History of Photography
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Gallery Text That Accompanies This Exhibition In
Steeped in the classical training of an English gentleman, Edward Dodwell (1777/78– 1832) first traveled through Greece in 1801. He returned in 1805 in the company of an Italian artist, Simone Pomardi (1757–1830), and together they toured the country for fourteen months, drawing and documenting the landscape with exacting detail. They produced around a thousand illustrations, most of which are now in the collection of the Packard Humanities Institute in Los Altos, California. A selection from this rich archive is presented here for the first time in the United States. Dodwell and Pomardi frequently used a camera obscura, an optical device that made it easier to create accurate images. Beyond providing evidence for the appearance of monuments and vistas, their illustrations manifest the ideal of the picturesque that enraptured so many European travelers. The sight of ancient temples lying in ruin, or of the Greek people under Turkish rule as part of the Ottoman Empire, prompted meditation on the transience of human accomplishments. As Dodwell himself wrote: “When we contemplated the scene around us, and beheld the sites of ruined states, and kingdoms, and cities, which were once elevated to a high pitch of prosperity and renown, but which have now vanished like a dream . we could not but forcibly feel that nations perish as well as individuals.” Dodwell’s own words accompany the majority of images in this exhibition. His descriptions are drawn from his Classical and Topographical Tour through Greece, during the Years 1801, 1805, and 1806 (London, 1819). The author’s original spelling, capitalization, and punctuation have been retained. -
Digital Holography Using a Laser Pointer and Consumer Digital Camera Report Date: June 22Nd, 2004
Digital Holography using a Laser Pointer and Consumer Digital Camera Report date: June 22nd, 2004 by David Garber, M.E. undergraduate, Johns Hopkins University, [email protected] Available online at http://pegasus.me.jhu.edu/~lefd/shc/LPholo/lphindex.htm Acknowledgements Faculty sponsor: Prof. Joseph Katz, [email protected] Project idea and direction: Dr. Edwin Malkiel, [email protected] Digital holography reconstruction: Jian Sheng, [email protected] Abstract The point of this project was to examine the feasibility of low-cost holography. Can viable holograms be recorded using an ordinary diode laser pointer and a consumer digital camera? How much does it cost? What are the major difficulties? I set up an in-line holographic system and recorded both still images and movies using a $600 Fujifilm Finepix S602Z digital camera and a $10 laser pointer by Lazerpro. Reconstruction of the stills shows clearly that successful holograms can be created with a low-cost optical setup. The movies did not reconstruct, due to compression and very low image resolution. Garber 2 Theoretical Background What is a hologram? The Merriam-Webster dictionary defines a hologram as, “a three-dimensional image reproduced from a pattern of interference produced by a split coherent beam of radiation (as a laser).” Holograms can produce a three-dimensional image, but it is more helpful for our purposes to think of a hologram as a photograph that can be refocused at any depth. So while a photograph taken of two people standing far apart would have one in focus and one blurry, a hologram taken of the same scene could be reconstructed to bring either person into focus. -
Elements of Screenology: Toward an Archaeology of the Screen 2006
Repositorium für die Medienwissenschaft Erkki Huhtamo Elements of screenology: Toward an Archaeology of the Screen 2006 https://doi.org/10.25969/mediarep/1958 Veröffentlichungsversion / published version Zeitschriftenartikel / journal article Empfohlene Zitierung / Suggested Citation: Huhtamo, Erkki: Elements of screenology: Toward an Archaeology of the Screen. In: Navigationen - Zeitschrift für Medien- und Kulturwissenschaften, Jg. 6 (2006), Nr. 2, S. 31–64. DOI: https://doi.org/10.25969/mediarep/1958. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Deposit-Lizenz (Keine This document is made available under a Deposit License (No Weiterverbreitung - keine Bearbeitung) zur Verfügung gestellt. Redistribution - no modifications). We grant a non-exclusive, Gewährt wird ein nicht exklusives, nicht übertragbares, non-transferable, individual, and limited right for using this persönliches und beschränktes Recht auf Nutzung dieses document. This document is solely intended for your personal, Dokuments. Dieses Dokument ist ausschließlich für non-commercial use. All copies of this documents must retain den persönlichen, nicht-kommerziellen Gebrauch bestimmt. all copyright information and other information regarding legal Auf sämtlichen Kopien dieses Dokuments müssen alle protection. You are not allowed to alter this document in any Urheberrechtshinweise und sonstigen Hinweise auf gesetzlichen way, to copy it for public or commercial purposes, to exhibit the Schutz beibehalten werden. Sie dürfen dieses Dokument document in public, to perform, distribute, or otherwise use the nicht in irgendeiner Weise abändern, noch dürfen Sie document in public. dieses Dokument für öffentliche oder kommerzielle Zwecke By using this particular document, you accept the conditions of vervielfältigen, öffentlich ausstellen, aufführen, vertreiben oder use stated above. anderweitig nutzen. Mit der Verwendung dieses Dokuments erkennen Sie die Nutzungsbedingungen an. -
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. -
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. -
Sample Manuscript Showing Specifications and Style
Information capacity: a measure of potential image quality of a digital camera Frédéric Cao 1, Frédéric Guichard, Hervé Hornung DxO Labs, 3 rue Nationale, 92100 Boulogne Billancourt, FRANCE ABSTRACT The aim of the paper is to define an objective measurement for evaluating the performance of a digital camera. The challenge is to mix different flaws involving geometry (as distortion or lateral chromatic aberrations), light (as luminance and color shading), or statistical phenomena (as noise). We introduce the concept of information capacity that accounts for all the main defects than can be observed in digital images, and that can be due either to the optics or to the sensor. The information capacity describes the potential of the camera to produce good images. In particular, digital processing can correct some flaws (like distortion). Our definition of information takes possible correction into account and the fact that processing can neither retrieve lost information nor create some. This paper extends some of our previous work where the information capacity was only defined for RAW sensors. The concept is extended for cameras with optical defects as distortion, lateral and longitudinal chromatic aberration or lens shading. Keywords: digital photography, image quality evaluation, optical aberration, information capacity, camera performance database 1. INTRODUCTION The evaluation of a digital camera is a key factor for customers, whether they are vendors or final customers. It relies on many different factors as the presence or not of some functionalities, ergonomic, price, or image quality. Each separate criterion is itself quite complex to evaluate, and depends on many different factors. The case of image quality is a good illustration of this topic. -
XF Camera System User Manual
XF Camera System User Manual XF Camera System Manual | Table of Contents 1 Jump to Table of Contents XF Camera System Manual | Table of Contents 2 Content | XF Camera System Manual Primary parts of the XF Camera System 4 XF Camera System Capture Modes 59 Lens, XF Camera Body, IQ Digital Back 4 XF Camera System Exposure Modes 61 Dials, Buttons and Touch Screen Interface 6 Lens, XF Camera Body, IQ Digital Back 6 Exposure Compensation 63 Assembling the XF Camera System 8 Long Exposure 64 Digital Back and camera body modularity 8 Electronic Shutter (ES) 65 Readying the camera system 10 General advice for using the battery and charger 11 Live View 67 Live View on the LCD, Capture One or HDMI monitor 67 Navigating the XF Camera System 14 XF Camera Body Controls 15 XF Custom Presets and System Backup 70 Customizing buttons and dials 18 Flash Photography 73 Profoto Remote Tool 74 OneTouch User Interface Flow Diagram 20 Triggering a Capture with the Profoto Remote 75 XF Camera Menu Overview 20 Flash Analysis Tool 76 IQ Digital Back Menu Overview 22 Rear Curtain sync and Trim 76 Shutter Mechanisms and Flash Synchronization range 77 OneTouch User Interface Overview 25 XF Camera Body Navigation 25 XF Camera System Lenses 78 Top Touch Screen Display 26 Capture One Pro 79 XF Tools on the Top Touch Screen 28 Capture One Tethered Use 82 IQ Digital Back Navigation 33 IQ Digital Back Navigation Shortcuts 34 Built-In WiFi and Capture Pilot 84 IQ Digital Back Viewing images 34 A-series Camera System 87 IQ Digital Back Contextual Menu 35 Overview of Contextual -
Seeing Like Your Camera ○ My List of Specific Videos I Recommend for Homework I.E
Accessing Lynda.com ● Free to Mason community ● Set your browser to lynda.gmu.edu ○ Log-in using your Mason ID and Password ● Playlists Seeing Like Your Camera ○ My list of specific videos I recommend for homework i.e. pre- and post-session viewing.. PART 2 - FALL 2016 ○ Clicking on the name of the video segment will bring you immediately to Lynda.com (or the login window) Stan Schretter ○ I recommend that you eventually watch the entire video class, since we will only use small segments of each video class [email protected] 1 2 Ways To Take This Course What Creates a Photograph ● Each class will cover on one or two topics in detail ● Light ○ Lynda.com videos cover a lot more material ○ I will email the video playlist and the my charts before each class ● Camera ● My Scale of Value ○ Maximum Benefit: Review Videos Before Class & Attend Lectures ● Composition & Practice after Each Class ○ Less Benefit: Do not look at the Videos; Attend Lectures and ● Camera Setup Practice after Each Class ○ Some Benefit: Look at Videos; Don’t attend Lectures ● Post Processing 3 4 This Course - “The Shot” This Course - “The Shot” ● Camera Setup ○ Exposure ● Light ■ “Proper” Light on the Sensor ■ Depth of Field ■ Stop or Show the Action ● Camera ○ Focus ○ Getting the Color Right ● Composition ■ White Balance ● Composition ● Camera Setup ○ Key Photographic Element(s) ○ Moving The Eye Through The Frame ■ Negative Space ● Post Processing ○ Perspective ○ Story 5 6 Outline of This Class Class Topics PART 1 - Summer 2016 PART 2 - Fall 2016 ● Topic 1 ○ Review of Part 1 ● Increasing Your Vision ● Brief Review of Part 1 ○ Shutter Speed, Aperture, ISO ○ Shutter Speed ● Seeing The Light ○ Composition ○ Aperture ○ Color, dynamic range, ● Topic 2 ○ ISO and White Balance histograms, backlighting, etc. -
Colour Relationships Using Traditional, Analogue and Digital Technology
Colour Relationships Using Traditional, Analogue and Digital Technology Peter Burke Skills Victoria (TAFE)/Italy (Veneto) ISS Institute Fellowship Fellowship funded by Skills Victoria, Department of Innovation, Industry and Regional Development, Victorian Government ISS Institute Inc MAY 2011 © ISS Institute T 03 9347 4583 Level 1 F 03 9348 1474 189 Faraday Street [email protected] Carlton Vic E AUSTRALIA 3053 W www.issinstitute.org.au Published by International Specialised Skills Institute, Melbourne Extract published on www.issinstitute.org.au © Copyright ISS Institute May 2011 This publication is copyright. No part may be reproduced by any process except in accordance with the provisions of the Copyright Act 1968. Whilst this report has been accepted by ISS Institute, ISS Institute cannot provide expert peer review of the report, and except as may be required by law no responsibility can be accepted by ISS Institute for the content of the report or any links therein, or omissions, typographical, print or photographic errors, or inaccuracies that may occur after publication or otherwise. ISS Institute do not accept responsibility for the consequences of any action taken or omitted to be taken by any person as a consequence of anything contained in, or omitted from, this report. Executive Summary This Fellowship study explored the use of analogue and digital technologies to create colour surfaces and sound experiences. The research focused on art and design activities that combine traditional analogue techniques (such as drawing or painting) with print and electronic media (from simple LED lighting to large-scale video projections on buildings). The Fellow’s rich and varied self-directed research was centred in Venice, Italy, with visits to France, Sweden, Scotland and the Netherlands to attend large public events such as the Biennale de Venezia and the Edinburgh Festival, and more intimate moments where one-on-one interviews were conducted with renown artists in their studios. -
On the Complexities of Using New Visual Technologies to Communicate About Wildlife Communication
Verma A, Van der Wal R, Fischer A. Microscope and spectacle: On the complexities of using new visual technologies to communicate about wildlife communication. Ambio 2015, 44(Suppl. 4), 648-660. Copyright: © The Author(s) 2015 Open Access This article is distributed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution, and reproduction in any medium, provided you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons license, and indicate if changes were made. DOI link to article: http://dx.doi.org/10.1007/s13280-015-0715-z Date deposited: 05/12/2016 This work is licensed under a Creative Commons Attribution 4.0 International License Newcastle University ePrints - eprint.ncl.ac.uk Ambio 2015, 44(Suppl. 4):S648–S660 DOI 10.1007/s13280-015-0715-z Microscope and spectacle: On the complexities of using new visual technologies to communicate about wildlife conservation Audrey Verma, Rene´ van der Wal, Anke Fischer Abstract Wildlife conservation-related organisations well-versed in crafting public outreach and awareness- increasingly employ new visual technologies in their raising activities. These range from unidirectional educa- science communication and public engagement efforts. tional campaigns and advertising and branding projects, to Here, we examine the use of such technologies for wildlife citizen science research with varying degrees of public conservation campaigns. We obtained empirical data from participation, the implementation of interactive media four UK-based organisations through semi-structured strategies, and the expansion of modes of interpretation to interviews and participant observation. -
Co-453 Friedrich Wilhelm Von Egloffstein, the Ives
CO-453 FRIEDRICH WILHELM VON EGLOFFSTEIN, THE IVES-EXPEDITION TO THE GRAND CANYON (1857-58), AND THE FIRST RELIEF SHADED MAPS OF A PORTION OF THE UNITED STATES DEMHARDT I.J. University of Texas at Arlington, ARLINGTON, UNITED STATES By the mid of the nineteenth century, when the still young United States of America were about to expand rapidly from the banks of the Mississippi to the Pacific coast, increasing numbers of peasants and tradesmen with their families left from Europe for the New World following a mix of economic pressure and wanderlust. Among the immigrant “class of 1849” was also a German baronet destined to leave a prominent mark on the pioneering cartography of the American West by bringing along well nurtured talents in arts and topography. Friedrich Wilhelm von Egloffstein was born on May 18, 1824 in Altdorf in northern Bavaria. Being educated as engineering officer by the Prussian army, he left his home during the German revolution of 1848-49 to arrive as a bachelor in the United States early in 1849. Here he subsequently participated in several exploration expeditions into the West, served in the Civil War, and attempted a business career with a patented printing method (Krygier 1997; Rowan/Szostalo 2005). By 1852, two years after his arrival from Germany, von Egloffstein was working as a surveyor in St. Louis and published a detailed map of the area around Valley Park, Missouri along the Meramex River to promote the use of the Pacific Railroad (Rowan/Szostalo 2005). The emerging rapid westward expansion of the political and settlement frontier demanded the formation of the U.S. -
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..