3
File-naming convention — 30.5
Fill flash — 11.6
Fill flash, at dusk — 15.4
Fill light — 12.1, 12.4, 12.5
Fill light (interior) — 18.4
film (as recording surface) — 2.1
film (roll film) — 36.1
Film grain (digital) — 28.5
Filter rule (lightens own color, darkens complement) — 28.3
Finding a subject (access, sustainability, care) — 38.2
Finding clients — 35.6
Finding good light — 5.5
Finding the background, waiting for the human — 17.1
Fine-art manipulation — 29.4
First pass (fast and brutal) — 17.6
Fixed aperture (phone) — 22.1, 22.2
Flash duration — 11.2
Flash exposure — 11.3, 15.1
Flash exposure compensation — 11.6
Flash power (stops) — 11.2
Flash power, as flash control — 15.1
Flash snapshot (black background) — 15.1
Flash sync speed — 11.2
Flash trigger (radio) — 11.5
Flashgun (see speedlight) — 11.2
Flat lay (overhead angle) — 14.4
Flat-lay — 9.1
flattered-not-robbed test — 37.4
Flattering portrait distance — 9.5
focal length — 2.2
Focal length, as a depth-of-field lever — 4.2
Focal length, vs. perspective — 9.2
Focal plane (plane of focus) — 4.1
Focal-length equivalent (35mm equivalent) — 22.1
Focus bracketing / focus shift — 19.5
Focus by rocking the body — 19.2
Focus distance, as a depth-of-field lever — 4.2
focus on the eyes — 2.6
Focus peaking — 4.4
focus point — 2.6
Focus point, placing — 4.3
Focus rail — 19.5
Focus stacking — 14.6
Focus stacking (deepened) — 19.5
Focus stacking (introduced) — 4.6
Focus stacking (landscape near-far) — 16.2
Focus stacking, phone path — 19.5
Focus, as a decision — 1.2
Focus, how it works — 4.1
Focus-and-recompose, and its trap — 4.3, 4.4
Focusing in the dark — 21.2
Focusing on the eyes (rule for living subjects) — 4.1, 4.3
Fog and mist — 16.3
Folder structure (YYYY/YYYY-MM-DD) — 30.5
Foliage control (green channel) — 28.3
Follow-through (panning) — 20.3
Food photography — 14.4
Foreground / midground / background — 6.5
Foreground anchor — 16.2, 16.5
Foreshortening — 9.5
Format a memory card (when it is safe) — 30.1
found-frame discipline — 37.2
Four stages of critique — 31.2
Frame alignment — 23.3
frame budget — 37.3
Frame rate (fps) — 20.6
Frame rate and buffer — 10.3
Freezing motion — 20.1
Frequency separation — 29.2
Fresh eyes (the stranger's advantage) — 24.3
Freshness cues — 14.4
Front light — 5.2
Front-curtain (first-curtain) sync — 15.2
full-frame sensor — 2.3

G

Gaining height (vertical fix) — 18.2
Galleries (curated, sequenced) — 34.3
Gaze as an implied line — 6.3
Gear Acquisition Syndrome — 1.3
Gel — 15.3
Gelling flash to match ambient — 15.3
Generative AI — 33.1
generative AI (future) — 40.5
Generative fill / extend / replace — 33.2
Generosity (audience-building) — 34.6
Geometry (architectural shapes) — 18.1
Gesture — 10.4
Gesture (street) — 17.1
Gesture peak (gathering vs. collapsing) — 10.4
Get low (to wake up a leading line) — case study 6.2
Getting paid / late payment — 35.5
Ghosting — 23.3
Gimbal (phone) — 22.5
Gist (visual) — 31.1
Giving critique — 31.5
Global before local (rule) — 25.2
Global contrast (in B&W) — 28.4
Golden hour — 5.4
Golden hour (architecture) — 18.5
Golden hour (landscape) — 16.3
Golden hour (travel application) — 24.3
Golden ratio / phi grid (relation to thirds) — 6.2
Grading order — 27.3
Graduated ND filter — 16.4
Grand vista — 16.1, 16.2, 16.5
Grey card — 27.1
Grid — 12.2
Grid overlay (rule-of-thirds, in camera/phone) — 6.2, 6.4
Group f/64 — 36.3
Guide number — 11.2

H

Hair halo (portrait-mode artifact) — 23.4
Hair light — 12.1, 12.4
Hallucination (model failure modes) — 33.1
Halo (tone-mapping artifact) — 23.2
Halve-it rule (skin smoothing) — 29.2
hand-frame (viewfinder of the hands) — 37.2
Hands (posing) — 13.2
Hard light — 5.1
Hard light vs. soft light — 1.4
Harsh midday sun (harsh noon) — 5.4
Harsh noon light (landscape) — 16.3
HDR (high dynamic range) — 23.2
HDR (preview) — 22.1, 22.4
HDR off for moments — 10.3
Headshot — 13.5
Healing (heal tool) — 29.1
Henri Cartier-Bresson — 36.3
Henri Cartier-Bresson (decisive moment) — 17.1, Case Study 17.1
Henri Cartier-Bresson (the decisive moment, composed geometry) — case study 6.1
Hero angle — 14.4
High-ISO noise — 21.2
High-key — 8.3, 12.6
High-speed sync (HSS) — 11.2
highlight clipping — 26.2
Highlight recovery — 25.2
highlight recovery — 26.2, 26.3
highlight reel vs. blooper reel — 37.5
Hiroshi Sugimoto (Architecture series, abstraction) — 18.6 (further reading)
histogram — 26.2
Histogram (as zone meter) — 28.6
Histogram (in the dark) — 21.2
Histogram (interior exposure) — 18.4
Histogram (previewed) — 3.6
Honest retouching workflow (order) — 29.6
Horizon placement — 16.5
Horizon placement (on a third, not the middle) — 6.2, 6.4
Horizontal line (calm, stable) — 6.3
Hot pixels — 21.2
HSL (hue, saturation, luminance) — 27.2
HSL (hue, saturation, luminance), preview — 7.1
HSL (per-color) — 25.2, 25.6
Hue — 7.1
Hue contrast — 7.4
Hue control — 27.2
Hyperfocal distance — 4.6
Hyperfocal distance (street use) — 17.2
Hyperfocal focusing (in landscape) — 16.2

I

Identity/body check (STOP step) — 29.6
image processor — 2.4
Image stabilization (off on a tripod) — 21.1
Image stacking — 23.1
imitation — 39.2
imitation, as a developmental stage — 39.2
Implied line — 6.3
in-camera processing pipeline — 2.4
Incident light meter — 12.5
Inclusive retouching — 29.5
indexical trace (the photograph as) — 36.2
influence — 39.2
Informed consent — 32.1
Ingest — 30.1
Ingest-to-archive pipeline — 30.1
Intent vs. effect — 31.4
Interior photography — 18.4
Interpretation (critique stage) — 31.2
Intimate landscape — 16.1, 16.3
Inverse-square law — 11.5
Inverse-square law (applied to ratios) — 12.5
Invoice — 35.5
ISO — 3.4
ISO scale — 3.4
Isolation vs. front-to-back sharpness — 4.5
isolation work (camera-free practice) — 37.2
Iwan Baan (buildings in use) — further reading

J

Jarvis, Chase — case study 22.1
JPEG — 2.4
Judgment (critique stage) — 31.2
Julius Shulman (Case Study House #22 / Stahl House) — 18.4 (CS-01)
Juxtaposition — 17.1

K

Keeping the take small — 17.6
Keeping verticals straight (level camera) — 18.2
Kelvin (color temperature, creative use) — 7.5
Key light — 12.1, 12.3, 12.4
Keystoning — 18.2
Keyword — 30.3
Kicker / edge light — 12.4
Kill your darlings (separate the photo you love from the photo the essay needs) — 38.4
Killed-ambient flash portrait — 15.6
Kindness (street) — 17.3

L

Landing page (the work as design) — 34.3
latent image — 36.1
latitude (editing) — 26.1
Latitude (highlight/shadow recovery) — 25.2
Law (photographing in public) — 17.3
Law as floor not ceiling — 32.2
Lead room (nose room) — 6.3
Leading lines — 6.3
Leading lines (landscape) — 16.5
Leading the eye with tone — 28.4
Learning paths (mobile, hobbyist, pro-track, student) — 1.5
lens — 2.2
Lens choice as storytelling — 18.3
lens corrections — 26.5
lens elements — 2.2
Lens-shadow problem (macro lighting) — 19.4
Letting the take cool — 17.6
Level horizon — 16.5
Licensing — 35.3
Light (as street raw material) — 17.1
Light and texture (raking light) — 18.6
Light and weather as subject — 16.3
Light falloff — 11.5
Light meter — 3.6
Light painting — 21.5
Light streak / motion streak — 15.2
Light tent — 14.2
Light the reflection, not the object — 14.1
Light trail — 21.3
Light trails (phone) — case study 22.2
Light, as the subject of a photograph — 1.1, 1.4
light-tight box — 2.1
Lighting pattern — 12.3
Lighting ratio — 12.5
Lighting-map legend (frozen symbols) — 12.1
Line (aerial) — 24.5
Line (compositional, in architecture) — 18.1, 18.6
Line of sight (drone) — 24.6
Line of the body — 13.2
Linear / graduated mask — 25.3
Local adjustment — 25.3
local adjustment (recalled) — 26.6
Local tone mapping — 23.2
Long exposure — 21.1, 21.3
Long exposure (daylight, via ND) — 16.4
Long lens (wildlife/sport) — 20.4
Long-exposure noise — 21.2
Long-exposure noise reduction (LENR) — 21.2
Look (color treatment) — 27.4
Looking route (slow-looking protocol) — 31.1
looking vs. seeing (Mode A / Mode B) — 37.1
Loop lighting — 12.3
Low-key — 8.3, 8.4, 12.6
Luminance control — 27.2
luminance noise — 26.5
Luminance, see Value — 7.1
LUT (look-up table) — 27.4

M

Machine-learned depth estimation — 23.4
Macro as landscape at small scale — 19.6
Macro clip-on (phone) — 22.5
Macro lens, focal length and working distance — 19.3
Macro photography — 19.1, 19.2
Macro subjects, finding — 19.6
Magnification (macro) — 19.1
Magnification ratio — 19.1
Magnified live view — 4.4
Manipulation — 29.3
Manipulation vs. deception — 32.3
Manual flash — 11.5
Manual focus — 4.4
manual mode (M) — 2.6
Manual mode (M) — 3.5
Master file (keeping it untouched) — 30.6
Master Image Gallery (Cartier-Bresson entry) — 10.1
Master Image Gallery (in context) — 36.3
Matte surfaces, lighting — 14.2
Meaning between frames — 34.1
medium format — 2.3
megapixel — 2.3
Memory colors — 27.5
Merger (subject–background) — 9.3
Merging (head clearing the background) — 10.4
Metadata — 30.3
Metering — 3.6
Metering modes (evaluative/center-weighted/spot) — 3.6
Metering the lit vs. shadow side — 12.5
Micro Four Thirds — 2.3
Mid-tone — 8.3, 8.5
Middle grey (the meter's assumption) — 3.6
Milky Way — 21.4
mirrorless camera — 2.5
Mixed light / color cast (interior) — 18.4
Mixed lighting — 5.3, 15.5
Mixed lighting (white balance in) — 7.5
Mixed-light night grading — 27.6
Mobile app categories (camera/developer/specialist/publisher) — 25.1
Mobile editing toolkit — 25.1
Mobile RAW (ProRAW, DNG) — 25.2
mode dial — 2.6
Model release — 32.1, 35.5
Model release (preview) — 17.3
Modifier — 12.2
Modifying light (reflector, diffuser, open shade, flash) — 5.5
moiré — 2.4
Monitor calibration — 27.1
Monochromatic harmony — 7.2
Monochrome (when stronger than color) — 28.1
Monochrome preview vs. color RAW — 8.6
Monolight (see strobe) — 11.2
Motion blur, intentional — 20.1
Motion rejection (stacking) — 23.3
Motion, as shutter's side effect — 3.3
Move-and-zoom relationship — 9.2
Moving your feet (to exclude, vs. cropping) — 6.1
Multi-frame capture — 23.1
Multi-light setup (four-light) — 12.4

N

Nadir (top-down) frame — 24.5
Narrative sequence — 38.3
Native focal length — 22.1
Near-duplicate (choosing the keeper) — 30.2
Near-eye focus — 13.4, 13.6
negative (photographic) — 36.1
Negative as score, print as performance — 28.6
Negative space — 6.6
Negative space (product/food) — 14.5
Neutral-density (ND) filter — 16.4
Night exposure (metering routine) — 21.2
Night mode — 23.3
Night mode (phone) — 22.4, 22.6
No-fly zone — 24.6
Noise (digital grain), as ISO's side effect — 3.4
noise (image) — 2.3
Noise (multi-frame reduction of) — 23.1
Noise (on phone, low light) — 22.4
noise reduction — 26.5
Noise reduction / "watercolor" smear — 23.5
non-destructive editing — 26.4
Non-destructive editing (mobile) — 25.1
Non-destructive retouching — 29.1, 29.6

O

Oblique aerial frame — 24.5
Off-camera flash — 11.5
Off-center placement (dynamism, breathing room) — 6.2
Offsite copy — 30.4
On-camera flash (why it fails) — 11.1
one lens / one subject / one month — 37.3
One-bag kit, the — 24.4
One-bag principle — 24.4
One-light portrait setup — 13.1
One-third-stop increments — 3.1
Open / durable file formats (JPEG, TIFF, DNG) — 30.6
Open shade — 5.1, 5.4, 5.5
Opening and closing frame — 34.1
optical viewfinder — 2.5
optical zoom — 2.2
Optical zoom (phone lenses) — 22.1, 22.4
Order of operations (which control leads) — 3.5
Orientation (portrait vs. landscape) — 6.1
Output infringement — 33.5
Output ownership / human authorship — 33.5
output sharpening — 26.5
Output sharpening (screen vs print) — 25.5
Output sharpening for print — 34.2
Outsider's lens — 32.5
Over-correction (verticals) — 18.2
over-inclusion — 40.1
Over-saturation (as a mistake) — 7.1
Overcast — 5.4
Overcast light (landscape) — 16.3
Overexposure / underexposure — 3.1
Overlap (depth cue) — 6.5
Override decision (when computation lies) — 23.6

P

Packing for presence — 24.4
Painting the subject (light) — 21.5
Pairing (echo, contrast, cause-and-effect) — 38.3
Palette (limiting to two or three hues) — 7.6
Panning — 3.3, 20.3
Paper choice (glossy vs. matte/rag) — 34.2
Patience and the prepared photographer — 10.5
Pattern / repetition (abstract) — 18.6
Pattern and texture (aerial) — 24.5
Peak action — 20.5
Peak action (preview) — 10.4
Peak of action, anticipating — 20.5
permission (to be yourself) — 39.6
Permission vs. informed consent — 32.1
Personal code, writing — 32.6
Perspective — 9.2
Perspective correction — 18.2, 18.3
Phone accessories — 22.5
Phone as a street tool (focus/exposure lock) — 17.2
phone camera — 2.5
Phone lens (fixed wide fast) — 22.1
Phone lenses for architecture (ultra-wide/main/tele) — 18.2, 18.3
Phone macro mode — 19.3
Phone sensor size — 22.1
Phone tripod / mini-tripod — 22.5
Phone-only portfolio piece — 22.6
Phone-only travel kit — 24.4
Photo essay — 17.4, 38.3
Photo manipulation (ethical) — 32.3
Photo sequence, the — 24.1
Photographer's code of ethics — 32.6
photographic seeing — 37.1
Photographing children — 17.3
Photographing people respectfully — 24.2
Photography Portfolio, the project — 1.5
Photography, definition of — 1.1
Photojournalism, manipulation standard — 32.3
Photojournalism, retouching limits — 29.4
photosite — 2.3
Pick a winner strategy (Strategy 2) — 15.5
Pictorialism — 36.2
pile vs. body of work — 39.5
pixel — 2.3
pixel pitch — 2.3
Plain-language labeling — 33.4
Plane of sharpness — 4.1
Planning a shoot (sun position, golden hour) — 16.6
Platform aspect ratios — 34.4
Plausibility vs. evidence — 33.1
Pocket release — 32.1
Point of view — 9.6
Point of view, as voice — 9.6
Point stars — 21.4
Polarizer (CPL) — 16.4
Polarizer (sky and glass glare) — 18.5
portable darkroom — 36.1
Portfolio ethics audit — 32.6
Portfolio site — 34.3
portfolio site (web presentation) — 40.3
Portrait focal length — 13.4
Portrait mode — 23.4
Portrait mode (phone) — 22.4
Portrait mode (synthetic background blur, previewed) — 4.2, 4.3
Portrait retouching standard ("themselves on their best day") — 29.2, 29.4
Posing — 13.2
Positive space — 6.6
posterization — 2.4
Poverty as scenery — 32.5
Power points — 6.2
Pre-flight check (drone) — 24.6
Pre-focusing / zone focusing (introduced) — 4.4
Predicting light (sun path, planning apps) — 5.5
prediction discipline — 37.2
Predictive autofocus — 20.2
Prefocus — 10.2
Preparing an image for a feed — 34.4
Presence — 33.6
presentation — 40.3
Preset — 25.4
Preset (reused look) — 27.4
Preset packs (bought) — 25.4
Previsualization — 8.6
Previsualization (landscape) — 16.1, 16.5
Previsualization (realized in conversion) — 28.6
Pricing — 35.2
primacy and recency — 40.2
prime lens — 2.2
print (as presentation) — 40.3
Print (fine-art) — 34.2
Print lab — 34.2
Print look — 28.5
Print vs. screen (emitted vs. reflected light) — 34.2
Privacy, public space — 32.2
Pro/manual mode (phone) — 22.2
program mode (P) — 2.6
Project drift — 38.2, 38.5
Project to book / zine — 38.6
Project to series (online) — 38.6
Project to show / wall — 38.6
Prop creep — 14.5
Property release — 35.5
Props — 14.5
ProRAW — 22.2, 25.2
Protecting skin under a grade — 27.5
Provenance — 33.4
provenance and authorship — 40.5
Publisher (social platform as editor) — 25.1
Publishing vs. selling vs. taking — 17.3
Punching up vs. punching down — 17.3

Q

Quality of light (hard vs. soft) — 5.1

R

Radial mask — 25.3
Raking light (for texture) — 8.3, 8.4
RAW — 2.4
RAW (for white-balance latitude) — 7.5
RAW + JPEG (shoot both) — 23.6
RAW capture (as override) — 23.6
RAW development — 26.1, 26.3, 26.6
RAW on phone — 22.2
RAW vs. JPEG (revisited) — 26.1
Reaction time and shutter lag — 10.2
Reactive setup (street settings) — 17.2
Rear-curtain (second-curtain) sync — 15.2
Reasonable expectation of privacy — 17.3, 32.2
Receiving critique — 31.5
Recurring locations (kitchen window, intersection, park, night block) — 1.5
Red door (as red-against-grey color study) — 7.4
Red door (B&W tonal study) — 8.4
Red door (B&W-converted, arc close) — 28.6
Redeye — 11.1
Redundancy in a sequence — 38.4
reflection (the four questions) — 40.4
Reflective surfaces, lighting — 14.2
Reflector (as fill) — 12.2, 12.4, 12.5, 13.1
Reflector (bounce fill) — 5.5
Registration and certification (drone) — 24.6
Reject pass — 30.2
Relationship and consent (irreplaceable value) — 33.6
Rembrandt lighting — 12.3
Rembrandt triangle (cheek triangle) — 12.3
Remote ID — 24.6
Removal (the hard middle case) — 33.3
Removing distractions — 29.3
Repetition / rhythm (architectural) — 18.1, 18.6
Representation — 32.4
Representation and responsibility — 29.5
Reproduction ratio — 19.1
Reproduction ratio, measuring with a ruler — 19.1
Resolution (for export) — 25.5
Responsibility (photographer's duty) — 33.6
Retouching — 29.1
Return (documentary method) — 17.4
Reversing ring — 19.3
Reversing the lens — 19.3
Rhythm (in sequencing) — 38.3
rhythm (loud/quiet) — 40.2
Rhythm in a sequence — 34.1
Richard Avedon — 36.3
Right of publicity — 32.1
Right of publicity (AI likeness) — 33.5
Rim light — 12.1, 12.4
Ring light (and flat light) — 19.4
rising-standards illusion — 40.4
Room in the direction of travel — 20.5
Rule of thirds — 6.2
rut vs. style forming — 39.5

S

S-curve — 26.3
Sampling (matched, in retouching) — 29.1
Saturation — 7.1
Saturation contrast — 7.4
Saturation control — 27.2, 27.5
Saturation limits / cliff — 27.5
Saturation vs. vibrance — 27.5
Scale (a small figure for) — 6.5
Scale element — 16.5
Scarcity of the true image (economics) — 33.6
Scene (medium) range — 24.1
Scout then return — 16.6
Scouting / returning for light — 18.5
Scouting a location — 24.3
Sebastião Salgado (backlight, atmosphere) — case study 5.1
Second pair of eyes (editing) — 34.1
seeing as a way of life — 37.6
Seeing light (direction, quality, color, quantity) — 1.4
Seeing light, daily practice of — 5.6
Seeing structure (line, repetition, geometry) — 18.1
Select pass — 30.2
Selecting vs. processing — 17.6
Selective focus — 4.5
self-assessment — 40.4
Self-contained archive / README note — 30.6
Semantic segmentation — 23.5
Sense of place — 24.1
sensor — 2.1, 2.3
sensor size — 2.3
Sensor size and depth of field — 4.2
Sensor size and high-ISO performance — 3.4
Sensor-parallel alignment (macro) — 19.2
Separation (subject from background) — 12.4, 12.6
sequence (final) — 40.2
Sequencing — 34.1
Sequencing tools (rhythm, pairing, pacing, the cut) — 38.3
Setting a trap for the light — 10.2
Shadow (aerial golden-hour) — 24.5
shadow clipping — 26.2
Shadow recovery — 25.2
shadow recovery — 26.2, 26.3
Shadows/midtones/highlights grading — 27.3
Shallow vs. deep depth of field — 4.2, 4.5
Shape and form — 8.3
sharpening — 26.5
Sharpening (computational) — 23.5
Sharpening for output — 25.5
Sharpness as emphasis — 4.5
Shift movement (lens) — 18.2, 18.3
Shoot through the peak (release a beat early) — 10.2
Shooting from the hip — 17.2
Short aimed burst — 20.6
Short lighting — 12.3, 13.1
Shot list (documentary) — 17.4
shot noise — 2.3
Showing the subject the screen — 24.2
shutter (mechanical and electronic) — 2.1
Shutter lag (phone) — 10.3
shutter priority (S / Tv) — 2.6
Shutter Priority mode (action) — 20.1
Shutter speed — 3.3
Shutter speed (freeze vs. blur decision) — 20.1
Shutter speed (freezing a stride) — 17.2
Shutter speed, as ambient control — 15.1
Shutter-priority mode (S / Tv) — 3.3, 3.5
Shutter-speed scale (full-stop sequence) — 3.3
Side light (raking light) — 5.2
Side light (raking, for texture) — 14.2
Sidecar file — 30.3
signal-to-noise ratio — 2.3
signature choices — 39.3
Significance and form (simultaneous recognition) — 10.1
Silhouette — 5.2, 8.3, 8.4
Silky water — 21.3
silver halide — 36.1
Simplify (one subject, one idea) — 6.6
Simplifying the palette — 7.6
Single AF (AF-S / one-shot) — 20.2
Single autofocus (AF-S / One-Shot) — 4.3
Single frame vs. burst (matching tool to moment) — 10.3
Single point of failure — 30.4
Single-point AF — 4.3
Situating vs. explaining the work — 34.5
Skin control (orange channel) — 28.3
Skin smoothing — 29.2
Skin tone, preserving — 29.2, 29.5
Skin tones (grading) — 27.5
Sky as backdrop (architecture) — 18.5
Sky control (blue channel) — 28.3
Slow looking — 31.1
Small-sensor limits — 22.1, 22.4
Smartphone photography — 22.1
Smoothed motion (water, cloud) — 21.3
Snoot — 12.2
Soft light — 5.1
Soft-proofing — 34.2
soft-proofing — 40.3
Softbox — 12.2
Source size and distance, effect on light quality — 5.1
Specular highlight — 14.1
Speedlight — 11.2
Split lighting — 12.3
Split toning — 27.3
Split toning (warm highlights, cool shadows) — 28.5
Spray and pray — 20.6
Spray-and-pray (and its costs) — 10.3
Squinting (to see value) — 8.2, 8.6
Stacking (star trails) — 21.4
Stage (decisive-moment stage) — 10.2
Star rating — 30.2
Star trail — 21.4
steal like an artist — 37.4
Steam (photographing) — 14.4
Stereo depth (two-camera) — 23.4
Stop (doubling/halving of light) — 3.1, 3.5
Stops, counting doublings — 3.1
straight photography — 36.2
Street photographer's eye (light, gesture, juxtaposition) — 17.1
Street photography — 17.1, 17.2
Strip box / octabox — 12.2
Strobe — 11.2
Studio mindset (building from darkness) — 12.1
Studio portrait — 13.5
studio portrait (white-seamless) — 36.3
studying vs. scrolling — 37.4
style — 39.1
style, vs. preset/filter/genre — 39.1
Styling — 14.4
Subject detection (eye / animal / bird AF) — 20.2
Subject-detection autofocus — 4.3
Subtracting color (re-frame, get closer, unify light, blur) — 7.6
Subtraction (composition) — 9.4
surface vs. deep choices — 39.1
Surface, reading (specular vs. diffuse) — 14.1
Sustainable practice — 35.6
Sweep — 14.6
Symmetry — 6.4
Sync speed (recall) — 15.2
Sync speed (see flash sync speed) — 11.2
Synthetic bokeh — 23.4
Synthetic bokeh (preview) — 22.4

T

Tabletop lighting — 14.3
Taking "no" gracefully — 17.5
Tap-to-focus and AF/AE lock (phone) — 4.3
Taste laundering — 31.3
Taste preference — 31.3
Teal and orange look — 27.3
Teleconverter — 20.4
Telephoto / compression (architecture) — 18.3
Telephoto compression — 9.2
telephoto lens — 2.2
Telephoto reach — 20.4
Temperature contrast — 7.4
Temporary flight restriction — 24.6
Temporary vs. permanent flaws — 29.2
Texture (as monochrome subject) — 8.3, 8.4
Texture / Clarity / Dehaze (presence) — 25.2
Texture layer (high frequency) — 29.2
Texture, revealing with raking light (grazing geometry) — 5.2
The "exposure" offer (working for free) — 35.6
The "phone look" pipeline — 23.5
The 3-2-1 backup rule — 30.4
The 500 rule — 21.4
The abstract building — 18.6
The Americans (Robert Frank) — 34.1
The best camera is the one that's with you — case study 22.1
the camera phone (always-present camera) — 36.6
the canon (incompleteness of) — 36.3
The claim of a photograph — 29.3
The cold question (editing) — 17.6
the comparison trap — 37.5
the curation screen (five questions) — 40.1
The decisive moment — 10.1
The decisive moment (composed-stage method) — case study 6.1
the decisive moment (historical) — 36.3
the digital revolution — 36.5
The edit (body of work) — 38.4
The edit (selection) — 34.1
the fair comparison (to your own past) — 37.5
the feed — 36.6
The firewall (sharing) — 34.4
the fixed baseline (00-before) — 40.4
The four decisions — 1.2
the four-pass cull — 40.1
The four-pass edit (cull, selects, through-line, sequence) — 38.4
The frame (as a decision / exclusion) — 6.1
The frame (composition) — 1.2
The geometry of the instant — 10.4
The gift (earned luck) — 10.5
the lifelong loop (of the developing eye) — 37.6
The Light Log — 1.4, 5.6
the Light Log (matured) — 37.2
The long-term project — 38.1
The milestone (vs. deadline) — 38.5
The moment in everyday life — 10.6
The moment, deciding — 1.2
the New Color — 36.4
The one-third rule (focus into the scene) — 4.6
the opener and closer — 40.2
the outside eye — 40.1
The pile vs. the project — 38.1
The plateau (sustaining a project) — 38.5
The plumb line — 18.2
the portfolio (final) — 40.2, 40.4
The prepared-photographer pre-flight — 10.5
the reason to create — 40.6
the recognizable body of work — 39.5
The red door (exposed two apertures) — 3.2
The red door (golden hour vs. flat noon) — 5.4
The red door (placed on a power point) — 6.1, 6.2
the red door (RAW-processed) — 26.3
The red door (recurring subject) — 1.2
the red-door series (through-line) — 40.4
the rut — 37.5
The single break (aerial subject) — 24.5
The single story — 32.5
the snapshot — 36.4
The specific compliment (approach) — 17.5
The stage (street) — 17.1
The street-ethics gut check — 17.3
The through-line — 38.4
The traveler's constraints (stranger, temporary, visible) — 24.3
The turn (pivot frame) — 38.3
The two-exposure model — 11.3
the witnessed image — 40.5
the work only you can make — 39.6
The Zone System — 8.5
The Zone System (applied in develop) — 28.6
Three dimensions of color — 7.1
Three levers of depth of field — 4.2
Three ranges (establishing/scene/detail) — 24.1
Three-quarter angle — 14.4
three-subject voice test — case-study-02
through-line — 39.5
Tilt-shift lens — 18.2, 18.3
Time as ego-solvent (self-critique) — 31.4
Time of day (architecture) — 18.5
Time-of-flight / depth sensor — 23.4
Times of day — 5.4
Title (framing the reading) — 38.6
Tonal environment / which tones dominate — 12.6
Tonal merger — 8.2, 8.4
Tonal range — 8.3
Tonal separation — 8.2, 8.4
Tonal separation (in conversion) — 28.2, 28.3
Tone before color (rule) — 25.2
tone curve — 26.3
Tone curve (mobile) — 25.2
Tone layer (low frequency) — 29.2
Tone mapping — 23.2
Toning — 28.5
Top light — 5.2
Topic vs. subject — 38.2
Traffic trails — 21.3
Training-data legality — 33.5
Travel kit — 24.4
Triadic harmony — 7.2
Tripod (for long exposure) — 21.1
Tripod (interiors/blue hour) — 18.4, 18.5
Truth spectrum — 32.3
TTL flash metering — 11.5
Two layers of disclosure — 33.4
Two-exposure model (ambient + flash) — 15.1
Two-grade method — 27.6
Two-hue image — 7.6
Two-pass cull (reject pass / select pass) — 30.2
Two-point perspective — 18.3

U

Umbra and penumbra (shadow structure) — 5.1
Umbrella (shoot-through, reflective) — 12.2
Un-mix strategy (Strategy 1) — 15.5
Under light — 5.2
Usage rights — 35.3

V

Value (luminance) — 7.1
Value vs. hue (in conversion) — 8.2
Vanishing-native fallacy — 32.5
Vanity metric — 34.4
Vantage — 9.1
Vantage / position (lines sensitive to) — 6.3
Verify (file count / checksum) — 30.1
Verifying a backup — 30.4
Versatility per gram — 24.4
Vertical line (strong, formal) — 6.3
Vibrance — 27.5
Vibrance vs. Saturation — 25.2
vibrance vs. saturation — 26.3, 26.6
View from above, the — 24.5
Vignette (edge burn) — 28.4
vignetting — 26.5
Virality vs. the long game — 34.6
vision — 39.4
visual diet — 37.4
Visual literacy — 31.6
Visual rhyme — 10.4
visual rhyme — 40.2
Visual storytelling — 38.3
Visual weight — 6.4
Vivian Maier — 36.3, case-study-01
voice — 39.1, 39.5, 39.6
Voice (vs. statistical average) — 33.6
voice statement — 39.4, Portfolio Checkpoint
Vulnerability (subject) — 17.3
Vulnerable subject — 32.4

W

W. Eugene Smith (photo essay; case study) — 38.CS1
Walk-around zoom — 24.4
Warm and cool (color temperature axis) — 7.3, 7.5
Warm colors — 7.3
Warm subject / cool background (depth) — 15.5, 15.6
weakest-image law (portfolio judged by its floor) — 40.1
Weekly master read — 31.6
Well-exposed (vs. "correct") — 3.1
wet-plate collodion — 36.1
White balance — 5.3
White balance (as a creative choice) — 7.5
White balance (color correction) — 27.1
White balance (in editing) — 25.2
white balance (in-camera, preview) — 2.4
white balance (recalled) — 26.3
White balance, with gels — 15.3
White card (bounce / fill) — 14.2, 14.3
White-balance strategy (mixed light) — 15.5
whites and blacks (end points) — 26.3
Wide / auto-area AF — 4.3
Wide-angle distortion — 9.5
wide-angle lens — 2.2
Wide-angle lens (architecture) — 18.3
Wide-angle near-far relationship — 16.2
Wildlife approach (fieldcraft) — 20.4
William Eggleston — 27 (case study 1)
Window light (for objects) — 14.3
Window light (portrait) — 13.1
Witness — 33.6
Work-for-hire — 35.4
Working distance — 19.3
Working hypothesis — 38.2
Working the edges of the day — 24.3
Working the fade — 21.6
Working the scene — 9.4
working the scene (constraint) — 37.3
Working the scene (toward one keeper) — case study 6.2
Working unobtrusively — 17.2
Worm's-eye view — 9.1
Writing a statement (four questions) — 34.5
Writing with light — 1.1

Z

Zone / group AF — 4.3
Zone focusing — 17.2
Zone placement — 28.6
Zone System (Adams) — 8.5, CS 8.1
Zone System (digital parallel) — 26.3
Zone System (in historical context) — 36.3
Zone System (introduced via case study) — CS 3.1
Zone V (middle gray) — 8.5
zoom lens — 2.2
Zoom with your feet — 22.4