| Acknowledgements |
|
xx | |
| About the Authors |
|
xxiii | |
| Preface: Why I Wrote this Book |
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xxix | |
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PART I Industry Expectations and Attitudes |
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1 | (82) |
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1 Why Best Practices as an Approach |
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3 | (16) |
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3 | (1) |
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Denning Best Practices and an Imaging Workflow |
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3 | (1) |
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4 | (1) |
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Using Effective Camera Supports |
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5 | (1) |
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Cleanliness of the Imaging Area |
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5 | (1) |
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Selecting and Using the Right Imaging Tools |
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6 | (1) |
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Optimizing Camera Settings |
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6 | (1) |
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Use a Clean Lens for Imaging |
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7 | (1) |
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Make a Number of Exposures and Not Just a Single Frame |
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7 | (1) |
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Monitors and Video Displays |
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7 | (1) |
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8 | (1) |
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Software, Upgrades, and Optimizing the Computer |
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9 | (1) |
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10 | (1) |
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The Image Pipeline, Folders and Naming Files |
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10 | (1) |
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Archiving, Data Redundancy, and Backing Up |
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11 | (3) |
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14 | (1) |
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Keeping Your Computer System Tuned Up |
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15 | (1) |
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A Summary of Best Practices |
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15 | (1) |
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16 | (3) |
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2 Optimizing Imaging Outcomes |
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19 | (8) |
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The Product is the Sum of Parts |
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19 | (1) |
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20 | (1) |
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Pre-Photographic Considerations |
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21 | (1) |
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21 | (1) |
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22 | (1) |
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Sample Preparation and Artifacts |
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22 | (1) |
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23 | (1) |
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Controlling Dirt and Extraneous Materials |
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23 | (1) |
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24 | (1) |
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Bad Pictures May NOT Always be Bad Pictures |
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24 | (1) |
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The Role of the Background |
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24 | (1) |
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Choosing a Neutral Background |
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25 | (1) |
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26 | (1) |
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27 | (18) |
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Tenets of the Science Image |
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29 | (1) |
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Standardized Approaches and Repeatability |
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29 | (1) |
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30 | (1) |
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Science Images Require the Inclusion of a Scale |
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31 | (1) |
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Photographer's Intent and Subject Matter |
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32 | (1) |
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A Picture is Truly Worth a Thousand Words |
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32 | (2) |
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A Quick History of Photography and Scientific Photography |
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34 | (1) |
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Making the Invisible Visible |
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35 | (1) |
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36 | (1) |
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Scientific Instruments and Optical Improvements |
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37 | (1) |
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Invisible Spectrum Photography |
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37 | (2) |
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Advancements in Photographic Technology |
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39 | (1) |
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Short Duration Light, Electric Flash and Stroboscopes |
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40 | (3) |
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Modern Technologies -- Digital and Electronic Photography |
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43 | (1) |
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The Duality of Science Images |
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43 | (2) |
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45 | (26) |
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45 | (1) |
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46 | (4) |
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Equipment and Exposure Standardization |
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50 | (3) |
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53 | (1) |
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Photographic Techniques and their Effects |
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53 | (3) |
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A Pixel is Worth a Thousand Words |
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56 | (4) |
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60 | (5) |
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65 | (4) |
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69 | (2) |
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5 The Subject of the Photograph |
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71 | (12) |
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71 | (1) |
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The Sample and Photographic Treatments |
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71 | (1) |
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71 | (1) |
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72 | (1) |
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Isolating the Subject: Composition |
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72 | (1) |
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Isolating the Subject: Magnification |
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73 | (1) |
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Wet Specimens and Managing Liquids |
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73 | (2) |
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Making Chambers and Using Welled Slides |
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75 | (1) |
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Staining to Reveal Features |
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76 | (1) |
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77 | (1) |
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78 | (1) |
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79 | (1) |
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79 | (1) |
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The Use of Scales to Indicate Size |
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80 | (3) |
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PART II Tools and Technology Foundations |
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83 | (74) |
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6 Cameras and Photographic Practices |
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85 | (14) |
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85 | (1) |
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86 | (2) |
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The Photographic Exposure |
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88 | (1) |
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Light Measurement and Meters |
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89 | (1) |
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Exposure Values and their Application |
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90 | (1) |
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91 | (1) |
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91 | (1) |
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92 | (1) |
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More on Sync Speeds and Focal Plane Shutters |
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93 | (1) |
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94 | (1) |
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95 | (1) |
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Shutter Induced Image Artifacts |
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96 | (1) |
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97 | (2) |
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99 | (24) |
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99 | (1) |
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Light Sources and Electromagnetic Radiation |
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99 | (4) |
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Emitters of Continuous Spectrums |
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103 | (1) |
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Continuous and Discontinuous Spectrums |
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103 | (1) |
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104 | (1) |
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Continuous vs Pulsed Emissions |
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105 | (1) |
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106 | (1) |
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107 | (1) |
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107 | (1) |
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107 | (2) |
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109 | (1) |
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109 | (1) |
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110 | (2) |
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Lenses for Scientific Applications |
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112 | (1) |
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112 | (1) |
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113 | (1) |
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114 | (1) |
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115 | (1) |
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115 | (1) |
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116 | (1) |
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117 | (1) |
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117 | (1) |
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118 | (1) |
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Neutral Density and Other Special Filters |
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118 | (1) |
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119 | (1) |
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120 | (1) |
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Diffraction and Image Sharpness |
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121 | (2) |
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8 A Deeper Dive into Digital Devices |
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123 | (20) |
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123 | (1) |
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123 | (1) |
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124 | (1) |
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Single Shot Area Array Sensors |
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125 | (2) |
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More on Linear Array or Scanning Cameras |
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127 | (1) |
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Sensor Sensitivity (ISO), Binning, and Gain |
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127 | (1) |
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Noise: Evaluating Dark, Shot, and Noise Sensor |
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128 | (1) |
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129 | (2) |
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131 | (1) |
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132 | (1) |
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133 | (1) |
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134 | (2) |
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136 | (1) |
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136 | (3) |
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139 | (1) |
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In-Camera Digital Filters |
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140 | (1) |
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140 | (1) |
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140 | (1) |
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141 | (1) |
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Digital Artifacts -- Aliasing |
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141 | (1) |
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142 | (1) |
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142 | (1) |
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9 Lighting for Natural Science Photography |
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143 | (14) |
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143 | (3) |
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146 | (1) |
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Types of Lights for Small Subjects |
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146 | (2) |
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Electronic Flash Equipment |
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148 | (1) |
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149 | (1) |
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Making White and Neutral Backgrounds |
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150 | (1) |
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150 | (1) |
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151 | (1) |
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152 | (1) |
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152 | (2) |
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154 | (1) |
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155 | (1) |
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155 | (2) |
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157 | (194) |
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159 | (18) |
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Photographing from an Aircraft |
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159 | (1) |
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Equipment Recommendations |
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159 | (1) |
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Choosing the Best Aircraft for the Imaging Requirements |
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160 | (1) |
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160 | (1) |
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160 | (1) |
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161 | (1) |
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Time of Day Considerations |
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162 | (1) |
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162 | (1) |
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163 | (1) |
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163 | (1) |
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163 | (1) |
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163 | (1) |
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Unmanned Aircraft Systems |
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163 | (3) |
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166 | (1) |
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166 | (1) |
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167 | (1) |
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168 | (2) |
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170 | (1) |
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Using a GoPro or other Action Camera |
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170 | (1) |
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Photogrammetry and Mapping |
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171 | (1) |
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Flight Safety and Federal Guidelines |
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172 | (1) |
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Photographing from a Drone |
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172 | (1) |
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Exporting Frames of Video |
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173 | (1) |
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Saving a Single Frame of Video using Adobe Photoshop |
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174 | (1) |
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Saving Multiple Consecutive Frames using Adobe Photoshop |
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174 | (1) |
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Saving Single Frames using VLC Media Player |
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174 | (1) |
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Saving Single or Multiple Consecutive Frames using GOM Player |
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174 | (1) |
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Low Cost Alternatives to Aerial Photography |
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175 | (1) |
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176 | (1) |
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11 Close-Up and Macro Photography |
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177 | (16) |
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177 | (1) |
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Defining Close-Up Photography |
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177 | (1) |
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Lenses for Close-Up Photography |
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177 | (2) |
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Getting Closer: Supplementary Lenses |
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179 | (1) |
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Getting Closer: Extension Tubes for Close-Up Photography |
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179 | (1) |
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180 | (1) |
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Focusing, Depth of Field, and Diffraction |
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180 | (1) |
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Creating the Maximum Zones of Focus |
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181 | (1) |
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Choosing the Best Aperture |
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182 | (1) |
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Exposure Compensation and Determination |
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182 | (1) |
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183 | (1) |
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Bellows and Laboratory Setups |
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184 | (1) |
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True Macro Lenses and Optical Considerations |
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185 | (1) |
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Other Lenses that Can be Used for Magnifications 2:1 and Higher |
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185 | (1) |
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Setting up a Macro System |
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186 | (1) |
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Exposure Compensation for Photomacrography |
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187 | (1) |
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187 | (1) |
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188 | (1) |
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Case Study: Photographing Ice Crystals (Snowflakes) |
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188 | (5) |
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12 Computational Photography |
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193 | (13) |
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Batch Processing Files Using Adobe Lightroom |
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193 | (1) |
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Batch Processing Files Using Adobe Photoshop |
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194 | (2) |
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Increased Depth of Field Imaging Methods |
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196 | (1) |
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196 | (1) |
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197 | (1) |
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Processing Files Used in Computational Images |
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198 | (1) |
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Making a Z-Stack Using Adobe Photoshop |
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198 | (2) |
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200 | (1) |
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200 | (1) |
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Creating Wide Field High Resolution Files or Image Maps |
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200 | (2) |
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202 | (1) |
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Image Processing for Mapping |
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203 | (1) |
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203 | (1) |
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High Dynamic Range Images |
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203 | (1) |
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Making Photographic Exposures |
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204 | (1) |
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204 | (2) |
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206 | (23) |
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207 | (1) |
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207 | (1) |
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Equipment Recommendations |
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208 | (1) |
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209 | (1) |
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210 | (1) |
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211 | (1) |
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211 | (1) |
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211 | (1) |
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Clothing and Personal Safety Suggested Guidelines |
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212 | (1) |
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Modifying Light in the Field |
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212 | (1) |
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A Useful Image Processing Technique for High Contrast Scenes |
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213 | (2) |
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215 | (1) |
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215 | (1) |
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Close-Up and Macro Photography in the Field |
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215 | (1) |
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Increased DOF Imaging or Focus Stacking |
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216 | (1) |
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216 | (1) |
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Photographing Plants and Fungi |
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216 | (1) |
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217 | (2) |
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219 | (1) |
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220 | (1) |
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Animal and Bird Photography Using a Long Lens |
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220 | (1) |
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221 | (1) |
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Working from Blinds (Hides) both Permanent and Temporary |
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221 | (1) |
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222 | (1) |
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222 | (1) |
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222 | (1) |
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222 | (1) |
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Designing a Flash Bracket |
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223 | (1) |
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224 | (1) |
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225 | (1) |
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226 | (1) |
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226 | (3) |
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14 Fossils, Minerals, and Geological Photography |
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229 | (20) |
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Representing the Specimen |
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229 | (1) |
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229 | (3) |
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Camera, Essential Lenses, and Tripods |
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232 | (1) |
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233 | (1) |
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233 | (1) |
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234 | (1) |
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Sunlight and Documenting the Site |
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235 | (2) |
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More on Artificial Light Sources: Tungsten, Fiber Optics, Electronic Flash, and LED |
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237 | (4) |
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Background Selections and Reflectors |
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241 | (1) |
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242 | (1) |
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UV Radiation and Geological Minerals |
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243 | (2) |
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Slabs and Polished Specimens |
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245 | (2) |
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247 | (2) |
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15 Imaging with Invisible Spectrums |
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249 | (36) |
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249 | (1) |
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The Electromagnetic Spectrum |
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249 | (1) |
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250 | (1) |
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251 | (1) |
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251 | (1) |
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251 | (1) |
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251 | (1) |
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252 | (1) |
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252 | (1) |
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Requirements for Reflected UV Photography |
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253 | (1) |
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254 | (1) |
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255 | (1) |
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256 | (1) |
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256 | (1) |
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256 | (1) |
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257 | (1) |
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Other UV Transmitting Filters |
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258 | (1) |
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259 | (1) |
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Best UVR Photography Practices |
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260 | (1) |
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White Balancing Reflected UV Images |
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261 | (1) |
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Making Control or Reference Images |
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262 | (1) |
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Applications of UVR Photography |
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262 | (1) |
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262 | (1) |
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263 | (1) |
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263 | (2) |
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Luminescence, Fluorescence and Phosphorescence |
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265 | (1) |
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Practical UV Fluorescence Photography |
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266 | (1) |
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266 | (1) |
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267 | (1) |
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268 | (1) |
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268 | (3) |
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271 | (1) |
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Lens Filters for IR Photography |
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271 | (1) |
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NDVI: Normalized Difference Vegetation Index |
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272 | (1) |
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272 | (1) |
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272 | (1) |
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Resolution in IR Photography |
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273 | (1) |
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273 | (1) |
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Characteristics of IR Images |
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274 | (1) |
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Black and White IR Photography |
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274 | (1) |
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275 | (1) |
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276 | (1) |
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Channel Swapping Technique |
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277 | (1) |
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277 | (1) |
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278 | (1) |
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Simulating False Color Analog IR Images |
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278 | (2) |
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Applications of IR Photography |
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280 | (1) |
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280 | (1) |
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280 | (1) |
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Other Applications of Polarized Light |
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281 | (2) |
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Case Study: Preparing a Vitamin Specimen for Polarized Light Photography |
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283 | (1) |
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Using a Laptop or Tablet PC |
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283 | (2) |
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16 Contemporary Light Microscopy Practices |
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285 | (38) |
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285 | (1) |
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Foundations of Magnified Images |
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286 | (1) |
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287 | (1) |
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288 | (2) |
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Optical Components of a Light Microscope |
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290 | (2) |
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A Deep Dive into Objective Lenses |
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292 | (2) |
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Explaining Numerical Aperture |
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294 | (1) |
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Forming Highly Resolved Images: The Role of Diffraction and Resolution |
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294 | (1) |
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Demystifying Concepts about Numerical Apertures |
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295 | (1) |
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296 | (1) |
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297 | (2) |
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299 | (1) |
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Fundamentals of Operating a Microscope |
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299 | (1) |
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299 | (1) |
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300 | (1) |
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Operating with Very Small Working Distances |
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300 | (1) |
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300 | (1) |
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Using the Microscope's Body Tube |
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300 | (1) |
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301 | (1) |
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Substage Condenser and Adjustments |
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301 | (1) |
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Using the Field Diaphragm or Field Stop |
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301 | (1) |
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302 | (1) |
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302 | (1) |
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Establishing Proper Brightfield Illumination when using Transmitted Light Microscopes |
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303 | (1) |
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Establishing Proper Kohler Illumination |
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303 | (1) |
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Setting Up Kohler Illumination and More |
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|
303 | (3) |
|
Reflected Light and Industrial Microscopes |
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|
306 | (2) |
|
Darkfield Transmitted Light Illumination |
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|
308 | (1) |
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Establishing Darkfield Illumination |
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|
308 | (2) |
|
Modifying a Brightfield Condenser for Darkfield Illumination |
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310 | (1) |
|
Challenges in Darkfield Microscopy |
|
|
310 | (1) |
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310 | (1) |
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311 | (2) |
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|
313 | (4) |
|
Using a DSLR on a Microscope |
|
|
317 | (1) |
|
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317 | (1) |
|
DSLR Camera Disadvantages |
|
|
318 | (1) |
|
Attaching and Operating the Camera |
|
|
318 | (3) |
|
Case Study: Photographing Live Material using Electronic Flash on a Microscope |
|
|
321 | (2) |
|
17 Photographing Small Animals in Captivity |
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323 | (12) |
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323 | (1) |
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Careful Handling of Living Organisms Maximizing Their Safety and Yours |
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324 | (2) |
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326 | (1) |
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Lighting Small Living Subjects |
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327 | (1) |
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328 | (1) |
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Controlled but not Contained |
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329 | (1) |
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329 | (6) |
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335 | (16) |
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Introduction to Time-Lapse Imaging Best Practices |
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335 | (1) |
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335 | (2) |
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Long Exposure Time-Lapse Events |
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337 | (2) |
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339 | (1) |
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Photographic Considerations |
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339 | (1) |
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Digital Formats and Equipment Considerations |
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340 | (1) |
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341 | (1) |
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The Best Way to Determine the Timing of a Sequence |
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342 | (1) |
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Photographing a Time-Lapse Sequence |
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342 | (1) |
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Image Editing Time-Lapse Photos |
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343 | (1) |
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Final Thoughts About Time-Lapse Videos |
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343 | (1) |
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Case Study: Making a Time-Lapse of a Plant Growing |
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343 | (3) |
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Photographing High Speed Events |
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346 | (1) |
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Case Study: Photographing Birds and Insects in Flight with a Capping Shutter |
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346 | (5) |
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PART IV After Capture Post Production |
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351 | (56) |
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19 Image Processing in Science |
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353 | (54) |
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353 | (1) |
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Manipulation, Enhancement, or Clarification |
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354 | (1) |
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355 | (1) |
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356 | (2) |
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Fundamental Digital Color Models |
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358 | (1) |
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358 | (2) |
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360 | (1) |
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361 | (1) |
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361 | (1) |
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Image Processing Tools Overview |
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362 | (1) |
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Image Size and Display Resolution |
|
|
363 | (1) |
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Image Editing Tools Overview |
|
|
363 | (2) |
|
Image Processing Fundamentals |
|
|
365 | (2) |
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367 | (1) |
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Improving Contrast and Appearance |
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368 | (2) |
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370 | (3) |
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Color and Contrast Corrections |
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373 | (9) |
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382 | (3) |
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385 | (4) |
|
Camera RAW Image Processing |
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389 | (2) |
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Pseudo-Coloring Black and White Images |
|
|
391 | (1) |
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Creating Composite Images for Publication |
|
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392 | (4) |
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|
396 | (1) |
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|
397 | (2) |
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Preparing Files for Publication |
|
|
399 | (8) |
| Index |
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407 | |
Rohkem infot Taylor & Francis e-raamatute kohta