DOCSLIB.ORG

Introduction to Photography Syllabus

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Introduction to Photography Syllabus The Department of Art and Art History Adelphi University Class Number: 0104-394 Class & Section: Intro to Photography 005 Session: Spring 2013 Instructor: Hannah Smith Allen Ofiice Hours: Tuesday/Wednesday 11:00-12:00 INTRODUCTION TO PHOTOGRAPHY SYLLABUS Joel Peter Witkin Muybridge DESCRIPTION This class will function as part studio/part seminar and will introduce students to digital and film photography. Students will learn about different camera techniques and formats, darkroom and digital printing, and alternative photographic practices. It is my intention to introduce photography students to both contemporary practice as well as its history. Today contemporary photographers employ different cameras and techniques. Some photographers choose to engage in traditional forms of image making, while others embrace new media and digital manipulation. In this class we will learn a variety of techniques and discuss how the medium has and will continue to change. GENERAL ED LEARNING GOALS: Distribution Requirements A COURSE LEARNING GOALS: • Students will be exposed to a variety of analog and digital photographic techniques. • Students will understand the relationship between digital and film based photographic practice and be able to move freely throughout the medium. • Students will understand how to operate a camera, use a darkroom, and edit their images digitally in Adobe Lightroom. • Students will engage in the theoretical debates about the differences between film and digital practices. • Students will be introduced to contemporary and historic photographers and their images. STUDENTS WITH DISABILITIES: If you have a disability that may impact your ability to carry out assigned course work, and are not enrolled in the Learning Disabilities Program, it is important that you contact the staff in the Disability Support Services Office (DSS), University Center, Room 310, (516) 877-3145. [email protected]. DSS will review your concerns and determine, with you, appropriate and necessary accommodations. All information and documentation of disability is confidential. HONOR CODE STATEMENT: Students enrolled in this course are expected to abide by the Adelphi University Honor Code. The purpose of the Honor Code is to protect the academic integrity of the University by encouraging consistent ethical behavior in assigned coursework by students. Following is excerpted from the Student Honor Code: The Code of Academic Honesty The code of academic honesty prohibits behavior, which can broadly be described as lying, cheating, or stealing. Violations of the code of academic honesty will include, but are not limited to, the following: 1. Fabricating data or citations 2. Collaborating in areas prohibited by the professor 3. Unauthorized multiple submission of work 4. Sabotage of others’ work, including library vandalism or manipulation 5. Plagiarism: presenting any work as one’s own that is not one’s own 6. The creation of unfair advantage 7. The facilitation of dishonesty 8. Tampering with or falsifying records 9. Cheating on examinations through the use of written materials or giving or receiving help in any form during the exam, including talking, signals, electronic devices, etc. STUDENT COURSE EVALUATIONS: During the last two weeks of the class, you will receive notification, via email and eCampus, that the course evaluation is available for your input electronically. Availability will end at the start of the final examination period. Your feedback is valuable, and I encourage you to respond. Please be assured that your responses are anonymous. The results will not be available to the instructor until after the end of the semester, and therefore, after course grades have been submitted. MOODLE The course syllabus, assignments, lectures, and images will be posted on Moodle. http://fcpe.adelphi.edu/moodle/student/ COURSE OR MATERIALS FEES: Darkroom: 1 Box of Ilford Multigrade RC Paper, 3-5 Rolls of Tri-X 400 Speed Film, Clamshell Binder, Negative Cleaning Cloth, SLR camera (suggested) Digital: DSLR camera, portable storage device., printing (average $30 per portfolio). ASSIGNMENTS/COURSEWORK: Students are expected to complete three printed photographic portfolios, maintain a Blog, and take two short quizes. Please make sure you complete all weekly shooting and writing assignments. TEXTS: The Professor will distribute excerpts from A Short Course in Digital Photography by Stone and London as well as Photography, A Concise Guide by Warren. Students are welcome (but not required) to purchase these on their own. GRADING/EVALUATION: 25% Portfolio 1 25% Portfolio 2 25 % Portfolio 3 25% Participation, Attendance, Commitment , & Work Ethic & Quizes ATTENDANCE POLICY: Attendance is mandatory. More than two absences will affect your final grade, regardless of the reason. More than 6 absences warrants failing grade. Your grade will be reduced by a 1/3 of a letter for every absence that exceeds the two-absence limit. Only students who are registered for courses, and whose name appears on the Official Class Roster may attend courses at the University. Adelphi students make a commitment to be active participants in their educational program; class attendance is an integral part of this commitment. Attendance requirements for each course will be announced by the faculty member at the beginning of each term. Students are expected to be present promptly at the beginning of each class period, unless prevented by illness or by other compelling cause. In the event of such absence, students may request that faculty members be notified by the Office of Academic Services and Retention. Students are responsible for completing course work missed through absences. Students should wait a reasonable length of time for an instructor in the event that the instructor is delayed. DATE WEEK TITLE AGENDA HOMEWORK Week #1 Introduction W/ Syllabus & Tour 8/28 Week #2 Basic Camera Design M/ Labor Day Documentation v 9/2 & 9/4 W/ Pinhole Design Interpretation Week #3 Pinhole Darkroom I M/ Pinhole Bird/Worm 9/9 & 9/11 SLR Darkroom I: Contact The Frame/Fragment W/SLR Week #4 Developing Film M/ Developing Film 9/16 & 2/18 W/ Darkroom II Focus & Filter Week #5 Printing Workshop I M/ Darkroom III Night & Shutter 9/23 & 9/25 Burning & Dodging D.O.F Subjective W/ Time & Motion Seeing Week #6 Printing Workshop II M/ Open Lab 9/30 & 10/2 W/ Refining Your Prints Week #7 M/ Portfolio Critique First Portfolio 10/7-10/9 W/ Scanning Negatives (5 darkroom prints) Week #8 From Film to Pixel M/ Digital Darkroom Blog 10/14 & 10/16 W/ DSLR Camers Everyday Color Week #9 ACR & Advanced M/ Lightroom I: Envirornmental 10/21 & 10/23 Photoshop Catalogue Portrait W/Lightroom II: Editting Week # 10 Studio Lighting M/ Lightroom III: Studio Portrait 10/28 & 10/30 Exporting W/ Studio Lighting Demo Week # 11 Printing Demo M/ Photographic 11/4/ & 11/6 Print/Camera Formats Update Blog & Prints W/ Open Studio Week # 11/11 The Personal Project: Proposal Second Portfolio Due & 11/13 Proposal & Critiques Presentations/ (6 digital prints) Critiques 11/18 & 11/20 Third Portfolio Due 11/25 & 12/2 The Personal Project: Open Studios & 12/15 12/4 & 12/9 Expanding Vision Critiques 6-10 Personal Project Prints The Department of Art and Art History (M/W 4:15-5:30) Adelphi University Class Number: 0111-266-001 Class & Section: History of Photography Section 1 Session: Spring 2013 Instructor: Hannah Allen Office Hours: Monday/Wednesday 3:00-4:00 DESCRIPTION Since its invention in 1839, photography has become a medium embraced by many disciplines. In this class, we will attempt to investigate the history of the medium topically, not strictly chronologically. It is my hope that topical discussions will allow us to understand the complexity of this medium and how it contributes to modern life. Although this is an art history class and the majority of our discussions will concentrate on photography’s relationship to the art world, it is important to remember that the photographic medium has informed and transformed so much of our daily existence. Photography follows us everywhere. It is there when we get x-rayed at the doctor, and it is there when we run a red light. In the end, it is hard to imagine a world without photography. We have come to accept it as commonplace. How did this happen? And how did historic photographers work to further the technological and aesthetic developments of the medium? Through class discussions, journal exercises, slide presentations, weekly readings, and exams, we will attempt to answer some of these questions GENERAL ED LEARNING GOALS: Distribution Requirements A COURSE LEARNING GOALS: • Students will trace both the technical and conceptual developments of photography and discuss its many transformations from the 1800s to today. • Students will be exposed to multiple photographic practices, from documentary photography to fine art photography to war photography. • Students will discuss many moral and theoretical issues attached to medium, such as photography’s relationships to truth, beauty, and fact, as well as the ethics of war photography. • Students will come to understand that photography is a medium on the forefront of technology, one whose conceptual and technical standards are constantly in flux. • Students will visit a museum and learn about exhibition development. HONOR CODE STATEMENT: Students enrolled in this course are expected to abide by the Adelphi University Honor Code. The purpose of the Honor Code is to protect the academic integrity of the University by encouraging consistent ethical behavior in assigned coursework by students. Following is excerpted from the Student Honor Code: The Code of Academic Honesty The code of academic honesty prohibits behavior, which can broadly be described as lying, cheating, or stealing. Violations of the code of academic honesty will include, but are not limited to, the following: 10. Fabricating data or citations 11. Collaborating in areas prohibited by the professor 12. Unauthorized multiple submission of work 13. Sabotage of others’ work, including library vandalism or manipulation 14. Plagiarism: presenting any work as one’s own that is not one’s own 15.
Load more

Recommended publications
  • Session Outline: History of the Daguerreotype
    Fundamentals of the Conservation of Photographs SESSION: History of the Daguerreotype INSTRUCTOR: Grant B. Romer SESSION OUTLINE ABSTRACT The daguerreotype process evolved out of the collaboration of Louis Jacques Mande Daguerre (1787- 1851) and Nicephore Niepce, which began in 1827. During their experiments to invent a commercially viable system of photography a number of photographic processes were evolved which contributed elements that led to the daguerreotype. Following Niepce’s death in 1833, Daguerre continued experimentation and discovered in 1835 the basic principle of the process. Later, investigation of the process by prominent scientists led to important understandings and improvements. By 1843 the process had reached technical perfection and remained the commercially dominant system of photography in the world until the mid-1850’s. The image quality of the fine daguerreotype set the photographic standard and the photographic industry was established around it. The standardized daguerreotype process after 1843 entailed seven essential steps: plate polishing, sensitization, camera exposure, development, fixation, gilding, and drying. The daguerreotype process is explored more fully in the Technical Note: Daguerreotype. The daguerreotype image is seen as a positive to full effect through a combination of the reflection the plate surface and the scattering of light by the imaging particles. Housings exist in great variety of style, usually following the fashion of miniature portrait presentation. The daguerreotype plate is extremely vulnerable to mechanical damage and the deteriorating influences of atmospheric pollutants. Hence, highly colored and obscuring corrosion films are commonly found on daguerreotypes. Many daguerreotypes have been damaged or destroyed by uninformed attempts to wipe these films away.
    [Show full text]
  • Digital Camera Functions All Photography Is Based on the Same
    Digital Camera Functions All photography is based on the same optical principle of viewing objects with our eyes. In both cases, light is reflected off of an object and passes through a lens, which focuses the light rays, onto the light sensitive retina, in the case of eyesight, or onto film or an image sensor the case of traditional or digital photography. The shutter is a curtain that is placed between the lens and the camera that briefly opens to let light hit the film in conventional photography or the image sensor in digital photography. The shutter speed refers to how long the curtain stays open to let light in. The higher the number, the shorter the time, and consequently, the less light gets in. So, a shutter speed of 1/60th of a second lets in half the amount of light than a speed of 1/30th of a second. For most normal pictures, shutter speeds range from 1/30th of a second to 1/100th of a second. A faster shutter speed, such as 1/500th of a second or 1/1000th of a second, would be used to take a picture of a fast moving object such as a race car; while a slow shutter speed would be used to take pictures in low-light situations, such as when taking pictures of the moon at night. Remember that the longer the shutter stays open, the more chance the image will be blurred because a person cannot usually hold a camera still for very long. A tripod or other support mechanism should almost always be used to stabilize the camera when slow shutter speeds are used.
    [Show full text]
  • ARTS 2356 Photography I ASSIGNMENT: PHOTOGRAMS DUE
    ARTS 2356 Photography I ASSIGNMENT: PHOTOGRAMS DUE: Assignment: Photograms Photography is often associated with “reality” or the capturing of “reality”. For a beginning photographer, the significance of this assignment is to experience the photographic medium without the distraction of this familiar association between photography and “reality.” A photogram consists of a photographic print or image being made without the traditional use of a negative. A photogram is made by placing any two or three dimensional object or objects between a light source and light-sensitive photographic paper. A wide range of values and details may be achieved with this process depending on the nature (shape, opacity, reflective quality texture, etc.) of the objects used. While making photograms all elements of design (composition, form, line, value, etc.) should be considered. For this assignment you will make several photograms on 8x10 paper. Use the images of landscapes/environments/place and still-lifes that you have collected in your journal as a guide for your photograms. You may choose to emulate an individual image directly or use combinations of the images to build a new composition. You may find it helpful to make simplified sketches of the original images. Study the images and sketches in your journal, giving consideration to the following: value (lights/darks), line, shape, pattern, texture, and composition. Collect objects considering their physicals properties such as shape, contour, reflective quality, texture, and opacity and how you think light will react... reflect and/or pass-through these objects. Please do not bring liquids or fine powdery/grainy/gritty substances to use for your photogram assignment..
    [Show full text]
  • Evolution of Photography: Film to Digital
    University of North Georgia Nighthawks Open Institutional Repository Honors Theses Honors Program Fall 10-2-2018 Evolution of Photography: Film to Digital Charlotte McDonnold University of North Georgia, [email protected] Follow this and additional works at: https://digitalcommons.northgeorgia.edu/honors_theses Part of the Art and Design Commons, and the Fine Arts Commons Recommended Citation McDonnold, Charlotte, "Evolution of Photography: Film to Digital" (2018). Honors Theses. 63. https://digitalcommons.northgeorgia.edu/honors_theses/63 This Thesis is brought to you for free and open access by the Honors Program at Nighthawks Open Institutional Repository. It has been accepted for inclusion in Honors Theses by an authorized administrator of Nighthawks Open Institutional Repository. Evolution of Photography: Film to Digital A Thesis Submitted to the Faculty of the University of North Georgia In Partial Fulfillment Of the Requirements for the Degree Bachelor of Art in Studio Art, Photography and Graphic Design With Honors Charlotte McDonnold Fall 2018 EVOLUTION OF PHOTOGRAPHY 2 Acknowledgements I would like thank my thesis panel, Dr. Stephen Smith, Paul Dunlap, Christopher Dant, and Dr. Nancy Dalman. Without their support and guidance, this project would not have been possible. I would also like to thank my Honors Research Class from spring 2017. They provided great advice and were willing to listen to me talk about photography for an entire semester. A special thanks to my family and friends for reading over drafts, offering support, and advice throughout this project. EVOLUTION OF PHOTOGRAPHY 3 Abstract Due to the ever changing advancements in technology, photography is a constantly growing field. What was once an art form solely used by professionals is now accessible to every consumer in the world.
    [Show full text]
  • Intro to Digital Photography.Pdf
    ABSTRACT Learn and master the basic features of your camera to gain better control of your photos. Individualized chapters on each of the cameras basic functions as well as cheat sheets you can download and print for use while shooting. Neuberger, Lawrence INTRO TO DGMA 3303 Digital Photography DIGITAL PHOTOGRAPHY Mastering the Basics Table of Contents Camera Controls ............................................................................................................................. 7 Camera Controls ......................................................................................................................... 7 Image Sensor .............................................................................................................................. 8 Camera Lens .............................................................................................................................. 8 Camera Modes ............................................................................................................................ 9 Built-in Flash ............................................................................................................................. 11 Viewing System ........................................................................................................................ 11 Image File Formats ....................................................................................................................... 13 File Compression ......................................................................................................................
    [Show full text]
  • REDISCOVER the WORLD of ANALOG PHOTOGRAPHY Rollei Cinestill Revolog Cinestill Rollei
    CHOICES We carry the world’S LARGEST SELECTION of black & white and color film in almost every format that you can imagine! Take a sneak peek at some cool choices inside or check out our huge selection online. Check it out! www.FreestylePhoto.Biz Rollei CineStill Revolog PRSRT STD U.S. POSTAGE PAID PHOTO & IMAGING SUPPLIES FREESTYLE 5124 Sunset Boulevard Hollywood, CA 90027 800.292.6137 FreestylePhoto.Biz REDISCOVER THE WORLD OF WORLD THE REDISCOVER ANALOG PHOTOGRAPHY ANALOG NEW AGAIN! NEW 800.292.6137 PHOTO & IMAGING & PHOTO | FreestylePhoto.Biz SUPPLIES © Trevor Masid Trevor © What a unique time period to be a photographer ! Everyone is taking pictures. We document every event, and even non-events, T? in an instant. Our cell phones have more photographs taken with them than WHA calls made. The amount of photography produced is the greatest it has ever … From a Paintcan been in any time period. Social media has opened up an entire new world with LegacyPro Paintcan and a whole new generation of photographers. Pinhole Camera (page 7) THE JOURNEY IS ANALOG! So, what are we doing producing an Analog Catalog? … With a box with Ars Imago Lab Box (page 22) Thanks to all of the above, the interest in photography has increased as a whole. So why not go back to our roots! Living in this online world has not only created a new generation interested in experimentation, but also a renewed passion for the arts in its many facets…old and new! This has led to a boom in new and one-of-a-kind film stocks, a resurgence in all formats, and a desire for alternative processes and hand-made images.
    [Show full text]
  • Chemistry of Photographic Processing
    CHEMISTRY OF PHOTOGRAPHIC PROCESSING A camera has been called a “magic box.” Why? Because the box captures an image that can be made permanent. Photographic chemistry explains how this happens and this instruction sheet is a presentation of basic photographic chemistry. THE EMULSION The first magical part of photographic chemistry is the photographic emulsion. As you recall, film is made up of a support and an emulsion. The emulsion has two major ingredients: Silver Halide Crystals and Gelatin. The silver halide crystals capture the photographic image. The gelatin holds the silver halide crystals in place, somewhat like Jello holds pieces of banana in place. The silver halide crystals are more important than the gelatin in an emulsion because they are light sensitive. The photographic image formed when light strikes the silver halide crystals is invisible or latent. Photographic processing chemicals make the latent image formed by the light sensitive halide crystals visible and permanent. GENERAL CHEMISTRY FACTS To learn how photographic processing chemicals make latent images visible and permanent, it is necessary to learn some general facts of chemistry. ELEMENTS Chemically, everything in the universe is made up of about 100 different elements. An element is the simplest kind of matter because it contains atoms of only one kind. As an example, oxygen is an element because it contains only one kind of atom. In addition, silver has only one kind of atom, so silver is also an element. We can divide elements into two classes: metallic and non-metallic. Silver is a metallic element. The table below shows elements of interest to photography and whether they are metallic or non-metallic.
    [Show full text]
  • Digital Photography Basics for Beginners
    DIGITAL PHOTOGRAPHY BASICS FOR BEGINNERS by Robert Berdan [email protected] www.canadiannaturephotographer.com These notes are free to use by anyone learning or teaching photography. 1. Choosing a camera - there are 2 main types of compact cameras A) Point and Shoot Camera (some have interchangeable lenses most don't) - you view the scene on a liquid crystal display (LCD) screen, some cameras also offer viewfinders. B) Single Lens Reflex (SLR) - cameras with interchangeable lenses let you see the image through the lens that is attached to the camera. What you see is what you get - this feature is particularly valuable when you want to use different types of lenses. Digital SLR Camera with Interchangeable zoom lens 1 Point and shoot cameras are small, light weight and can be carried in a pocket. These cameras tend to be cheaper then SLR cameras. Many of these cameras offer a built in macro mode allowing extreme close-up pictures. Generally the quality of the images on compact cameras is not as good as that from SLR cameras, but they are capable of taking professional quality images. SLR cameras are bigger and usually more expensive. SLRs can be used with a wide variety of interchangeable lenses such as telephoto lenses and macro lenses. SLR cameras offer excellent image quality, lots of features and accessories (some might argue too many features). SLR cameras also shoot a higher frame rates then compact cameras making them better for action photography. Their disadvantages include: higher cost, larger size and weight. They are called Single Lens Reflex, because you see through the lens attached to the camera, the light is reflected by a mirror through a prism and then the viewfinder.
    [Show full text]
  • Food Photography Camera Bag from the Foodtography Desk
    FOODTOGRAPHYSCHOOL.COM FOOD PHOTOGRAPHY CAMERA BAG FROM THE FOODTOGRAPHY DESK HEY THERE, Foodtographer! Welcome! We’re so excited you’re interested in learning more about camera gear. As a photographer, getting the right equipment can be a daunting task. Not to mention all the new vocabulary! From makes and models, to focal lengths, fixed frame, cropped sensors, megapixels, and more, things can get confusing. Like, HALP! Luckily, we’re here to help! In this guide, we’re bringing you our best recommendations for everything you need in your camera bag. We even have multiple suggestions based on different price points to help suit a variety of needs. Now go out there and assemble that perfect camera bag! Love & Brownies, Sarah *Some of the links listed are affiliate links. This means if you click on a link and purchase the item, we will receive an affiliate commission from the retailer at no cost to you. Thank you for your support! FOODTOGRAPHYSCHOOL.COM FOOD PHOTOGRAPHY CAMERA BAG Cameras First things first, cameras! At its core, a camera is a box that lets in light. There are many different ways that cameras can let in light, all with varying degrees of accuracy when it comes to how they record color, contrast, and light itself. POINT AND SHOOT CAMERAS On the lower-quality end of things are point-and-shoot cameras. These are cameras designed to be easy to use, so much so that you can basically point your camera and shoot! They come with a built-in lens, and are quite limited in their functionality.
    [Show full text]
  • Preliminary Syllabus Course Title: Travel Photography
    Preliminary Syllabus Course Title: Travel Photography: Around the Corner and Around the World Course Code: PHOTO 226 Quarter: Spring 2017 Instructor Name: Joel Simon Course Objectives: - Learn how to use the fundamental elements of photography in ways that convey a sense of place - Deepen your understanding of the fundamental tools of travel photography—from traditional techniques to the creative use of contemporary digital imaging resources - Create expressive photographs that reveal your unique impression of a destination through assignments, location shoots and the completion of a personal project - Reinforce the ongoing creation of travel photography both around the corner and around the world Note: While computers are integral to digital photography, this course is not intended to be an intensive Photoshop class. Course Schedule: This is a 7-week course meeting one day a week. Students can also sign up for an individual instruction session at a nearby field location on a weekend TBA. Required Equipment: A digital camera and a computer with a photography application. Any digital camera and any computer application will suffice, e.g. for Mac users any application from iPhoto through Photoshop. Requirements for a Letter Grade and/or Credit: - No Grade Requested (this is the default option) - If you elect Credit/No Credit, attendance will determine your grade - If you elect to obtain a letter grade, then your grade will be based upon attendance (25%), completion of weekly assignments (25%) and your final project (50%). *Please Note: If you require proof that you completed a Continuing Studies course for any reason (for example, employer reimbursement), you must choose either the Letter Grade or Credit/No Credit option.
    [Show full text]
  • Clinical Photography Manual by Kris Chmielewski Introduction
    Clinical Photography Manual by Kris Chmielewski Introduction Dental photography requires basic knowledge about general photographic rules, but also proper equipment and a digital workflow are important. In this manual you will find practical information about recommended equipment, settings, and accessories. For success with clinical photo documentation, consistency is the key. The shots and views presented here are intended as recommendations. While documenting cases, it is very important to compose the images in a consistent manner, so that the results or stages of the treatment can easily be compared. Don’t stop documenting if a failure occurs. It’s even more important to document such cases because of their high educational value. Dr. Kris Chmielewski, DDS, MSc Educational Director of Dental Photo Master About the author Kris Chmielewski is a dentist and professional photographer. Highly experienced in implantology and esthetic dentistry, he has more than 20 years experience with dental photography. He is also a freelance photographer and filmmaker, involved with projects for the Discovery Channel. 2 CONTENT Equipment 4 Camera 5 Initial camera settings for dental photography 7 Lens 8 Flash 10 Brackets 14 Accessories Retractors 15 Mirrors 16 Contrasters 17 Camera & instrument positioning 18 Intraoral photography Recommended settings 22 Frontal views 23 Occlusal views 23 Lateral views 24 Portraits Recommended settings 26 Views 27 Post-production 29 How to prepare pictures for lectures and for print 30 3 Equipment Equipment For dental photography, you need a camera with a dedicated macro lens and flash. The equipment presented in these pages is intended to serve as a guide that can help with selection of similar products from other manufacturers.
    [Show full text]
  • Color Photography, an Instrumentality of Proof Edwin Conrad
    Journal of Criminal Law and Criminology Volume 48 | Issue 3 Article 10 1957 Color Photography, an Instrumentality of Proof Edwin Conrad Follow this and additional works at: https://scholarlycommons.law.northwestern.edu/jclc Part of the Criminal Law Commons, Criminology Commons, and the Criminology and Criminal Justice Commons Recommended Citation Edwin Conrad, Color Photography, an Instrumentality of Proof, 48 J. Crim. L. Criminology & Police Sci. 321 (1957-1958) This Criminology is brought to you for free and open access by Northwestern University School of Law Scholarly Commons. It has been accepted for inclusion in Journal of Criminal Law and Criminology by an authorized editor of Northwestern University School of Law Scholarly Commons. POLICE SCIENCE COLOR PHOTOGRAPHY, AN INSTRUMENTALITY OF PROOF EDWIN CONRAD The author is a practicing attorney in Madison, Wisconsin. He is a graduate of the University of Wisconsin and the University of Wisconsin Law School, and in addition holds a degree of Master of Arts from this same institution. Mr. Conrad is the author of two books, Modern Trial Evidence (1956) and Wisconsin Evidence (1949). He has served as a lecturer on the law of evidence and scientific evidence at the University of Wisconsin, and is a member of the American Law Institute and the American Acad- emy of Forensic Sciences.-EmroR HISTORICAL HIGHLIGHTS Color photography, the miracle of modem science, is popularly assumed to be of recent origin. Yet we know that the first attempts at reproducing color chemically were made by Prof. T. J. Seebeck of Jena who in 1810, long before photography had even been discovered, observed that if moistened silver chloride were allowed to darken on paper and then exposed to different colors of light, the silver chloride would approximate the colors that had effected it.
    [Show full text]