| Preface | p. 12 |
| Introduction | p. 14 |
| How to See Photographically | p. 16 |
| Seeing Photographically | p. 17 |
| Making Abstract All Sensory Input Except for Visual Input | p. 17 |
| Focusing on the Visual Aspects of the Scene | p. 18 |
| Learning to See in Two Dimensions | p. 18 |
| Recreating Depth, the 3rd Dimension, in a 2-Dimensional Medium | p. 18 |
| How to Compose a Photograph | p. 22 |
| Introduction to Composition | p. 23 |
| The Strongest Way of Seeing | p. 24 |
| There is More Than One Way to Compose a Scene | p. 24 |
| One Composition Among Many | p. 25 |
| Walking the Scene | p. 25 |
| Using a "Cutout" Finder | p. 26 |
| Rules of Composition | p. 27 |
| Conclusion | p. 31 |
| How to Choose the Best Lens for a Specific Composition | p. 32 |
| The Importance of the Lens | p. 33 |
| Human Eyes and Camera Eyes | p. 33 |
| One Landscape: Three Main Lens Choices | p. 34 |
| Which Lens Should I Take? | p. 42 |
| Photographic Skills Enhancement Exercises | p. 42 |
| Conclusion | p. 43 |
| How to Find the Best Light for a Specific Photograph | p. 46 |
| And God said, Let there be light: and there was light (Genesis 1:3) | p. 47 |
| Drawing with Light | p. 47 |
| Three Governing Rules Regarding Light | p. 48 |
| How to Find the Best Light | p. 48 |
| Sunrise and Sunset - The Best Light | p. 50 |
| Other Light Choices | p. 52 |
| The Various Types of Natural Light | p. 52 |
| Photographic Skills Enhancement Exercises | p. 58 |
| Conclusion | p. 60 |
| How to Select the Best "Film" for a Specific Photograph | p. 62 |
| Introduction to Film Choice | p. 63 |
| A Look at Photography in History | p. 63 |
| Film and Seeing | p. 64 |
| The Importance of Raw Conversion | p. 65 |
| Color or Color | p. 66 |
| Let's Use Film (or digital capture); Let's Not Let Film Use Us! | p. 66 |
| Color or Black and White? | p. 67 |
| Duotones, Tritones and Quadritones | p. 69 |
| Film Speed | p. 70 |
| Photographic Skills Enhancement Exercises | p. 73 |
| Conclusion | p. 75 |
| How to Determine the Best Exposure for a Specific Photograph | p. 76 |
| Introduction to Exposure | p. 77 |
| The Importance of Proper Exposure | p. 77 |
| Gray Cards, Overexposure, and Underexposure | p. 78 |
| How to Determine the Contrast Range that the Film or Digital Camera Can Capture | p. 80 |
| The Power of the Histogram | p. 82 |
| Exposure for Digital Captures | p. 83 |
| The Importance of Shooting RAW | p. 84 |
| Exposing to the Right | p. 84 |
| Some Examples of Common Histograms | p. 85 |
| Bracket, Bracket, Bracket | p. 88 |
| Study the Scene Being Photographed | p. 90 |
| High Contrast Remedies | p. 92 |
| Familiarize Yourself with Hand Held Light Meters | p. 97 |
| Spot Meter Meets PDA | p. 98 |
| Photographic Skills Enhancement Exercises | p. 99 |
| Conclusion | p. 102 |
| Keepers or Non-Keepers? | p. 104 |
| Keepers or Non-Keepers? | p. 105 |
| Which Ones Are Good; Which Ones are Bad? | p. 105 |
| My Personal Selection Criteria | p. 108 |
| Technical Excellence vs. Aesthetics | p. 110 |
| The Selection Criteria | p. 110 |
| Photographic Skills Enchancement Exercises | p. 111 |
| Conclusion | p. 112 |
| How to Create a Portfolio of Your Work | p. 116 |
| Introduction to Creating a Portfolio | p. 117 |
| What is a Portfolio? | p. 117 |
| Portfolios and Portfolios | p. 117 |
| Goal and Purpose | p. 120 |
| Audience | p. 120 |
| Portfolios Are Not Necessarily Aimed at Showcasing a Photographer's Best Work | p. 122 |
| The Contents of a Portfolio | p. 123 |
| Some Important Questions About Portfolios | p. 123 |
| Photographic Skills Enhancement Exercises | p. 125 |
| Conclusion | p. 129 |
| How to Establish a Personal Photographic Style | p. 130 |
| Introduction to Personal Style | p. 131 |
| Who Are We? | p. 131 |
| Who Am I? | p. 133 |
| A Personal Style is a Unique and Personal way of Seeing | p. 133 |
| Choosing a Subject is Not Developing a Personal Style | p. 135 |
| Choosing a Subject is Not the Same as Choosing a Genre | p. 136 |
| Personal Discovery is Not Personal Style | p. 138 |
| A Personal Style Is a Combination of Choices | p. 138 |
| A Personal Style Is Fine Tuning Choices to Fit Your Own Personality | p. 142 |
| My Personal Style | p. 146 |
| Fortuitous Attempts and Defining Images | p. 147 |
| Photographic Skills Enhancement Exercises | p. 148 |
| Conclusion | p. 151 |
| Being an Artist | p. 154 |
| Introduction to Being an Artist | p. 155 |
| Freedom of Expression: Let Us Be Artists | p. 157 |
| Being an Artist Is a Lifestyle; Not a Temporary Situation | p. 159 |
| Being an Artist Does Not Mean Making an Income from Your Art | p. 161 |
| Being an Artist Does Not Mean Exhibiting or Publishing Your Work | p. 162 |
| Being an Artist Means Having an Audience | p. 164 |
| Being an Artist Means Having an Appreciation for the Arts | p. 166 |
| Being an Artist is Knowing How to React When You are Told that "Artists are Lucky!" | p. 168 |
| Being an Artist Does not Mean Being an Art Critic | p. 171 |
| What About Talent? | p. 174 |
| Photographic Skills Enhancement Exercises | p. 176 |
| Conclusion | p. 178 |
| How to be an Artist in Business: My Story-Part 1 | p. 180 |
| Introduction to Being an Artist in Business | p. 181 |
| The Beginning of a Career | p. 187 |
| The Straw that Broke the Camel's Back | p. 190 |
| Doing What I Love | p. 192 |
| Why Didn't I Think of this Before? | p. 193 |
| Opportunities Often Come Under the Guise of Hard Work | p. 194 |
| The Best Place to Start a Business Is on the Navajo Reservation | p. 194 |
| How to be an Artist in Business: My Story-Part 2 | p. 198 |
| The Break | p. 199 |
| The People | p. 199 |
| The Approach | p. 203 |
| The Progression of the Grand Canyon Show | p. 204 |
| Quantity | p. 206 |
| Transitions: How the End of One Opportunity Can Be the Beginning of Another | p. 211 |
| The Second Best Place to Start a Business is Phoenix, Arizona | p. 213 |
| Teaching Again | p. 215 |
| Quality, Not Quantity | p. 216 |
| New Shows | p. 220 |
| Longer and More Thoughtful Chapters | p. 220 |
| New Projects | p. 221 |
| Becoming a Music Producer | p. 221 |
| Setting Up the Ideal Studio | p. 222 |
| Two Businesses in One | p. 223 |
| Learning Never Ends | p. 223 |
| Conclusion | p. 225 |
| How You Can Do it Too | p. 226 |
| Introduction to How You Can Do It | p. 227 |
| Do What You Love | p. 227 |
| Take Control of Your Own Destiny | p. 228 |
| Fame or Fortune? Make a Choice! | p. 228 |
| Confront your Fears | p. 230 |
| Seek Help from People Who Are Where You Want to Be | p. 231 |
| Opportunities Often Come Under the Guise of Hard Work | p. 234 |
| Press On Regardless | p. 234 |
| It's About You | p. 235 |
| Quality or Quantity? Make a Choice! | p. 235 |
| Do a Little Bit Every Day | p. 236 |
| Integrity | p. 238 |
| Best Sellers | p. 240 |
| Photographic Skills Enhancement Exercises | p. 241 |
| Conclusion | p. 243 |
| Conclusion | p. 246 |
| Index | p. 248 |
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