
Photography is the process of making pictures by means of the action of light. It involves recording light patterns, as reflected from objects, onto a sensitive medium through a timed exposure. The process is done through mechanical, chemical or digital devices commonly known as cameras. The word comes from the Greek language words φως ''phos'' ("light"), and γραφις ''graphis'' ("stylus", "paintbrush") or γραφη ''graphê'', together meaning "drawing with light" or "representation by means of lines", "drawing". ==Image forming devices== Most commonly a camera or camera obscura is the image forming device and photographic film or a digital storage card is the recording medium, but other methods are available. For instance, the photocopy or xerography machine forms permanent images but uses the transfer of static Electric charge rather than photographic film, hence the term electrophotography. The rayographs published by Man Ray in 1922 are images produced by the shadows of objects cast on the photographic paper, without the use of a camera. And one can place objects directly on the glass of a scanner to produce pictures electronically. Photographers control the camera to expose the light recording material (usually film) to light. After processing, this produces an image whose contents are acceptably sharp, bright and composed to achieve the objective of taking the photograph. The controls include: *Focus *Aperture of the lens *Duration of exposure (or shutter speed) *Focal length of the lens (Telephoto lens, Macro photography, Wide-angle lens, or Zoom lens) *Sensitivity of the film The controls are usually inter-related, for example brightness is aperture multiplied by shutter speed, and varying the focal length of the lens will allow greater control over the depth of field. ==Uses of photography== Photography can be classified under imaging technology and has gained the interest of scientists and artists from its inception. Scientists have used its capacity to make accurate recordings, such as Eadweard Muybridge in his study of human and animal locomotion (1887). Artists have been equally interested by this aspect but have also tried to explore other avenues than the photo-mechanical representation of reality, such as the pictorialist movement. Military, police and security forces use photography for surveillance, recognition and data storage. ==History of photography== === Invention === ==== Chemical Photography ==== Projecting images onto surfaces has been done for centuries. The Camera_obscura and the Camera_lucida were used by artists to trace scenes as early as the 16th century. These early cameras did not fix an image in time; they only projected what was before an opening in the wall of a darkened room onto a surface. In effect, the entire room was turned into a large Pinhole_camera. Indeed, the phrase ''camera obscura'' literally means "darkened room," and it is after these darkened rooms that all modern cameras have been named. The first photograph is considered to be an image produced in 1826 by the French inventor Nicéphore Niépce on a polished pewter plate covered with a petroleum derivative called bitumen of Judea. It was produced with a camera, and required an eight hour exposure in bright sunshine. However this process turned out to be a dead end and Niépce began experimenting with silver compounds based on a Johann Heinrich Schultz discovery in 1724 that a silver and chalk mixture darkens when exposed to light. Niépce, in Chalon-sur-Saône, and the artist Jacques Daguerre, in Paris, refined the existing silver process in a joint partnership. In 1833 Niépce died unexpectedly of a stroke, leaving his notes to Daguerre. While he had no scientific background, Daguerre made two pivotal contributions to the process. He discovered that by exposing the silver firstly to iodine vapour, before exposure to light, and then to mercury fumes after the photograph was taken, a latent image could be formed and made visible. By then bathing the plate in a salt bath the image could be Photographic fixer. In 1839 Daguerre announced that he had invented a process using silver on a copper plate called the Daguerreotype. A very similar process is still used today for Polaroid. The French government bought the patent and immediately made it public domain. Across the English Channel, William Fox Talbot had earlier discovered another means to fix a silver process image but had kept it secret. After reading about Daguerre's invention, Talbot refined his process, so that it might be fast enough to take photographs of people as Daguerre had done, and by 1840 he had invented the calotype process. He coated paper sheets with silver chloride to create an intermediate negative_%28photography%29 image. Unlike a daguerreotype, a calotype negative could be used to reproduce positive prints, like most chemical cameras do today. Talbot patented this process, which greatly limited its adoption. He spent the rest of his life in lawsuits defending the patent until he gave up on photography all together. But later this process was refined by George Eastman and is today the basic technology used by chemical film cameras. Hippolyte Bayard also developed a method of photography, but delayed announcing it and so was not recognized as its inventor. ====Reference==== *Coe, Brian. ''The Birth of Photography''. Ash & Grant, 1976 === Social History === ==== Popularization ==== The Daguerreotype proved popular as it responded to the demand for portraiture emerging from the middle classes during the Industrial Revolution. This demand, that could not be met in volume and in cost by oil painting, may well have been the push for the development of photography. But still daguerreotypes, while beautiful, were fragile and difficult to copy. A single photograph taken in a portrait studio could cost $1000 in 2005 dollars. Photographers also encouraged chemists to refine the process of making many copies cheaply, which eventually lead them back to Talbot's process. Ultimately, the modern Photographic processes came about from a series of refinements and improvements in the first 20 years. In 1884 George Eastman, of Rochester New York, developed dry gel on paper, or Photographic_film, to replace the photographic plate, so that a photographer no longer needed to carry boxes of plates and toxic chemicals around. In July of 1888 Eastman's Kodak camera went on the market with the slogan "You press the button, we do the rest". Now anyone could take a photograph and leave the dangerous portions of the process to others. Photography became available for the mass-market in 1901 with the introduction of a children's camera, the Kodak Brownie (camera) and a women's camera that came with a free lipstick. Very little has changed in chemical photography since then, though color film has become the standard, as well as automatic focus and automatic exposure. Digital recording of images is becoming increasingly prevalent, as digital cameras allow instant previews on LCD screens among other benefits, and the definition of top of the range models have become comparable to high quality 35mm film while lower definition models have become affordable. For the enthusiast photographer processing black and white film, little has changed since the introduction of the 35mm film Leica camera in 1925. ===Economic History=== In the nineteenth century, photography developed rapidly as a commercial service. In the U.S. in 1890, the number of professional photographers was about the same as the number of accountants, artists, and dentists, respectively, and about ten times greater than the number of authors. End-user supplies of photographic equipment accounted for only about 20% of industry revenue. Several trends characterize the photographic industry from the end of the nineteenth century to the end of the twentieth century. The ratio of revenue from end-user photographic supplies to revenue from professional services rose by an order of magnitude. The prevalence of personal cameras and the ratio of end-user photographs rose closely in tandem with the prevalence of telephone and the telephone conversation minutes. However, the ratio of photographic industry revenue to telephone industry revenue dropped sharply.[http://www.galbithink.org/sense-s6.htm#wpp1] Given the development of new digital technologies for creating and sharing images, and of new communications devices, e.g. camera phones, understanding the economics of image use are becoming increasing important for understanding the evolution of the communications industry as a whole. ==Color photography== Color photography was explored throughout the 1800s. Initial experiments in color could not fix the photograph and prevent the color from fading. The first permanent color photo was taken in 1861 by the physicist James Clerk Maxwell. One of the early methods of taking color photos was to use three cameras. Each camera would have a color filter in front of the lens. This technique provides the photographer with the three basic channels required to recreate a color image in a darkroom or processing plant. The first color film, Autochrome Lumière, did not reach the market until 1907 and was based on dyed dots of potato starch. The first modern color film, Kodachrome, was introduced in 1935 based on three colored emulsions. Most modern color films, except Kodachrome, are based on technology developed for Agfacolor (as 'Agfacolor Neue') in 1936. Instant film was introduced by Polaroid Corporation in 1963. Color photography may form images as a positive transparency, intended for use in a slide projector or as color negatives, intended for use in creating positive color enlargements on specially coated paper. The latter is now the most common form of film (non-digital) color photography, owing to the introduction of automated photoprinting equipment. ==Digital photography== ''Main article: digital photography'' Traditional photography was a considerable burden for photographers working at remote locations (such as press correspondents) without access to processing facilities. With increased competition from television, there was pressure to deliver their images to newspapers ever faster. Photo-journalists at remote locations would carry a miniature photo lab with them, and some means of transmitting their images down the telephone line. In 1981, Sony unveiled the first consumer camera to use a CCD for imaging, and which required no film -- the Sony Mavica. While the Mavica did save images to disk, the images themselves were displayed on television, and therefore the camera could not be considered fully digital. In 1990, Kodak unveiled the DCS 100, the first commercially available digital camera. Its cost precluded any use other than photojournalism and professional applications, but commercial digital photography was born. Digital photography uses an electronic sensor such as a charge-coupled device to record the image as a piece of electronic data rather than as chemical changes on film. Some other devices, such as cell phones, now include digital photography features. In 10 years, digital cameras have become widespread consumer products. Digital cameras now outsell film cameras, and many include features not found in film cameras such as the ability to shoot video and record digital audio. Kodak announced in January 2004 that it would no longer produce reloadable 35-millimeter cameras after the end of that year. This was interpreted as a sign of the end of film photography, however Kodak was at that time a minor actor on the reloadable film cameras market. The price of 35mm and APS compact cameras have dropped, probably due to direct competition from digital and the resulting growth of the offer of second-hand film cameras. However, "wet" photography may endure, as dedicated amateurs and skilled artists often prefer the use of traditional and familiar materials and techniques. ==Commercial Photography aka Obtaining Photographic Services== The greater commercial photographic world is traditionally broken down to: *Advertising Photography: photographs done to illustrate a service or product. These images are generally done with an Advertising Agency, Design Firm or with an in-house Corporate design team. *Editorial Photography: photographs done to illustrate a story or idea within the context of a magazine. These are usually assigned by the magazine. *Photo-Journalism: this can be considered a subset of Editorial. Photographs done in this context are accepted as a truthful documentation of a news story. *Portrait & Wedding Photography: photographs done and sold directly to the end user of the images. *Fine Art Photography: photographs created to fulfill a vision, and reproduced to be sold directly to the end user. --- The market for photographic services demonstrates the cliché "one picture is worth a thousand words," which has an interesting basis in the #History of photography. Magazines and newspapers, companies putting up Web sites, advertising agencies and other groups pay for photography. Many people take photographs for self-fulfillment or for commercial purposes. Organizations with a budget and a need for photography have several options: they can assign a member of the organization, hire someone, run a public competition, or obtain rights to Stock photography. == Terminology == Traditionally, the product of photography has been called a ''photograph.'' The term ''photo'' is a convenient abbreviation. Many people also call them ''pictures.'' In digital photography, the term ''image'' has begun to replace ''photograph.'' This term is neither more nor less correct than ''photograph'', either in film or digital photography. (The term ''image'' is traditional in geometric optics.) ==Photography as an art form== [[Image:Photo_art.triddle.jpg|200px|thumb|Manual shutter control and exposure settings can achieve unusual results]] During the twentieth century, art & documentary photography became accepted by the English-speaking art world and the gallery system. In the USA, a small handful of curators spent their lives struggling to put it there; Alfred Stieglitz, Edward Steichen and John Szarkowski, and Hugh Edwards. Yet the aesthetics of photography is a matter that continues to be discussed. Is photography an art - or is it just the mechanical reproduction of an image? If photography is authentically art, what makes a photograph beautiful? Is there a kinship between the beauty of an Eugène_Atget and a Rembrandt? The controversy began with the earliest images "written with light": [http://www.nicephore-niepce.com/pagus/pagus-bio.html Niépce], [http://www.rleggat.com/photohistory/history/daguerr.htm Daguerre], and others among the very earliest photographers were met with wonder, but some questioned if it was really art. Clive Bell in his classic essay "Art" states that only one thing can distinguish art from what is not art: "significant form." Bell wrote: "There must be some one quality without which a work of art cannot exist; possessing which, in the least degree, no work is altogether worthless. What is this quality? What quality is shared by all objects that provoke our aesthetic emotions? What quality is common to Sta. Sophia and the windows at Chartres, Mexican sculpture, a Persian bowl, Chinese carpets, Giotto's frescoes at Padua, and the masterpieces of Poussin, Piero della Francesca, and Cezanne? Only one answer seems possible - significant form. In each, lines and colors combined in a particular way, certain forms and relations of forms, stir our aesthetic emotions." [http://www.csulb.edu/~jvancamp/361r13.html Text of Bell's essay]. ===Aesthetic Realism and photography=== Others have since examined if this criterion be applied to photography. This question has been dealt with by the aesthetic realism understanding of beauty. Some of the most important writing on this subject is to be found on the web sites of Len Bernstein, [http://www.dienes-and-dienes.com/Atget.html Louis Dienes], [http://www.dienes-and-dienes.com/Cartier-Bresson.html Amy Dienes], and [http://www.mindspring.com/~davidmbernstein/Dorothea_Lange.html David M. Bernstein]: photographers and critics. Len Bernstein has described the [http://www.lenbernstein.com/ Aesthetic Realism understanding of photography as an art form] in essays which have been published for example in [http://www.apogeephoto.com/apr2001/bernstein4_2001.shtml Apogee Photo Magazine] and in [http://lenbernstein.com/Pages/RiisArticle.html Photographica World: The Journal of the Photographic Collectors Club of Great Britain]. On his web site he introduces the subject as follows: "When I began to photograph more than 25 years ago, I felt I found a way of expressing myself that met something so deep inside me that I wanted to do it for the rest of my life. Walking with my camera, the city streets seemed transformed - friendlier, more interesting - and I spent hours searching for dramatic situations, trying to capture the right moment. Looking through the viewfinder, what I saw had new value for me, boredom and loneliness seemed to vanish, and I wished I could feel that way all the time. And hoping to learn what made a photograph successful, I avidly studied the history and technique of photography. "My hopes were met when I first heard this magnificent statement by Eli Siegel, the American critic and founder of the philosophy Aesthetic Realism: [http://www.terraingallery.org/IsBeauty.html 'All beauty is a making one of opposites, and the making one of opposites is what we are going after in ourselves.'] This is the criterion for beauty that centuries of artists, philosophers, people in all walks of life, have searched for; the explanation of what makes a photograph good and how our personal questions are the questions of art - dignified and cultural! I've had the thrill of testing it in thousands of instances, from the first known photograph taken by Nicéphore Niépce in 1826-27 to the most modern work of today." [http://lenbernstein.com/PagesLargeImages/peopleparkbench.html For an online exhibition of Bernstein's photographs click here.] Likewise, important articles (referred to above) on photography as an art form, written from the Aesthetic Realism point of view, will be found on the David M. Bernstein web site [http://www.mindspring.com/~davidmbernstein/Dorothea_Lange.html "What Does a Person Deserve? The Answer Found in a Great Photograph"] and the "Dienes & Dienes" web site. See, for example Amy Dienes' [http://www.dienes-and-dienes.com/Cartier-Bresson.html "The Self Alone & The Self Going Out; or, Cartier-Bresson's Photo of a Leaping Man"]; Louis Dienes' [http://www.dienes-and-dienes.com/Atget.html "On a Photograph by Eugene Atget"] and his illustrated poem "Black and White," originally composed for his own exhibition of photographs, which begins: [http://www.dienes-and-dienes.com/Photographs-and-A-Poem-1st.html "The day black and white got a break..."] The question, "Is photography an art form?" gets us into deepest aesthetics and is a most important question. An often neglected form of art in photography is that of portrait photography. A portrait is the basic rendering of someone’s likeness. A good portrait photographer, not only wants to capture the true likeness, but also the personality of the individual. The photographer needs to be proficient not only in the workings and setting of the camera, but also needs to understand form and lighting. Great lighting and positioning can make someone appear at their best form if used correctly. Lighting and camera placement can also aid in correcting defects such as shortening a nose, making someone appear slimmer, etc. In this form of art, portrait photography takes on many roles, and can help create various moods that the individual is seeking. ==Reference== Tom Ang, ''Dictionary of Photography and Digital Imaging'', The Essential Reference for the Modern Photographer (Argentum 2001) ==See also== ===Basic topics in photography=== *Camera *Film format *Color temperature *Photograph *Photographer *Photographic printing *Photographic processes *Photojournalism *Movie projector *Slide projector *Stock photography ===Photographers=== *List of photographers *Wikipedia:Wikipedians/Photographers ===Historical=== * Timeline of photography technology * List of photographers * List of photographs ===Techniques=== * angle of view * aperture * bokeh * contre-jour * cyanotype * depth of field * double exposure * Exposure (photography) * f-number * film developing * macro photography * panoramic photography * Perspective distortion (caused by camera to subject distance) * push printing * red eye effect * rephotography * rollout photography * rule of thirds * film scanning * shutter speed * stereoscopy * Zone System ===Photographic products=== * camera * still camera * pinhole camera * toy camera * photographic lens * photographic film * filter (photography) * film formats * flash (photo) * dry box * zone plate ===Related topics=== * Camera obscura * Diana camera * Gelatin-silver process * Holography * Lomography * Night photography * Kirlian photography * Street photography * Stock photography * Vignetting ==External links== * [http://www.dofmaster.com Depth of Field Calculators] * [http://www.dpreview.com dpreview.com] digital camera reviews * [http://www.photopermit.org PhotoPermit.Org] discussion on copyright law for photographers * [http://www.cycleback.com/photoguide Judging the Authenticity of Photographs] by photograph historian David Rudd Cycleback * [http://www.luminous-landscape.com/ The Luminous Landscape] - photography techniques and camera reviews * [http://photoinf.com/ Photography Composition Articles] * [http://www.usefilm.com/ Photo Projects to help you improve your photography] * [http://kenrockwell.com/tech.htm Ken Rockwell Photography] Photography information and careful equipment reviews--the lens reviews are especially useful * [http://www.codemastersworkshop.com/frontdoor/articles.htm David Kachel's Front Door] Articles on the zone system and photographic printing, including novel contrast control processes * [http://www.mccord-museum.qc.ca/en/keys/webtours/VQ_P3_2_EN.html Instant Memories] — the origins of amateur photography * [http://www.mccord-museum.qc.ca/en/keys/webtours/VQ_P2_7_EN.html In the Eye of the Camera] — The limits of photography in 19th century Photography fa:عکاسی ga:Grianghrafadóireacht li:Fotografie th:การถ่ายภาพ
==External links== This page appears to be a magnet for inapproporate external links. Please do not add links to; *Collections and galleries of photographs, either free or for sale *Photographer communities and blog sites *Your own photography studio - no matter how good *Sites that sell cameras, photo software or any other photography paraphernalia *Any other commercial sites There are hundreds of these sorts of sites on the net. If you particularly want one, type 'photography' into any search engine and take your pick. In general Wikipedia:What Wikipedia is not#Wikipedia is not a mirror or a repository of links, images, or media files and links to external commercial sites are considered spam and will be deleted. The sort of links that should be added are links to external sites that provide useful free information that is not already available on Wikipedia. Even then, consider whether you can write an article to put the information on Wikipedia under a free license. :In the course of rooting out spam links from an anon user, I've deleted this link: :* [http://www.streetstudio.com Streetstudio] :It's a commercial site, because they're selling their stuff, but they are at least running some sort of out-of-the-ordinary photography project. Someone who knows more about photography than I do might want to look at the site and see if the link is legit. User:JamesMLane 10:41, 15 Aug 2004 (UTC) ::I've just cleared out the External links section (again). It is quite telling that 80% of the links were commercial or of no particular value. We are now down to three links, and I was in two minds as to whether we should retain the dpreview.com site (its has some commercial links, but on balance has a large quanity of free information, which I believe is impartial). -- User:Solipsist 18:46, 9 Apr 2005 (UTC) :::There's no rule against linking to commercial sites. I agree that many of the links were not essential to the article, but please don't remove links simply because they're commercial sites. I replaced Luminous Landscape because it's a very informative photography site. We should also remember that this article isn't about digital photography, so traditional photography extlinks should be emphasized. User:Rhobite 19:12, Apr 9, 2005 (UTC) ::::Fair enough, but also provide an explanation of why we should be interested, not just the link. As this section bloats it becomes worthless. No one is going to work their way through a long list of random links. -- User:Solipsist 19:51, 9 Apr 2005 (UTC) :::::I agree. I put a description on the Luminous Landscape link. I also agree that PhotoPoints isn't appropriate as a link, and I've removed it again. User:Rhobite 19:49, Apr 10, 2005 (UTC) ---- ==First colour photo== When was the first color photo shot? --user:Chuck Smith I think it is 1861. James Clerk Maxwell used a color separation method to take three b/w photos through red green and blue filters. Examples of photos using this technique by Prokudin-Gorskii can be seen at http://www.loc.gov/exhibits/empire/ -- User:Olof We should mention the introduction of the film by george eastman it's an important innovation and a first step toward mass market. :If so, it needs to be noted that photographic film was coinvented, and that Kodak was sued successfully for [http://www.sit.wisc.edu/~rjkubiak/History%20of%20Celluloid.html patent infringement.] User:Dwmyers We need to write more about the art of photography, rather than just the technical side of it. Why? Because the art is the most interesting bit! User:Bbtommy : Hmm, I agree... I'll work on something. Maybe some influential artists and how they impacted photography. User:Casanova : Both have their place here feel free to add. User:Ericd We should remove the digital references, and instead link to the Digital Imaging page. User:Tonsofpcs 02:04, 1 Mar 2005 (UTC) ------ Removed : " In 1802 Mr. Wedgwood recorded an experiment in the Journal of the Royal Institution of the following nature. :"A piece of paper, or other convenient material, was placed upon a frame and sponged over with a solution of nitrate of silver; it was then placed behind a painting on glass and the light traversing the painting produced a kind of copy upon the prepared paper, those parts in which the rays were least intercepted being of the darkest hues. Here, however, terminated the experiment; for although both Mr. Wedgwood and Sir Humphry Davey experimented carefully, for the purpose of endeavoring to fix the drawings thus obtained, yet the object could not be accomplished, and the whole ended in failure." This, by their own showing, was the earliest attempt of the English savans. But this much of the principle was known to the Alchemy at an early date -- although practically produced in another way -- as the following experiment, to be found in old books, amply proves. :"Dissolve chalk in aquafortis to the consistence of milk, and add to it a strong solution of silver; keep this liquor in a glass bottle well stopped; then cutting out from a piece of paper the letters you would have appear, paste it on the decanter, and lay it in the sun's rays in such a manner that the rays may pass through the spaces cut out of the paper and fall on the surface of the liquor the part of the glass through which the rays pass will be turned black, while that under the paper remains white; but particular care must be observed that the bottle be not moved during the operation." Had not the alchemists been so intent upon the desire to discover the far famed philosopher's stone, as to make them unmindful of the accidental dawnings of more valuable discoveries, this little experiment in chemistry might have induced them to prosecute a more thorough search into the principle, and Photogenic art would not now, as it is, be a new one. It is even asserted that the Jugglers of India were for many ages in possession of a secret by which they were enabled, in a brief space, to copy the likeness of any individual by the action of light. This fact, if fact it be, may account for the celebrated magic mirrors said to be possessed by these jugglers, and probable cause of their power over the people. However, as early as 1556 the fact was established that a combination of chloride and silver, called, from its appearance, horn silver, was blackened by the sun's rays; and in the latter part of the last century Mrs. Fulhame published an experiment by which a change of color was effected in the chloride of gold by the agency of light; and gave it as her opinion that words might be written in this way. These incidents are considered as the first steps towards the discovery of the Photogenic art. Mr. Wedgwood's experiments can scarcely be said to be any improvement on them since he failed to bring them to practical usefulness, and his countrymen will have to be satisfied with awarding the honor of its complete adaptation to practical purposes, to MM. Nicephore Niepce and Jacques Daguerre of France, and to Professors Draper, and Morse of New-York. These gentlemen -- MM. Niepce and Daguerre -- pursued the subject simultaneously, without either, however being aware of the experiments of his colleague in science. For several years, each pursued his researches individually until chance made them acquainted, when they entered into co-partnership, and conjointly brought the art almost to perfection. M. Niepce presented his first paper on the subject to the Royal Society in 1827, naming his discovery Heliography. What led him to the study of the principles of the art I have no means, at present, of knowing, but it was probably owing to the facts recorded by the Alchemists, Mrs. Fulhame and others, already mentioned. But M. Daguerre, who was a celebrated dioramic painter, being desirous of employing some of the singularly changeable salts of silver to produce a peculiar class of effects in his paintings, was led to pursue an investigation which resulted in the discovery of the Daguerreotype, or Photogenic drawing on plates of copper coated with silver. To this gentleman -- to his liberality -- are Americans indebted for the free use of his invention; and the large and increasing class of Daguerrean artists of this country should hold him in the most profound respect for it. He was not willing that it should be confined to a few individuals who might monopolise the benefits to be derived from its practice, and shut out all chance of improvement. Like a true, noble hearted French gentleman he desired that his invention should spread freely throughout the whole world. With these views he opened negociations with the French government which were concluded most favorably to both the inventors, and France has the "glory of endowing the whole world of science and art with one of the most surprising discoveries that honor the land." Notwithstanding this, it was patented in England and the result was what might have been expected: English pictures were far below the standard of excellence of those taken by American artists. Calotype, the name given to one of the methods of Photogenic drawing on paper, discovered, and perfected by Mr. William Fox Talbot of England, was precisely in the same predicament, not only in that country but in the United States, Mr. Talbot being patented in both. He was a man of some wealth, I believe, but he demanded so high a price for a single right in this country, that none could be found who had the temerity to purchase. The execution of his pictures was also inferior to those taken by the German artists, and I would remark en passant, that the Messrs. Mead exhibited at the last fair of the American Institute, (of 1848), four Calotypes, which one of the firm brought from Germany last Spring, that for beauty, depth of tone and excellence of execution surpass the finest steel engraving. When Mr. Talbot's patent for the United States expired and our ingenious Yankee boys had the opportunity, Calotype, in their hands, entirely superseded the Daguerreotype. It is to Professor Samuel F. B. Morse, the distinguished inventor of the Magnetic Telegraph, of New York, that we are indebted for the application of Photography, to portrait taking. He was in Paris, for the purpose of presenting to the scientific world his Electro-Magnetic Telegraph, at the time, (1838), M. Daguerre announced his splendid discovery, and its astounding results having an important bearing on the arts of design arrested his attention. In his letter on the subject, the Professor gives the following interesting facts. :"The process was a secret, and negociations were then in progress, for the disclosure of it to the public between the French government and the distinguished discoverer. M. Daguerre had shown his results to the king, and to a few only of the distinguished savans, and by the advice of M. Arago, had determined to wait the action of the French Chambers, before showing them to any other persons. :I was exceedingly desirous of seeing them, but knew not how to approach M. Daguerre who was a stranger to me. :On mentioning my desire to Robert Walsh, Esq., our worthy Consul, he said to me; 'state that you are an American, the inventor of the Telegraph, request to see them, and invite him in turn to see the Telegraph, and I know enough of the urbanity and liberal feelings of the French, to insure you an invitation.' :I was successful in my application, and with a young friend, since deceased, the promising son of Edward Delevan, Esq., I passed a most delightful hour with M. Daguerre, and his enchanting sun-pictures. My letter containing an account of this visit, and these pictures, was the first announcement in this country of this splendid discovery." :"I may here add the singular sequel to this visit. On the succeeding day M. Daguerre paid me a visit to see the Telegraph and witness its operations. :He seemed much gratified and remained with me perhaps two hours; two melancholy hours to him, as they afterwards proved; or while he was with me, his buildings, including his diorama, his studio, his laboratory, with all the beautiful pictures I had seen the day before, were consumed by fire. :Fortunately for mankind, matter only was consumed, the soul and mind of the genius, and the process were still in existence." On his return home, Professor Morse waited with impatience for the revelation of M. Daguerre's process, and no sooner was it published than he procured a copy of the work containing it, and at once commenced taking Daguerreotype pictures. At first his object was solely to furnish his studio with studies from nature; but his experiments led him into a belief of the practicability of procuring portraits by the process, and he was undoubtedly the first whose attempts were attended with success. Thinking, at that time, that it was necessary to place the sitters in a very strong light, they were all taken with their eyes closed. Others were experimenting at the same time, among them Mr. Wolcott and Prof. Draper, and Mr. Morse, with his acustomed modesty, thought that it would be difficult to say to whom is due the credit of the first Daguerreotype portrait. At all events, Professor Morse deserves the laurel wreath, as from him originated the first of our innumerable class of Daguerreotypists; and many of his pupils have carried the manipulation to very great perfection. :"If mine were the first, other experimenters soon made better results, and if there are any who dispute that I was first, I shall have no argument with them; for I was not so anxious to be the first to produce the result, as to produce it in any way. I esteem it but the natural carrying out of the wonderful discovery, and that the credit was after all due to Daguerre. I lay no claim to any improvements." " Seems to be rought cut and paste from the 1911 ? User:Ericd ---- Now when there is so much good material about color, perhaps the art of color photography should be split out as an article by itself. It would really have been nice to cover the early extremely beatiful 3-negative images (e.g. Prokudin-Gorskii) in a better way. -- User:Egil 18:49 Feb 4, 2003 (UTC) == Depth of field and depth of focus == I've read the definitions of depth of field as the range of distances in the subject field (in front of the camera) that are in focus, and of depth of focus as the range of distances in the image field (behind or in front of the film or sensor, that is, inside the camera) where the image is in focus. While the author could have meant either, I suspect he or she meant the former. If it's the latter, please feel free to revert the change without apology. I also changed "point of focus" to "focus" because of course lenses typically have more than a point (e.g. a plane) in focus. If anyone can word it better, I'd be grateful. User:Fg2 12:00, Aug 2, 2004 (UTC) ==Pornographers== 69.201.66.32 changed pornographers to photographers in the following: [Pornographers<=Photographers] also engouraged chemists to refine the process of making many copies cheaply, which eventually lead them back to Talbot's process. As most early uses of imaging technology are by pornographers, isn't that the reality? User:Leonard G. 21:06, 4 Dec 2004 (UTC) Add: You are right, but the definition of pornographer has changed over the last century. "Erotic postcard-ists" is a bit clumsy though :) ==Photography as an art form== Most of this is tangled junk. We need a concise history of the initial struggle against painting, Pictorialism, the long struggle to 'enter the museums' in the US, and then the 1990s take-up of photography by artists. 1st Jan 2005. ::Then write it for us!! - User:Arpingstone 10:41, 2 Jan 2005 (UTC) I think the cable car picture is too lame for this page. It really doesn't seem to add anything to the text, which is also still very mcuh geared towards digital photography. ==Photography and telephone silliness== The "photography and the telephone" section doesn't seem sufficiently valuable to be in Wikipedia. I think I'll make it a separate page and link to it if no one objects. Really, I think it should be deleted altogether, but I won't do that unless others agree. :No objection to either alternative User:Fg2 06:04, Apr 14, 2005 (UTC) ==More on external links== I inserted links to two sites with extremely valuable educational and technical information NOT AVAILABLE ON WIKIPEDIA. The sites happen to be run by people who also sell photographs. Deleting all such links as "spam" will only weaken this page. I have re-instated the links. Before deleting them again, please take the time to look at what they point to. The policy page reads:
Visual arts Technology Culture Hobbies th:Category:การถ่ายภาพ
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==Instructions== The template is designed for the most specific used as required. Should any entries be inapplicable due to any reasons, entries may be excluded. To begin with the coding, you must start with:
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Photography
Photography
Photography
Photography
Photography
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Photography_and_Photographers_of_the_American_Civil_War
Photography_and_photographers_of_the_American_Civil_War
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Photography
Photography is the process of making pictures by means of the action of light. It involves recording light patterns, as reflected from objects, onto a sensitive medium through a timed exposure. The process is done through mechanical, chemical or digital devices commonly known as cameras. The word comes from the Greek language words φως ''phos'' ("light"), and γραφις ''graphis'' ("stylus", "paintbrush") or γραφη ''graphê'', together meaning "drawing with light" or "representation by means of lines", "drawing". ==Image forming devices== Most commonly a camera or camera obscura is the image forming device and photographic film or a digital storage card is the recording medium, but other methods are available. For instance, the photocopy or xerography machine forms permanent images but uses the transfer of static Electric charge rather than photographic film, hence the term electrophotography. The rayographs published by Man Ray in 1922 are images produced by the shadows of objects cast on the photographic paper, without the use of a camera. And one can place objects directly on the glass of a scanner to produce pictures electronically. Photographers control the camera to expose the light recording material (usually film) to light. After processing, this produces an image whose contents are acceptably sharp, bright and composed to achieve the objective of taking the photograph. The controls include: *Focus *Aperture of the lens *Duration of exposure (or shutter speed) *Focal length of the lens (Telephoto lens, Macro photography, Wide-angle lens, or Zoom lens) *Sensitivity of the film The controls are usually inter-related, for example brightness is aperture multiplied by shutter speed, and varying the focal length of the lens will allow greater control over the depth of field. ==Uses of photography== Photography can be classified under imaging technology and has gained the interest of scientists and artists from its inception. Scientists have used its capacity to make accurate recordings, such as Eadweard Muybridge in his study of human and animal locomotion (1887). Artists have been equally interested by this aspect but have also tried to explore other avenues than the photo-mechanical representation of reality, such as the pictorialist movement. Military, police and security forces use photography for surveillance, recognition and data storage. ==History of photography== === Invention === ==== Chemical Photography ==== Projecting images onto surfaces has been done for centuries. The Camera_obscura and the Camera_lucida were used by artists to trace scenes as early as the 16th century. These early cameras did not fix an image in time; they only projected what was before an opening in the wall of a darkened room onto a surface. In effect, the entire room was turned into a large Pinhole_camera. Indeed, the phrase ''camera obscura'' literally means "darkened room," and it is after these darkened rooms that all modern cameras have been named. The first photograph is considered to be an image produced in 1826 by the French inventor Nicéphore Niépce on a polished pewter plate covered with a petroleum derivative called bitumen of Judea. It was produced with a camera, and required an eight hour exposure in bright sunshine. However this process turned out to be a dead end and Niépce began experimenting with silver compounds based on a Johann Heinrich Schultz discovery in 1724 that a silver and chalk mixture darkens when exposed to light. Niépce, in Chalon-sur-Saône, and the artist Jacques Daguerre, in Paris, refined the existing silver process in a joint partnership. In 1833 Niépce died unexpectedly of a stroke, leaving his notes to Daguerre. While he had no scientific background, Daguerre made two pivotal contributions to the process. He discovered that by exposing the silver firstly to iodine vapour, before exposure to light, and then to mercury fumes after the photograph was taken, a latent image could be formed and made visible. By then bathing the plate in a salt bath the image could be Photographic fixer. In 1839 Daguerre announced that he had invented a process using silver on a copper plate called the Daguerreotype. A very similar process is still used today for Polaroid. The French government bought the patent and immediately made it public domain. Across the English Channel, William Fox Talbot had earlier discovered another means to fix a silver process image but had kept it secret. After reading about Daguerre's invention, Talbot refined his process, so that it might be fast enough to take photographs of people as Daguerre had done, and by 1840 he had invented the calotype process. He coated paper sheets with silver chloride to create an intermediate negative_%28photography%29 image. Unlike a daguerreotype, a calotype negative could be used to reproduce positive prints, like most chemical cameras do today. Talbot patented this process, which greatly limited its adoption. He spent the rest of his life in lawsuits defending the patent until he gave up on photography all together. But later this process was refined by George Eastman and is today the basic technology used by chemical film cameras. Hippolyte Bayard also developed a method of photography, but delayed announcing it and so was not recognized as its inventor. ====Reference==== *Coe, Brian. ''The Birth of Photography''. Ash & Grant, 1976 === Social History === ==== Popularization ==== The Daguerreotype proved popular as it responded to the demand for portraiture emerging from the middle classes during the Industrial Revolution. This demand, that could not be met in volume and in cost by oil painting, may well have been the push for the development of photography. But still daguerreotypes, while beautiful, were fragile and difficult to copy. A single photograph taken in a portrait studio could cost $1000 in 2005 dollars. Photographers also encouraged chemists to refine the process of making many copies cheaply, which eventually lead them back to Talbot's process. Ultimately, the modern Photographic processes came about from a series of refinements and improvements in the first 20 years. In 1884 George Eastman, of Rochester New York, developed dry gel on paper, or Photographic_film, to replace the photographic plate, so that a photographer no longer needed to carry boxes of plates and toxic chemicals around. In July of 1888 Eastman's Kodak camera went on the market with the slogan "You press the button, we do the rest". Now anyone could take a photograph and leave the dangerous portions of the process to others. Photography became available for the mass-market in 1901 with the introduction of a children's camera, the Kodak Brownie (camera) and a women's camera that came with a free lipstick. Very little has changed in chemical photography since then, though color film has become the standard, as well as automatic focus and automatic exposure. Digital recording of images is becoming increasingly prevalent, as digital cameras allow instant previews on LCD screens among other benefits, and the definition of top of the range models have become comparable to high quality 35mm film while lower definition models have become affordable. For the enthusiast photographer processing black and white film, little has changed since the introduction of the 35mm film Leica camera in 1925. ===Economic History=== In the nineteenth century, photography developed rapidly as a commercial service. In the U.S. in 1890, the number of professional photographers was about the same as the number of accountants, artists, and dentists, respectively, and about ten times greater than the number of authors. End-user supplies of photographic equipment accounted for only about 20% of industry revenue. Several trends characterize the photographic industry from the end of the nineteenth century to the end of the twentieth century. The ratio of revenue from end-user photographic supplies to revenue from professional services rose by an order of magnitude. The prevalence of personal cameras and the ratio of end-user photographs rose closely in tandem with the prevalence of telephone and the telephone conversation minutes. However, the ratio of photographic industry revenue to telephone industry revenue dropped sharply.[http://www.galbithink.org/sense-s6.htm#wpp1] Given the development of new digital technologies for creating and sharing images, and of new communications devices, e.g. camera phones, understanding the economics of image use are becoming increasing important for understanding the evolution of the communications industry as a whole. ==Color photography== Color photography was explored throughout the 1800s. Initial experiments in color could not fix the photograph and prevent the color from fading. The first permanent color photo was taken in 1861 by the physicist James Clerk Maxwell. One of the early methods of taking color photos was to use three cameras. Each camera would have a color filter in front of the lens. This technique provides the photographer with the three basic channels required to recreate a color image in a darkroom or processing plant. The first color film, Autochrome Lumière, did not reach the market until 1907 and was based on dyed dots of potato starch. The first modern color film, Kodachrome, was introduced in 1935 based on three colored emulsions. Most modern color films, except Kodachrome, are based on technology developed for Agfacolor (as 'Agfacolor Neue') in 1936. Instant film was introduced by Polaroid Corporation in 1963. Color photography may form images as a positive transparency, intended for use in a slide projector or as color negatives, intended for use in creating positive color enlargements on specially coated paper. The latter is now the most common form of film (non-digital) color photography, owing to the introduction of automated photoprinting equipment. ==Digital photography== ''Main article: digital photography'' Traditional photography was a considerable burden for photographers working at remote locations (such as press correspondents) without access to processing facilities. With increased competition from television, there was pressure to deliver their images to newspapers ever faster. Photo-journalists at remote locations would carry a miniature photo lab with them, and some means of transmitting their images down the telephone line. In 1981, Sony unveiled the first consumer camera to use a CCD for imaging, and which required no film -- the Sony Mavica. While the Mavica did save images to disk, the images themselves were displayed on television, and therefore the camera could not be considered fully digital. In 1990, Kodak unveiled the DCS 100, the first commercially available digital camera. Its cost precluded any use other than photojournalism and professional applications, but commercial digital photography was born. Digital photography uses an electronic sensor such as a charge-coupled device to record the image as a piece of electronic data rather than as chemical changes on film. Some other devices, such as cell phones, now include digital photography features. In 10 years, digital cameras have become widespread consumer products. Digital cameras now outsell film cameras, and many include features not found in film cameras such as the ability to shoot video and record digital audio. Kodak announced in January 2004 that it would no longer produce reloadable 35-millimeter cameras after the end of that year. This was interpreted as a sign of the end of film photography, however Kodak was at that time a minor actor on the reloadable film cameras market. The price of 35mm and APS compact cameras have dropped, probably due to direct competition from digital and the resulting growth of the offer of second-hand film cameras. However, "wet" photography may endure, as dedicated amateurs and skilled artists often prefer the use of traditional and familiar materials and techniques. ==Commercial Photography aka Obtaining Photographic Services== The greater commercial photographic world is traditionally broken down to: *Advertising Photography: photographs done to illustrate a service or product. These images are generally done with an Advertising Agency, Design Firm or with an in-house Corporate design team. *Editorial Photography: photographs done to illustrate a story or idea within the context of a magazine. These are usually assigned by the magazine. *Photo-Journalism: this can be considered a subset of Editorial. Photographs done in this context are accepted as a truthful documentation of a news story. *Portrait & Wedding Photography: photographs done and sold directly to the end user of the images. *Fine Art Photography: photographs created to fulfill a vision, and reproduced to be sold directly to the end user. --- The market for photographic services demonstrates the cliché "one picture is worth a thousand words," which has an interesting basis in the #History of photography. Magazines and newspapers, companies putting up Web sites, advertising agencies and other groups pay for photography. Many people take photographs for self-fulfillment or for commercial purposes. Organizations with a budget and a need for photography have several options: they can assign a member of the organization, hire someone, run a public competition, or obtain rights to Stock photography. == Terminology == Traditionally, the product of photography has been called a ''photograph.'' The term ''photo'' is a convenient abbreviation. Many people also call them ''pictures.'' In digital photography, the term ''image'' has begun to replace ''photograph.'' This term is neither more nor less correct than ''photograph'', either in film or digital photography. (The term ''image'' is traditional in geometric optics.) ==Photography as an art form== [[Image:Photo_art.triddle.jpg|200px|thumb|Manual shutter control and exposure settings can achieve unusual results]] During the twentieth century, art & documentary photography became accepted by the English-speaking art world and the gallery system. In the USA, a small handful of curators spent their lives struggling to put it there; Alfred Stieglitz, Edward Steichen and John Szarkowski, and Hugh Edwards. Yet the aesthetics of photography is a matter that continues to be discussed. Is photography an art - or is it just the mechanical reproduction of an image? If photography is authentically art, what makes a photograph beautiful? Is there a kinship between the beauty of an Eugène_Atget and a Rembrandt? The controversy began with the earliest images "written with light": [http://www.nicephore-niepce.com/pagus/pagus-bio.html Niépce], [http://www.rleggat.com/photohistory/history/daguerr.htm Daguerre], and others among the very earliest photographers were met with wonder, but some questioned if it was really art. Clive Bell in his classic essay "Art" states that only one thing can distinguish art from what is not art: "significant form." Bell wrote: "There must be some one quality without which a work of art cannot exist; possessing which, in the least degree, no work is altogether worthless. What is this quality? What quality is shared by all objects that provoke our aesthetic emotions? What quality is common to Sta. Sophia and the windows at Chartres, Mexican sculpture, a Persian bowl, Chinese carpets, Giotto's frescoes at Padua, and the masterpieces of Poussin, Piero della Francesca, and Cezanne? Only one answer seems possible - significant form. In each, lines and colors combined in a particular way, certain forms and relations of forms, stir our aesthetic emotions." [http://www.csulb.edu/~jvancamp/361r13.html Text of Bell's essay]. ===Aesthetic Realism and photography=== Others have since examined if this criterion be applied to photography. This question has been dealt with by the aesthetic realism understanding of beauty. Some of the most important writing on this subject is to be found on the web sites of Len Bernstein, [http://www.dienes-and-dienes.com/Atget.html Louis Dienes], [http://www.dienes-and-dienes.com/Cartier-Bresson.html Amy Dienes], and [http://www.mindspring.com/~davidmbernstein/Dorothea_Lange.html David M. Bernstein]: photographers and critics. Len Bernstein has described the [http://www.lenbernstein.com/ Aesthetic Realism understanding of photography as an art form] in essays which have been published for example in [http://www.apogeephoto.com/apr2001/bernstein4_2001.shtml Apogee Photo Magazine] and in [http://lenbernstein.com/Pages/RiisArticle.html Photographica World: The Journal of the Photographic Collectors Club of Great Britain]. On his web site he introduces the subject as follows: "When I began to photograph more than 25 years ago, I felt I found a way of expressing myself that met something so deep inside me that I wanted to do it for the rest of my life. Walking with my camera, the city streets seemed transformed - friendlier, more interesting - and I spent hours searching for dramatic situations, trying to capture the right moment. Looking through the viewfinder, what I saw had new value for me, boredom and loneliness seemed to vanish, and I wished I could feel that way all the time. And hoping to learn what made a photograph successful, I avidly studied the history and technique of photography. "My hopes were met when I first heard this magnificent statement by Eli Siegel, the American critic and founder of the philosophy Aesthetic Realism: [http://www.terraingallery.org/IsBeauty.html 'All beauty is a making one of opposites, and the making one of opposites is what we are going after in ourselves.'] This is the criterion for beauty that centuries of artists, philosophers, people in all walks of life, have searched for; the explanation of what makes a photograph good and how our personal questions are the questions of art - dignified and cultural! I've had the thrill of testing it in thousands of instances, from the first known photograph taken by Nicéphore Niépce in 1826-27 to the most modern work of today." [http://lenbernstein.com/PagesLargeImages/peopleparkbench.html For an online exhibition of Bernstein's photographs click here.] Likewise, important articles (referred to above) on photography as an art form, written from the Aesthetic Realism point of view, will be found on the David M. Bernstein web site [http://www.mindspring.com/~davidmbernstein/Dorothea_Lange.html "What Does a Person Deserve? The Answer Found in a Great Photograph"] and the "Dienes & Dienes" web site. See, for example Amy Dienes' [http://www.dienes-and-dienes.com/Cartier-Bresson.html "The Self Alone & The Self Going Out; or, Cartier-Bresson's Photo of a Leaping Man"]; Louis Dienes' [http://www.dienes-and-dienes.com/Atget.html "On a Photograph by Eugene Atget"] and his illustrated poem "Black and White," originally composed for his own exhibition of photographs, which begins: [http://www.dienes-and-dienes.com/Photographs-and-A-Poem-1st.html "The day black and white got a break..."] The question, "Is photography an art form?" gets us into deepest aesthetics and is a most important question. An often neglected form of art in photography is that of portrait photography. A portrait is the basic rendering of someone’s likeness. A good portrait photographer, not only wants to capture the true likeness, but also the personality of the individual. The photographer needs to be proficient not only in the workings and setting of the camera, but also needs to understand form and lighting. Great lighting and positioning can make someone appear at their best form if used correctly. Lighting and camera placement can also aid in correcting defects such as shortening a nose, making someone appear slimmer, etc. In this form of art, portrait photography takes on many roles, and can help create various moods that the individual is seeking. ==Reference== Tom Ang, ''Dictionary of Photography and Digital Imaging'', The Essential Reference for the Modern Photographer (Argentum 2001) ==See also== ===Basic topics in photography=== *Camera *Film format *Color temperature *Photograph *Photographer *Photographic printing *Photographic processes *Photojournalism *Movie projector *Slide projector *Stock photography ===Photographers=== *List of photographers *Wikipedia:Wikipedians/Photographers ===Historical=== * Timeline of photography technology * List of photographers * List of photographs ===Techniques=== * angle of view * aperture * bokeh * contre-jour * cyanotype * depth of field * double exposure * Exposure (photography) * f-number * film developing * macro photography * panoramic photography * Perspective distortion (caused by camera to subject distance) * push printing * red eye effect * rephotography * rollout photography * rule of thirds * film scanning * shutter speed * stereoscopy * Zone System ===Photographic products=== * camera * still camera * pinhole camera * toy camera * photographic lens * photographic film * filter (photography) * film formats * flash (photo) * dry box * zone plate ===Related topics=== * Camera obscura * Diana camera * Gelatin-silver process * Holography * Lomography * Night photography * Kirlian photography * Street photography * Stock photography * Vignetting ==External links== * [http://www.dofmaster.com Depth of Field Calculators] * [http://www.dpreview.com dpreview.com] digital camera reviews * [http://www.photopermit.org PhotoPermit.Org] discussion on copyright law for photographers * [http://www.cycleback.com/photoguide Judging the Authenticity of Photographs] by photograph historian David Rudd Cycleback * [http://www.luminous-landscape.com/ The Luminous Landscape] - photography techniques and camera reviews * [http://photoinf.com/ Photography Composition Articles] * [http://www.usefilm.com/ Photo Projects to help you improve your photography] * [http://kenrockwell.com/tech.htm Ken Rockwell Photography] Photography information and careful equipment reviews--the lens reviews are especially useful * [http://www.codemastersworkshop.com/frontdoor/articles.htm David Kachel's Front Door] Articles on the zone system and photographic printing, including novel contrast control processes * [http://www.mccord-museum.qc.ca/en/keys/webtours/VQ_P3_2_EN.html Instant Memories] — the origins of amateur photography * [http://www.mccord-museum.qc.ca/en/keys/webtours/VQ_P2_7_EN.html In the Eye of the Camera] — The limits of photography in 19th century Photography fa:عکاسی ga:Grianghrafadóireacht li:Fotografie th:การถ่ายภาพ
Photography
==External links== This page appears to be a magnet for inapproporate external links. Please do not add links to; *Collections and galleries of photographs, either free or for sale *Photographer communities and blog sites *Your own photography studio - no matter how good *Sites that sell cameras, photo software or any other photography paraphernalia *Any other commercial sites There are hundreds of these sorts of sites on the net. If you particularly want one, type 'photography' into any search engine and take your pick. In general Wikipedia:What Wikipedia is not#Wikipedia is not a mirror or a repository of links, images, or media files and links to external commercial sites are considered spam and will be deleted. The sort of links that should be added are links to external sites that provide useful free information that is not already available on Wikipedia. Even then, consider whether you can write an article to put the information on Wikipedia under a free license. :In the course of rooting out spam links from an anon user, I've deleted this link: :* [http://www.streetstudio.com Streetstudio] :It's a commercial site, because they're selling their stuff, but they are at least running some sort of out-of-the-ordinary photography project. Someone who knows more about photography than I do might want to look at the site and see if the link is legit. User:JamesMLane 10:41, 15 Aug 2004 (UTC) ::I've just cleared out the External links section (again). It is quite telling that 80% of the links were commercial or of no particular value. We are now down to three links, and I was in two minds as to whether we should retain the dpreview.com site (its has some commercial links, but on balance has a large quanity of free information, which I believe is impartial). -- User:Solipsist 18:46, 9 Apr 2005 (UTC) :::There's no rule against linking to commercial sites. I agree that many of the links were not essential to the article, but please don't remove links simply because they're commercial sites. I replaced Luminous Landscape because it's a very informative photography site. We should also remember that this article isn't about digital photography, so traditional photography extlinks should be emphasized. User:Rhobite 19:12, Apr 9, 2005 (UTC) ::::Fair enough, but also provide an explanation of why we should be interested, not just the link. As this section bloats it becomes worthless. No one is going to work their way through a long list of random links. -- User:Solipsist 19:51, 9 Apr 2005 (UTC) :::::I agree. I put a description on the Luminous Landscape link. I also agree that PhotoPoints isn't appropriate as a link, and I've removed it again. User:Rhobite 19:49, Apr 10, 2005 (UTC) ---- ==First colour photo== When was the first color photo shot? --user:Chuck Smith I think it is 1861. James Clerk Maxwell used a color separation method to take three b/w photos through red green and blue filters. Examples of photos using this technique by Prokudin-Gorskii can be seen at http://www.loc.gov/exhibits/empire/ -- User:Olof We should mention the introduction of the film by george eastman it's an important innovation and a first step toward mass market. :If so, it needs to be noted that photographic film was coinvented, and that Kodak was sued successfully for [http://www.sit.wisc.edu/~rjkubiak/History%20of%20Celluloid.html patent infringement.] User:Dwmyers We need to write more about the art of photography, rather than just the technical side of it. Why? Because the art is the most interesting bit! User:Bbtommy : Hmm, I agree... I'll work on something. Maybe some influential artists and how they impacted photography. User:Casanova : Both have their place here feel free to add. User:Ericd We should remove the digital references, and instead link to the Digital Imaging page. User:Tonsofpcs 02:04, 1 Mar 2005 (UTC) ------ Removed : " In 1802 Mr. Wedgwood recorded an experiment in the Journal of the Royal Institution of the following nature. :"A piece of paper, or other convenient material, was placed upon a frame and sponged over with a solution of nitrate of silver; it was then placed behind a painting on glass and the light traversing the painting produced a kind of copy upon the prepared paper, those parts in which the rays were least intercepted being of the darkest hues. Here, however, terminated the experiment; for although both Mr. Wedgwood and Sir Humphry Davey experimented carefully, for the purpose of endeavoring to fix the drawings thus obtained, yet the object could not be accomplished, and the whole ended in failure." This, by their own showing, was the earliest attempt of the English savans. But this much of the principle was known to the Alchemy at an early date -- although practically produced in another way -- as the following experiment, to be found in old books, amply proves. :"Dissolve chalk in aquafortis to the consistence of milk, and add to it a strong solution of silver; keep this liquor in a glass bottle well stopped; then cutting out from a piece of paper the letters you would have appear, paste it on the decanter, and lay it in the sun's rays in such a manner that the rays may pass through the spaces cut out of the paper and fall on the surface of the liquor the part of the glass through which the rays pass will be turned black, while that under the paper remains white; but particular care must be observed that the bottle be not moved during the operation." Had not the alchemists been so intent upon the desire to discover the far famed philosopher's stone, as to make them unmindful of the accidental dawnings of more valuable discoveries, this little experiment in chemistry might have induced them to prosecute a more thorough search into the principle, and Photogenic art would not now, as it is, be a new one. It is even asserted that the Jugglers of India were for many ages in possession of a secret by which they were enabled, in a brief space, to copy the likeness of any individual by the action of light. This fact, if fact it be, may account for the celebrated magic mirrors said to be possessed by these jugglers, and probable cause of their power over the people. However, as early as 1556 the fact was established that a combination of chloride and silver, called, from its appearance, horn silver, was blackened by the sun's rays; and in the latter part of the last century Mrs. Fulhame published an experiment by which a change of color was effected in the chloride of gold by the agency of light; and gave it as her opinion that words might be written in this way. These incidents are considered as the first steps towards the discovery of the Photogenic art. Mr. Wedgwood's experiments can scarcely be said to be any improvement on them since he failed to bring them to practical usefulness, and his countrymen will have to be satisfied with awarding the honor of its complete adaptation to practical purposes, to MM. Nicephore Niepce and Jacques Daguerre of France, and to Professors Draper, and Morse of New-York. These gentlemen -- MM. Niepce and Daguerre -- pursued the subject simultaneously, without either, however being aware of the experiments of his colleague in science. For several years, each pursued his researches individually until chance made them acquainted, when they entered into co-partnership, and conjointly brought the art almost to perfection. M. Niepce presented his first paper on the subject to the Royal Society in 1827, naming his discovery Heliography. What led him to the study of the principles of the art I have no means, at present, of knowing, but it was probably owing to the facts recorded by the Alchemists, Mrs. Fulhame and others, already mentioned. But M. Daguerre, who was a celebrated dioramic painter, being desirous of employing some of the singularly changeable salts of silver to produce a peculiar class of effects in his paintings, was led to pursue an investigation which resulted in the discovery of the Daguerreotype, or Photogenic drawing on plates of copper coated with silver. To this gentleman -- to his liberality -- are Americans indebted for the free use of his invention; and the large and increasing class of Daguerrean artists of this country should hold him in the most profound respect for it. He was not willing that it should be confined to a few individuals who might monopolise the benefits to be derived from its practice, and shut out all chance of improvement. Like a true, noble hearted French gentleman he desired that his invention should spread freely throughout the whole world. With these views he opened negociations with the French government which were concluded most favorably to both the inventors, and France has the "glory of endowing the whole world of science and art with one of the most surprising discoveries that honor the land." Notwithstanding this, it was patented in England and the result was what might have been expected: English pictures were far below the standard of excellence of those taken by American artists. Calotype, the name given to one of the methods of Photogenic drawing on paper, discovered, and perfected by Mr. William Fox Talbot of England, was precisely in the same predicament, not only in that country but in the United States, Mr. Talbot being patented in both. He was a man of some wealth, I believe, but he demanded so high a price for a single right in this country, that none could be found who had the temerity to purchase. The execution of his pictures was also inferior to those taken by the German artists, and I would remark en passant, that the Messrs. Mead exhibited at the last fair of the American Institute, (of 1848), four Calotypes, which one of the firm brought from Germany last Spring, that for beauty, depth of tone and excellence of execution surpass the finest steel engraving. When Mr. Talbot's patent for the United States expired and our ingenious Yankee boys had the opportunity, Calotype, in their hands, entirely superseded the Daguerreotype. It is to Professor Samuel F. B. Morse, the distinguished inventor of the Magnetic Telegraph, of New York, that we are indebted for the application of Photography, to portrait taking. He was in Paris, for the purpose of presenting to the scientific world his Electro-Magnetic Telegraph, at the time, (1838), M. Daguerre announced his splendid discovery, and its astounding results having an important bearing on the arts of design arrested his attention. In his letter on the subject, the Professor gives the following interesting facts. :"The process was a secret, and negociations were then in progress, for the disclosure of it to the public between the French government and the distinguished discoverer. M. Daguerre had shown his results to the king, and to a few only of the distinguished savans, and by the advice of M. Arago, had determined to wait the action of the French Chambers, before showing them to any other persons. :I was exceedingly desirous of seeing them, but knew not how to approach M. Daguerre who was a stranger to me. :On mentioning my desire to Robert Walsh, Esq., our worthy Consul, he said to me; 'state that you are an American, the inventor of the Telegraph, request to see them, and invite him in turn to see the Telegraph, and I know enough of the urbanity and liberal feelings of the French, to insure you an invitation.' :I was successful in my application, and with a young friend, since deceased, the promising son of Edward Delevan, Esq., I passed a most delightful hour with M. Daguerre, and his enchanting sun-pictures. My letter containing an account of this visit, and these pictures, was the first announcement in this country of this splendid discovery." :"I may here add the singular sequel to this visit. On the succeeding day M. Daguerre paid me a visit to see the Telegraph and witness its operations. :He seemed much gratified and remained with me perhaps two hours; two melancholy hours to him, as they afterwards proved; or while he was with me, his buildings, including his diorama, his studio, his laboratory, with all the beautiful pictures I had seen the day before, were consumed by fire. :Fortunately for mankind, matter only was consumed, the soul and mind of the genius, and the process were still in existence." On his return home, Professor Morse waited with impatience for the revelation of M. Daguerre's process, and no sooner was it published than he procured a copy of the work containing it, and at once commenced taking Daguerreotype pictures. At first his object was solely to furnish his studio with studies from nature; but his experiments led him into a belief of the practicability of procuring portraits by the process, and he was undoubtedly the first whose attempts were attended with success. Thinking, at that time, that it was necessary to place the sitters in a very strong light, they were all taken with their eyes closed. Others were experimenting at the same time, among them Mr. Wolcott and Prof. Draper, and Mr. Morse, with his acustomed modesty, thought that it would be difficult to say to whom is due the credit of the first Daguerreotype portrait. At all events, Professor Morse deserves the laurel wreath, as from him originated the first of our innumerable class of Daguerreotypists; and many of his pupils have carried the manipulation to very great perfection. :"If mine were the first, other experimenters soon made better results, and if there are any who dispute that I was first, I shall have no argument with them; for I was not so anxious to be the first to produce the result, as to produce it in any way. I esteem it but the natural carrying out of the wonderful discovery, and that the credit was after all due to Daguerre. I lay no claim to any improvements." " Seems to be rought cut and paste from the 1911 ? User:Ericd ---- Now when there is so much good material about color, perhaps the art of color photography should be split out as an article by itself. It would really have been nice to cover the early extremely beatiful 3-negative images (e.g. Prokudin-Gorskii) in a better way. -- User:Egil 18:49 Feb 4, 2003 (UTC) == Depth of field and depth of focus == I've read the definitions of depth of field as the range of distances in the subject field (in front of the camera) that are in focus, and of depth of focus as the range of distances in the image field (behind or in front of the film or sensor, that is, inside the camera) where the image is in focus. While the author could have meant either, I suspect he or she meant the former. If it's the latter, please feel free to revert the change without apology. I also changed "point of focus" to "focus" because of course lenses typically have more than a point (e.g. a plane) in focus. If anyone can word it better, I'd be grateful. User:Fg2 12:00, Aug 2, 2004 (UTC) ==Pornographers== 69.201.66.32 changed pornographers to photographers in the following: [Pornographers<=Photographers] also engouraged chemists to refine the process of making many copies cheaply, which eventually lead them back to Talbot's process. As most early uses of imaging technology are by pornographers, isn't that the reality? User:Leonard G. 21:06, 4 Dec 2004 (UTC) Add: You are right, but the definition of pornographer has changed over the last century. "Erotic postcard-ists" is a bit clumsy though :) ==Photography as an art form== Most of this is tangled junk. We need a concise history of the initial struggle against painting, Pictorialism, the long struggle to 'enter the museums' in the US, and then the 1990s take-up of photography by artists. 1st Jan 2005. ::Then write it for us!! - User:Arpingstone 10:41, 2 Jan 2005 (UTC) I think the cable car picture is too lame for this page. It really doesn't seem to add anything to the text, which is also still very mcuh geared towards digital photography. ==Photography and telephone silliness== The "photography and the telephone" section doesn't seem sufficiently valuable to be in Wikipedia. I think I'll make it a separate page and link to it if no one objects. Really, I think it should be deleted altogether, but I won't do that unless others agree. :No objection to either alternative User:Fg2 06:04, Apr 14, 2005 (UTC) ==More on external links== I inserted links to two sites with extremely valuable educational and technical information NOT AVAILABLE ON WIKIPEDIA. The sites happen to be run by people who also sell photographs. Deleting all such links as "spam" will only weaken this page. I have re-instated the links. Before deleting them again, please take the time to look at what they point to. The policy page reads:
Wikipedia articles are not: # Mere collections of external links. Of course, there's nothing wrong with adding both lists of content-relevant links and on-line references you used in writing an article.Having a list of links to informative photography-related sites (even if the also have commercial content) seems perfectly appropriate at the bottom of the photography article. - (comment by User:64.30.14.50 05:14, 20 Apr 2005) :Thanks for discussing the links in question, and yes I did look over the sites concerned - not just the linked page, but their top level home pages too. Now I would agree these sites are better than some of the links people have been adding, but I still don't think they are that relevant to this page. Ask yourself, 'would most of the general readers of this page want to follow this link'. :Links that connect to external sites containing information 'not available on Wikipedia' is part of the problem. Often times, we would prefer that information to be put into articles on Wikipedia. :You might also read the advice at Wikipedia:Contributing_FAQ#Is_it_OK_to_link_to_other_sites.2C_as_long_as_the_material_is_not_copied_onto_Wikipedia.3F. :The Ken Rockwell site is a site promoting the work of one photographer which also has several articles on technique. But it covers much of the same ground as the Luminious Landscapes site. I think one external link to general photography articles is enough. :The David Kachel Webzine primarily has articles about the Zone system. There is an argument to connect to this site from the Zone system page, but I don't think it is particularly relevant from the general Photography page. :However, it would be best if other editors, gave an opinion too. -- User:Solipsist 07:10, 20 Apr 2005 (UTC) ::I am not opposed to putting the Kachel link on the Zone system page (and probably also pages on film and paper developing). I will check out the luminous landscape page and compare it to Rockwell.
Photography
Visual arts Technology Culture Hobbies th:Category:การถ่ายภาพ
Photography
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Photography
==Instructions== The template is designed for the most specific used as required. Should any entries be inapplicable due to any reasons, entries may be excluded. To begin with the coding, you must start with:
==Final Code== Your code for the template should resembles the following.
'''Do remember the copyright notice. ''See Wikipedia:Copyrights'''
See other meanings of words starting from letter:
P
PA | PB | PC | PD | PE | PF | PG | PH | PI | PJ | PK | PL | PM | PN | PO | PR | PS | PT | PU | PW | PX | PY | PZ |Words begining with Photography:
Photography
Photography
Photography
Photography
Photography
Photography_(science_of)
Photography_(science_of)
Photography_and_Photographers_of_the_American_Civil_War
Photography_and_Photographers_of_the_American_Civil_War
Photography_and_photographers_of_the_American_Civil_War
Photography_and_photographers_of_the_American_Civil_War
Photography_and_Photographers_of_the_American_Civl_War
Photography_as_an_art_form
Photography_by_genre
Photography_companies
Photography_in_New_Zealand
Photography_in_New_Zealand
Photography_museums
Photography_museums
Photography_of_female_nudes_before_1923
Photography_of_female_nudes_before_1923
Photography_of_female_nudes_prior_to_1923
Photography_of_Taiwan
Photography_of_Taiwan
Photography_of_taiwan
Photography_stubs
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