Photography As an Always- Changing Technology with Benefits and Drawbacks That Also Change
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Picturing France
Picturing France Classroom Guide VISUAL ARTS PHOTOGRAPHY ORIENTATION ART APPRECIATION STUDIO Traveling around France SOCIAL STUDIES Seeing Time and Pl ace Introduction to Color CULTURE / HISTORY PARIS GEOGRAPHY PaintingStyles GOVERNMENT / CIVICS Paris by Night Private Inve stigation LITERATURELANGUAGE / CRITICISM ARTS Casual and Formal Composition Modernizing Paris SPEAKING / WRITING Department Stores FRENCH LANGUAGE Haute Couture FONTAINEBLEAU Focus and Mo vement Painters, Politics, an d Parks MUSIC / DANCENATURAL / DRAMA SCIENCE I y Fontainebleau MATH Into the Forest ATreebyAnyOther Nam e Photograph or Painting, M. Pa scal? ÎLE-DE-FRANCE A Fore st Outing Think L ike a Salon Juror Form Your Own Ava nt-Garde The Flo ating Studio AUVERGNE/ On the River FRANCHE-COMTÉ Stream of Con sciousness Cheese! Mountains of Fra nce Volcanoes in France? NORMANDY “I Cannot Pain tan Angel” Writing en Plein Air Culture Clash Do-It-Yourself Pointillist Painting BRITTANY Comparing Two Studie s Wish You W ere Here Synthétisme Creating a Moo d Celtic Culture PROVENCE Dressing the Part Regional Still Life Color and Emo tion Expressive Marks Color Collectio n Japanese Prin ts Legend o f the Château Noir The Mistral REVIEW Winds Worldwide Poster Puzzle Travelby Clue Picturing France Classroom Guide NATIONAL GALLERY OF ART, WASHINGTON page ii This Classroom Guide is a component of the Picturing France teaching packet. © 2008 Board of Trustees of the National Gallery of Art, Washington Prepared by the Division of Education, with contributions by Robyn Asleson, Elsa Bénard, Carla Brenner, Sarah Diallo, Rachel Goldberg, Leo Kasun, Amy Lewis, Donna Mann, Marjorie McMahon, Lisa Meyerowitz, Barbara Moore, Rachel Richards, Jennifer Riddell, and Paige Simpson. -
INNOVATION and EXPERIMENTATION: NINETEENTH-CENTURY PHOTOGRAPHY (The Emergence of Photographic Techniques) EARLY PHOTOGRPAHY
INNOVATION and EXPERIMENTATION: NINETEENTH-CENTURY PHOTOGRAPHY (The Emergence of Photographic Techniques) EARLY PHOTOGRPAHY Online Links: Early Photography - Smarthistory (no video) Daguerre's Paris Boulevard - Smarthistory (No Video) Making Daguerreotypes - Video on Smarthistory The Wet Collodion Process - Video on Smarthistory Julia Margaret Cameron's Mrs. Herbert Duckworth - Smarthistory (No Video) Clementina Hawarden's Photographs – Smarthistory Timothy O'Sullivan's Ancient Ruins in the Canon de Chelle - Smarthistory (No Video) Emerson's Naturalistic Photography - Video on Smarthistory TWENTIETH-CENTURY PHOTOGRAPHY Online Links: Early Modern Photography – Smarthistory August Sander's Portraits - Smarthistory Cartier-Bresson Behind the Gare St. Lazare – Smarthistory Stieglitiz's The Steerage - Smarthistory (no video) The “first” photograph, or more specifically, the world's first permanent photograph from nature, was taken by Joseph Nicéphore Niépce in 1826 or 1827. The image depicts the view from an upstairs window at Niépce's estate, Le Gras, in the Burgundy region of France. Niépce's invention represents the origin of today's photography, film, and other media arts. Niépce developed an interest in science when he began working with his brother, Claude, on various experiments and inventions. This photograph was only discovered in 2002 and is now known to be the very first permanent photograph ever taken by Nicéphore Niépce – the father of photography. It is an image of an engraving of a man walking a horse and it was made using a technique known as heliogravure. The method involves a piece of copper covered with light sensitive bitumen. This metal plate is exposed to light and creates an image which is then transferred to paper. -
Phelps 1 Photography in the 19Th Century Nicéphore Niépce Was an Inventor Who Invented the Bicycle However His Most Passionate
Phelps 1 Photography in the 19th century Nicéphore Niépce was an inventor who invented the bicycle however his most passionate project was photography. He first started with the heliography in 1824 but these pictures only lasted a few days. It was everyone’s concern to make pictures that lasted longer and didn’t have a huge amount of exposure time. In 1827, Louis Daguerre met Niépce and they created a partnership in 1829 to work towards the goal of a permanent photo. Unlike Niépce, Daguerre was well known before his invention of Daguerreotype he created a dramatic theatrical display called diorama. His diorama was raved about because there was many moving parts to his play. The set would come alive and the audience moved around (almost like an amusement park ride). Daguerreotype was much more famous than Niépce previous work Landscape in Saint-Loup-de- Varennes because it took Niépce around 8 hours of exposure to get a blurry picture. When Niépce died in 1833, Daguerre got most of the credit for the invention. In 1838, Daguerre captured a usually busy street in Paris and was able to catch a person getting thier shoes shined in his photograph. This an incredible moment because catching someone in photo that wasn’t sitting still was difficult. While Daguerre was creating his permanent pictures across the pond William Talbot was creating a way to make long lasting pictures with paper. Even though the Talbot invention wasn’t the best detailed picture it did allow the recreation of artwork and to start adding pictures into books, newspapers, album covers, and book coverings. -
The Invention of the Myth of Total Photography Kim Timby
INTERNATIONAL JOURNAL ON STEREO & IMMERSIVE MEDIA Vol 2, Issue n.º1 INTERNATIONAL JOURNAL ON STEREO & IMMERSIVE MEDIA Abstract The drawing in Figure 1 was included in a 1950s brochure The idea that photography had the potential to reproduce the THE INVENTION OF In the mid-twentieth-century, it was widely be- promoting a projection system for stereoscopic cinema that world as we see it can be described as an integral-image uto- lieved that innovations in photographing move- offered a three-dimensional image without the use of special pia: an idealised conception of the photographic image sus- THE MYTH OF TOTAL ment, colour, and depth would one day afford glasses. Although simplistic in many respects, this illustra- tained by the sentiment that innovations in the transcription complete mastery of the simulation of visual tion evokes the salient characteristics of the photographic of the action of light were tending towards a complete simu- PHOTOGRAPHY perception. This collective representation of image of the future, as envisioned at the time: a picture that lation of everyday perception – even though the most recent purpose and of progress in photography was was animated – signified in the drawing by a projected image technologies, like the one advertised in Figure 1, didn’t yet al- eloquently expressed as the “myth of total cine- and a bumblebee; in colour – conveyed with a bright chro- low seamlessly immersive representation. In the mid–twen- KIM TIMBY ma” by André Bazin (1946), who argued that the matic palette; in three dimensions – represented by the use tieth century, inventors and the general public alike assumed École du Louvre, Paris longing for “integral realism” had always marked of perspective; and, of course, accompanied by sound – also that technological progress in photography was leading in this [email protected] mechanical reproduction, inspiring inventors conveyed by the bee. -
A Brief History of Photography Notable Developments Since 1519 Sir John Herschel
A Brief History of Photography Notable developments since 1519 Sir John Herschel First coined the term “Photography” in 1839, the year the photographic process became public Derived from Greek words: “Photo” = “light” “graphy” = “writing” Early Photography Have you ever used a film camera? (How is it different to use a film camera than to use a digital camera?) Two processes made early photography possible The optical process and the chemical process The Optical Process 1519, Leonardo da Vinci creates diagram of a camera obscura A small, dark room or building with no windows Small hole in one wall Resulted in an upside-down image of the world on the opposing wall The Optical Process Became used as an aid to drawing Technically the camera existed before photography! The Chemical Process Could not do much with just camera obscura needed a way to capture the image 1816 – Nicephore Niepce combines camera obscura with photosensitive paper Paper that hardened and changed when exposed to light 1826 – Niepce creates first photograph The Chemical Process Could not do much with just camera obscura needed a way to capture the image 1816 – Nicephore Niepce combines camera obscura with photosensitive paper Paper that hardened and changed when exposed to light 1826 – Niepce creates first photograph How to Make it Practical? Niepce’s photographs took eight hours of exposure Photography needed to become more practical Two men tried to solve this problem: Louis Daguerre William Henry Fox Talbot The Photography Wars Louis DaGuerre -
Introduction to Photography
Introduction to Photography Topic 1 - The History of Photography Learning Outcomes In this lesson you will learn about the earliest work that led us to the photographic devices we have today. To fully appreciate the potential and capabilities of digital technology, and, indeed digital photography, one must recall the ground-breaking discoveries of the auteurs and inventors who came before us. Where does the name ‘Photography’ come from? Well, it is worth mentioning Sir John Herschel, who published several key research papers and coined the term “Photography”, from the Greek words “phos” and “graphe” which translate to Light and Drawing. Page | 1 Introduction to Photography Camera Obscura Photography’s history dates back as far as the 1400s and is hinged on the discovery that if you cut a hole in the wall of a dark room, you create a Camera Obscura. Essentially, the light that passes through this hole is projected upside down and retains colour and perspective. There are early mentions of the process by philosopher Mozi, and artist Leonardo DaVinci notes his use of a Camera Obscura when tracing pictures in his workshop. This discovery eventually led to the creation of modern eye glasses and laser beams. Page | 2 Introduction to Photography It all really started with the first image recorded in 1717 when Johann Heinrich Schulze recorded fleeting sun prints of words using stencils, sunlight and a bottled mixture of chalk and silver nitrate. This was an experimental demonstration that the mixture darkens when exposed to light. Page | 3 Introduction to Photography In 1826, the world’s first photograph is taken by Joesph Nicéphore Niépce in France using a procedure called Heliography. -
Four Centuries of Optical Imaging Technology
Four Centuries of Optical Imaging Technology William T Rhodes, Ph.D. Professor Emeritus, Georgia Institute of Technology Professor of Electrical Engineering and Affiliate Professor of Physics Associate Director, Imaging Technology Center Florida Atlantic University [email protected] 1 Preliminary thoughts Technological advances come primarily through technologists, not scientists – but through technologists who know science . Optics is frequently referred to as an enabling science. It continues to foster important technological developments at a high rate. Economics plays an extremely important motivational role in technology development. 2 Our starting point Four centuries ago… Galileo Galilei, 15 February 1564 – 8 January 1642), scientist- technologist, 200 km from Trieste. Galileo has been called the "father of modern observational astronomy, the "father of modern physics,“ the "father of science,” and "the father of modern science.” (He also fathered two daughters and a son.) Stephen Hawking says, "Galileo, perhaps more than any other single person, was responsible for the birth of modern science.“ He was also a technologist, who ground lenses, built telescopes, and sold them, thereby starting a new industry. 3 What existed four centuries ago? Eyeglasses: crude but quite useful for older people Magnifiers: some of remarkably high quality Telescopes: seriously limited by imperfections but nevertheless astonishing in what they revealed 4 1. Eyeglasses Hugues De Provence at His Desk , by Tommaso Da Modena, ca. 1355 Clerical reader with eye glasses, ca. 1435 Eye glasses were in use as early as the late 1200s, 300 years before the telescope, probably as an extension of the magnifier. 5 2. Magnifiers Vikings in Gotland appear to have ground and polished high-quality aspheric magnifiers from quartz around 1000 AD. -
Celebrating Photography's Two Fathers
Metascience DOI 10.1007/s11016-014-9896-5 BOOK REVIEW Celebrating photography’s two fathers Roger Watson and Helen Rappaport: Capturing the light: A true story of genius, rivalry and the birth of photography. London: Macmillan, 2013, xiv+306pp, £20 HB Naomi Pasachoff Ó Springer Science+Business Media Dordrecht 2014 In early 1839, two very different geniuses, one French and one English, told the world about their discoveries of two different ways of creating permanent photographic images. Anticipating the 2014 celebration of the 175th anniversary of those events, Capturing the Light comes as a welcome gift recognizing the birth of photography. More than a rich, if condensed, dual biography of Louis Daguerre (1787–1851) and Henry Talbot (1800–1877), the book is a clear and fascinating account of the history of photography from its earliest roots in the camera obscura— essentially a wooden box with a lens on one end and, at the other, a piece of ground glass on which to focus an image. From at least the sixteenth century, artists, including Leonardo, Velasquez, and Vermeer, had used the camera obscura to create templates for their paintings. From the eighteenth century on, not only artists but also scientists and entrepreneurs were in search of a method to use chemicals to permanently record the images projected through a camera obscura onto paper or another medium. The daguerreotype made use of a sensitized metal plate that produced only a single copy of an image, while Talbot’s photogenic drawings of the 1830s, followed by his calotype of 1841, used sensitized paper; Talbot introduced the concept of the photographic negative, which could make one or more positive prints. -
The Memory of the Future
The Memory of the Future PHOTOGRAPHIC DIALOGUES BETWEEN PAST, PRESENT AND FUTURE Curator : Tatyana Franck, assisted by Emilie Delcambre and Lydia Dorner 05. 25 – 08. 28. 2016 #MEMOIREDUFUTUR #ELYSEEMUSEE @ELYSEEMUSEE WWW.ELYSEE.CH This exhibition is an odyssey into the history of photography where different eras are juxtaposed and where artists and their methods dialogue with each other. Through a selection of historic photographic processes and the works of contemporary artists, the spectator is encouraged to observe the influence of the past on today’s artistic creations. The exhibition The Memory of the Future proposes a three-pronged vision: that of the past with the works of the pioneers of photographic techniques, that of the present with contemporary works that revive this know-how, and that of the future with technologies that give a new perspective on the works of the past. Through century-old processes such as daguerreotypes, calotypes, negatives on dry waxed paper, tintypes, ambrotypes, cyanotypes and including holograms, The Memory of the Future celebrates the founding fathers of photographic techniques by establishing a dialogue between them and contemporary artists. From Gabriel Lippmann to James Turrell, including Robert Cornelius and Oscar Muñoz, this exhibition brings together for the first time some one hundred works whose common thread is their ability to withstand time. The Memory of the Future also proposes a selection of works from the Musée de l’Elysée’s collections that have never before been presented to the public. After having launched a campaign to digitize its photography books in 2014 – 1,500 books have been digitized as of this time – the Musée de l’Elysée continues to explore techniques to dematerialize its visual heritage in order to preserve and enhance it. -
The Beginnings of Photogravure in Nineteenth-Century France Malcolm Daniel
The Beginnings of Photogravure in Nineteenth-Century France Malcolm Daniel Introduction Alexandre Ken, writing about photography in 1864, took note of the formation of the Société des Aquafortistes, an organization which had as its aim the preservation and promotion of artistic etching and engraving. He spoke of the alarm felt by etchers and engravers over the increasing encroachment of photography into their realm of artistic production and reproduction, but he noted that “Ce n’est pas d’ailleurs la photographie proprement dite qui menace de ruine les artistes dévoués à l’eau-forte et au burin; c’est l’héliographie [gravure héliographique]… qui sera bientôt à leurs vieux procédés ce que le chemin de fer est à l’antique diligence.”i Twenty-five years had passed since the first public announcement of photography. On an almost daily basis during that first quarter-century of photography, artists, chemists, and entrepreneurs tried, one after another, to improve upon whatever subtle refinement or radical rethinking of the medium had been announced the day before. Photography was then very much a hand-crafted medium—a cuisine, where each practitioner had his own recipes and found that a dash of this or a grain of that or a change in the temperature of one solution or another by so many degrees for so many minutes yielded superior results. Some photographers kept the details of their processes secret, and others took out patents or published their processes for profit, but many—particularly those engaged in photography as a gentlemanly pursuit rather than as a profession—freely shared their small discoveries with one another. -
FROM the FIRST PHOTOGRAPH TAKEN in 1827 - to COMMERCIAL COLOUR FILMS in The1940s
FROM THE FIRST PHOTOGRAPH TAKEN IN 1827 - TO COMMERCIAL COLOUR FILMS IN THE1940s The first photograph - 1827 The first photographic image taken with a camera obscura, 1839 - Daguerreotype was a summer day in 1827 by Joseph Nicephore Niepce. Before he took the first photograph, artist only used the Louis Daguerre, a man who over a decade had managed camera obscura to help them draw pictures, never to take to reduce the exposure time from eight hours to less than photographs. Niepce’s creations were aptly named «sun half an hour, and prevent the image from disappearing prints», since light was used to draw the picture. These prints afterwards, is considered as the father of the practical formed the blueprint for modern photography. Niepce’s process of photography. Daguerre and Joseph Niepce photographs needed full eight hours of light exposure, and joined forces to improve the process of photography in after the picture appeared, it would quickly fade away again. 1829, and after about ten years with experimentation, in The sun prints were created by engraving a picture onto a 1839, Daguerre had created an easier and more effective metal plate, coating it in bitumen and then exposing it to light. way of taking photographs, which he called the daguerre- The shadowy areas of the engraving blocked light, while the otype. Niepce passed away in the meantime. To create a lighter areas allowed for light to react with the chemicals on daguerreotype, one would «fix» an image onto a sheet of the plate. When this metal plate was soaked in a solvent, an silver-plated copper, and then polish the sliver and coat image would start to appear, before quickly fading away the sheet with iodine. -
Seduced by Art: Photography Past and Present
An introduction for teachers and students INTRODUCTION Today photography is celebrated as an art form in its own right. Far from eclipsing fine art, it has nourished its development. Yet echoing through the decades since 1839, the same questions are asked: can photography be taken as seriously as fine art? Does it merit the same attention and analysis? Seduced by Art is a first in many respects: it is the first National Gallery exhibition to explore photography. It is also the first show to look at the relationship between contemporary photography, the early pioneering photographers, and the Old Masters. The fundamental premise of this exhibition is that the art of the past inspired the early pioneering photographers, and that both continue to stimulate present-day photography. London, as one the great art cities, increasingly celebrates photography. The Victoria and Albert Museum’s photography department produces regular shows and displays. The Royal Academy now extends its invitation for entries to the Summer Exhibition to photographers, and the academy’s show Degas and the Ballet: Picturing Movement made connections between the parallel worlds of 19th-century art and photography. Pre-Raphaelites: Victorian Avant-Garde at Tate Britain explores how artists such as John Everett Millais (1829–1896) were almost competing with photography in their forensic examination of the natural world. The current art market reflects this widespread interest and admiration; major photographic works are now selling for over 2 million pounds. PHOTOGRAPHY AND THE ART OF THE PAST It was small wonder that the great early pioneer photographers would look to the great art of the past, subliminally or otherwise.