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The Development and Growth of British Photographic Manufacturing and Retailing 1839-1914
The development and growth of British photographic manufacturing and retailing 1839-1914 Michael Pritchard Submitted for the degree of Doctor of Philosophy Department of Imaging and Communication Design Faculty of Art and Design De Montfort University Leicester, UK March 2010 Abstract This study presents a new perspective on British photography through an examination of the manufacturing and retailing of photographic equipment and sensitised materials between 1839 and 1914. This is contextualised around the demand for photography from studio photographers, amateurs and the snapshotter. It notes that an understanding of the photographic image cannot be achieved without this as it directly affected how, why and by whom photographs were made. Individual chapters examine how the manufacturing and retailing of photographic goods was initiated by philosophical instrument makers, opticians and chemists from 1839 to the early 1850s; the growth of specialised photographic manufacturers and retailers; and the dramatic expansion in their number in response to the demands of a mass market for photography from the late1870s. The research discusses the role of technological change within photography and the size of the market. It identifies the late 1880s to early 1900s as the key period when new methods of marketing and retailing photographic goods were introduced to target growing numbers of snapshotters. Particular attention is paid to the role of Kodak in Britain from 1885 as a manufacturer and retailer. A substantial body of newly discovered data is presented in a chronological narrative. In the absence of any substantive prior work this thesis adopts an empirical approach firmly rooted in the photographic periodicals and primary sources of the period. -
Introduction to Single Lens Reflex Cameras
Introduction to SLR Cameras by Mr. KUMON : 01 Page 1 of 13 - Introduction to Single Lens Reflex Cameras - Part 1 : What is an SLR camera ? Though SLR cameras are common around the world, they have a rather prestigious image — they are perceived as "high-class" and thought to be used by only professional photographers. The reasons for these presumptions, however, are not widely understood. Let's discuss the logic of this reasoning by examining the history of photography and the mechanisms of cameras. And you can tell how convenient today's photography system are by comparing it to a pinhole picture taken with an SLR camera. Written by KUMON, Yasushi 1. A Brief History of Photography 1.1. Camera Obscura / 1.2. Heliography and Daguerreo-type 2. Exploring Your Camera ! 2.1. Observing the Focused Image / 2.2. Observing the image appearing on the film surface inside camera / 2.3. Taking Pin-Hole Pictures Using an SLR Camera file://C:\Documents and Settings\kheeyong_yeap\My Documents\yeap old ... 21-Apr-11 Introduction to SLR Cameras by Mr. KUMON : 01 Page 2 of 13 3. What is an SLR Camera ? 1. A Brief History of Photography 1.1. Camera Obscura The word "camera" is derived from the Latin "camera obscura." In Latin, "camera" means "room", and "obscura" means "dark." "Photo 0" illustrates the principle of camera obscura. Light enters a darkened room through a small hole, and the image of an object outside the room appears on the wall opposite the hole. This is the same principle at work in so-called pin-hole cameras. -
What Is a Camera?
A Brief History of the Camera Cameras have proven to be great tools for mass media, visual arts, and for that enjoyable past time of being able to capture moments to remember. Whether you’re a professional or an amateur photographer, knowing a bit more about the history of the camera can help you appreciate photography and the tools that you use a little more. The history of the camera has shown how today’s cameras are much different from what used to be fairly crude looking instruments. It has been dominated by modern inventions like digital single lens reflex cameras which are the improved versions of its more traditional single lens reflex siblings, digital point and shoot cameras which you can carry conveniently in your pocket, and even smartphone cameras which come as almost standard features of today’s many different smartphones. These digital innovations added to photography history and the fast, ever changing world of technology continues to improve the cameras that people use today. Let’s look at a brief history of the camera and see just how much this gadget has evolved. But first things first… What is a Camera? Before moving along to the details of the history of the camera, let’s understand what a camera is first. In the simplest terms, a camera is a device used to take photographs and is the main tool used for the art of photography. Photography comes from the Greek words “photos” which means light, and “graphein” which means “to draw”. This word in photography history was first used by Sir John F.W. -
10.1515 Nor-2016-0005 1
10.1515/nor-2016-0005 Nordicom Review 37 (2016) 1, pp. 15-27 Aporetic Apparatus Epistemological Transformations of the Camera Janne Seppänen & Juha Herkman Abstract In this article, we examine the epistemology of the camera today. In order to answer this question, we concentrate on three social and technological forms: the camera obscura, the photographic camera, and the digital camera. On the one hand, the camera extends our human sensibilities and helps us to obtain knowledge of the world. On the other hand, it works as a device for delusion, bodily vision and spectacle. Historically, these two functions are meshed together in complicated ways and this establishes the paradoxical epistemology of the camera. We argue that, even if contemporary debates about the truthfulness of the photographic image have persistently been tied to the digitisation of the photographic process, the very origin of these debates actually lies in the camera itself and its contradictory epistemology. The camera has worked, and still works, as an apparatus that relentlessly produces irresolv- able ambiguity, aporia, between true knowledge and illusory vision. Keywords: camera, camera obscura, epistemology, photography, digital photography, vis- ual culture Introduction With the proliferation of digital cameras, and particularly camera phones, almost every situation and event can now be photographed and quickly placed on public display. Camera images are thus an essential part of communication and surveillance, in both public and private spheres, as well as, in fact, the whole visual constitution of society. The camera also seems to be an idea or a representation, which has gained a signifi- cant presence in the narratives of popular cinema and television. -
Inside the Camera Obscura – Optics and Art Under the Spell of the Projected Image
MAX-PLANCK-INSTITUT FÜR WISSENSCHAFTSGESCHICHTE Max Planck Institute for the History of Science 2007 PREPRINT 333 Wolfgang Lefèvre (ed.) Inside the Camera Obscura – Optics and Art under the Spell of the Projected Image TABLE OF CONTENTS PART I – INTRODUCING AN INSTRUMENT The Optical Camera Obscura I A Short Exposition Wolfgang Lefèvre 5 The Optical Camera Obscura II Images and Texts Collected and presented by Norma Wenczel 13 Projecting Nature in Early-Modern Europe Michael John Gorman 31 PART II – OPTICS Alhazen’s Optics in Europe: Some Notes on What It Said and What It Did Not Say Abdelhamid I. Sabra 53 Playing with Images in a Dark Room Kepler’s Ludi inside the Camera Obscura Sven Dupré 59 Images: Real and Virtual, Projected and Perceived, from Kepler to Dechales Alan E. Shapiro 75 “Res Aspectabilis Cujus Forma Luminis Beneficio per Foramen Transparet” – Simulachrum, Species, Forma, Imago: What was Transported by Light through the Pinhole? Isabelle Pantin 95 Clair & Distinct. Seventeenth-Century Conceptualizations of the Quality of Images Fokko Jan Dijksterhuis 105 PART III – LENSES AND MIRRORS The Optical Quality of Seventeenth-Century Lenses Giuseppe Molesini 117 The Camera Obscura and the Availibility of Seventeenth Century Optics – Some Notes and an Account of a Test Tiemen Cocquyt 129 Comments on 17th-Century Lenses and Projection Klaus Staubermann 141 PART IV – PAINTING The Camera Obscura as a Model of a New Concept of Mimesis in Seventeenth-Century Painting Carsten Wirth 149 Painting Technique in the Seventeenth Century in Holland and the Possible Use of the Camera Obscura by Vermeer Karin Groen 195 Neutron-Autoradiography of two Paintings by Jan Vermeer in the Gemäldegalerie Berlin Claudia Laurenze-Landsberg 211 Gerrit Dou and the Concave Mirror Philip Steadman 227 Imitation, Optics and Photography Some Gross Hypotheses Martin Kemp 243 List of Contributors 265 PART I INTRODUCING AN INSTRUMENT Figure 1: ‘Woman with a pearl necklace’ by Vermeer van Delft (c.1664). -
Short Story About the Camera Obscura
Short story about the Camera Obscura The camera obscura is an optical instrument able to “draw” with the sunlight, on a paper, not only the different light and shade nuances but also the different nuances of the colours. At the end of the Xth (tenth) century, we already knew about the camera obscura, because the arab science, and more precisely Abu Ali ibn al HAsan (known in tehe West as Alhazen, 965-1038) described this phenomenon perfectly: he used the principle of the camera obscura in order to explain how the image gets formed in the eye. Before, we also had had evidence of the observation of the phenomenons and the effects of the sunlight produced by the Camera Obscura: since the fifth century in a few texts written by chinese philosophers and, in the fourth century in a referente by Aristotle. However, Hill Alhazen its relation with the formation of the optical image was not introduced. During the Middle Age, Roger Bacon continued with Alhazen´s Works about the refraction and the reflection of the Light, but he didn´t succeed in describing a camera obscura even if he knew about its existence. www.torretavira.com During the Renaissance, Leonardo da Vinci gave an impulse to the development of the camera obscura, using it to study in depth how the vision works, how the Light reacts and the laws of geometric perspective: he related all that to the painting techniques. Leonardo da Vinci was very curious and also fascinated by the phenomenon of the camera obscura which is able to make the sun´s rays pass through a small hole wihout mixing up one with another. -
Determinism in the Early History of Photography in France Emily Doucet University of Toronto, [email protected]
communication +1 Volume 7 Issue 1 Intersectionalities and Media Article 4 Archaeologies October 2018 In History, the Future: Determinism in the Early History of Photography in France Emily Doucet University of Toronto, [email protected] Abstract Technological determinism and media specificity have profoundly shaped the history of photography—two strands of thought inherited from nineteenth century predecessors. Media archaeological approaches—while not always explicitly and perhaps, as Thomas Elsaesser has recently suggested, rather as symptom—have been taken up in the history of photography in response to long held narratives shaped by a disciplinary media determinism. This article explores discourses of futurity and historicity in early photographic writing in France, examining one thread in the early trajectory of media determinism in the history of photography. Taking up Eric Kluitenberg’s concept of “imaginary media”, this article argues that early photographic discourse employed both historical and future-oriented narratives in order to define photography as a discreet medium. Medium specificity—photography as a unified set of technologies with a shared history and a set of specific aesthetic characteristics—can therefore be understood as one characteristic of the media imaginary. The story of photography’s medium specificity is most often (and not incorrectly) told as a narrative of photography’s acceptance as a fine art form in the late nineteenth and early twentieth centuries. However, this article aruges that a parallel -
Book V Camera
b bb bbbera bbbbon.com bbbb Basic Photography in 180 Days Book V - Camera Editor: Ramon F. aeroramon.com Contents 1 Day 1 1 1.1 Camera ................................................ 1 1.1.1 Functional description ..................................... 2 1.1.2 History ............................................ 2 1.1.3 Mechanics ........................................... 5 1.1.4 Formats ............................................ 8 1.1.5 Camera accessories ...................................... 8 1.1.6 Camera design history .................................... 8 1.1.7 Image gallery ......................................... 12 1.1.8 See also ............................................ 14 1.1.9 References .......................................... 15 1.1.10 Bibliography ......................................... 16 1.1.11 External links ......................................... 17 2 Day 2 18 2.1 Camera obscura ............................................ 18 2.1.1 Physical explanation ...................................... 19 2.1.2 Technology .......................................... 19 2.1.3 History ............................................ 20 2.1.4 Role in the modern age .................................... 31 2.1.5 Examples ........................................... 32 2.1.6 Public access ......................................... 33 2.1.7 See also ............................................ 33 2.1.8 Notes ............................................. 34 2.1.9 References .......................................... 34 2.1.10 Sources -
Études De Nouvelles Architectures De Composants Intégrés Sensibles À La Lumière En Filière FDSOI Pour Les Applications De Type Imageur
THÈSE Pour obtenir le grade de DOCTEUR DE LA COMMUNAUTE UNIVERSITE GRENOBLE ALPES Spécialité : Nano Electronique et Nano Technologies Arrêté ministériel : 25 mai 2016 Présentée par Lina KADURA Thèse dirigée par Alexei TCHELNOKOV, CEA-LETI, et co-encadrée par Olivier ROZEAU, CEA-LETI et Laurent GRENOUILLET, CEA-LETI préparée au sein du Laboratoire d'électronique et des technologies de l'information (CEA-LETI) dans l'École Doctorale électronique, électrotechnique, automatique et traitement du signal (EEATS) Études de nouvelles architectures de composants intégrés sensibles à la lumière en filière FDSOI pour les applications de type imageur Thèse soutenue publiquement le 07/06/2019, devant le jury composé de : Pr. Pierre MAGNAN Professeur des Universités, ISAE Toulouse, Toulouse (Rapporteur) Dr. Yang Ni CTO à New Imaging Technologies, Paris area (Rapporteur) Pr. Albert THEUWISSEN Professeur des Universités, TU Delft, Pays-Bas (Examinateur) Pr. Francis CALMON Professeur des Universités, INSA de Lyon, Lyon (Président) Dr. Frederic LALANNE Ingénieur de recherche à STMicroelectronics, Crolles (Examinateur) Dr. Alexeï TCHELNOKOV Ingénieur de recherche au CEA-Leti, Grenoble (Directeur de thèse) Dr. Olivier ROZEAU Ingénieur de recherche au CEA-Leti, Grenoble (Co-encadrant) Dr. Laurent GRENOUILLET Ingénieur de recherche au CEA-Leti, Grenoble (Co-encadrant) Page|2 To all the seekers of knowledge lost in the Mediterranean Sea Page|3 Page|4 AKNOWLEDGEMENTS I conducted my three years thesis research at LETI, in the advanced CMOS integration laboratory (LICL) in CEA- Grenoble. One of the best assets of LETI is the availability of experts that are always willing and benevolent to help and share their knowledge on the campus. -
Domestic Photography and Technological Paths
Chapter 2 Domestic Photography and Technological Paths 2.1 What Is Domestic Photography? In this book, we use the term domestic photography to describe the photographic activities of ordinary people taking and using images for non-professional purposes. Also, in our use of the term we focus on the kind of use in which photography is not a hobby as such but embedded in other activities. The word ‘domestic’ implies that the activities take place mainly in homes, and the home is the headquarters for this activity.1 Many photographs are taken in the home of people who live or visit there. People go abroad and take photographs, then return home to view, show, share, and store the captured pictures. The cameras, photo albums, prints, printers, computers, mobile phones, television sets, and other photographic technologies can be taken out of the home space, but they do ‘live’ at home as much as the owners of these technologies. Their resting place is at home. The ordinary activities performed with cameras and photographs are also related to the people living in the home. Traditionally this has been the family unit. The connection between photography and the family has been so strong in the past that family photography has become almost synonymous with domestic photography. It has often been the members of the family who are photographed and who do most of the photographing. It is through family relations and the home that photography is introduced to babies and small children. The home is the place and the family is the social context inherent in the photographic practices we are all so familiar with. -
CLC 2021-2022 Catalog
COURSE INFORMATION AND DESCRIPTIONS SCHEDULE OF CLASSES This catalog lists courses the College of Lake County intends to offer. Inclusion of a course description does not obligate the college to offer the course in any particular semester. Students are referred to the appropriate class schedule each semester for specific and current information. Prior to each registration period, the class schedule is posted online at www.clcillinois.edu/classes. COURSE COURSE NUMBERING Courses are listed in numerical order by course number within each subject area. All courses, INFORMATION AND unless otherwise indicated, can be completed within the semester. Students should consult with aan Academic Success Advisot for the DESCRIPTIONS most efficient sequence of courses toward a degree or certificate. Courses with a PCS of 1.1 are Baccalaureate/ Transfer courses. These courses have been articulated according to the standards of the Illinois Community College Board. To ensure a specific course is transferable, students are urged to consult with: • the senior institutions of interest • the transfer information on the CLC website • an Academic Success Advisor Courses with a PCS of 1.2 are Occupational/ Technical courses. Policies concerning the transferability of some of these courses to senior colleges and universities vary. Students are urged to consult with: • the senior institutions of interest • the transfer information on the CLC website COURSE DESCRIPTIONS COURSE • an Academic Success Advisor Courses with a PCS of 1.4 indicate remedial/ developmental coursework and are designed to prepare students for enrollment in courses at the career or transfer level. These courses do not apply toward a college degree or career certificate and are not used to compute grade point average. -
Design of an Integrated Streak Camera Based on a Time Correlated Single Photon Counting System Imane Malass
Design of an integrated streak camera based on a time correlated single photon counting system Imane Malass To cite this version: Imane Malass. Design of an integrated streak camera based on a time correlated single photon counting system. Signal and Image processing. Université de Strasbourg, 2016. English. NNT : 2016STRAD001. tel-01332682 HAL Id: tel-01332682 https://tel.archives-ouvertes.fr/tel-01332682 Submitted on 16 Jun 2016 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. UNIVERSITÉ DE STRASBOURG ÉCOLE DOCTORALE MATHEMATIQUES, SCIENCES DE L'INFORMATION ET DE L'INGENIEUR THÈSE Présentée par Imane MALASS soutenue le : 13 MAI 2016 pour obtenir le grade de Docteur de l’université de Strasbourg Discipline : Électronique, Électrotechnique et Automatique Spécialité : Micro et Nanoélectronique Design of an Integrated Streak Camera based on a Time Correlated Single Photon Counting System DIRECTEUR DE THESE : UHRING Wilfried Professeur, Université de Strasbourg, France CO-DIRECTEUR DE THESE : LE NORMAND Jean-Pierre MCF HDR, Université de Strasbourg,