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Photography is the process, activity and art of creating still or moving pictures by recording radiation on a sensitive medium, such as a photographic film, or an electronic sensor. Light patterns reflected or emitted from objects activate a sensitive chemical or electronic sensor during a timed exposure, usually through a photographic lens in a device known as a camera that also stores the resulting information chemically or electronically. Photography has many uses for business, science, art, and pleasure.
The word "photograph" was coined in 1839 by Sir John Herschel and is based on the Greek φῶς (phos) "light" and γραφή (graphé) "representation by means of lines" or "drawing", together meaning "drawing with light". Traditionally, the products of photography have been called negatives and photographs, commonly shortened to photos.
Function
The camera or camera obscura is the image-forming device, and photographic film or a silicon electronic image sensor is the sensing medium. The respective recording medium can be the film itself, or a digital electronic or magnetic memory.
Photographers control the camera and lens to "expose" the light recording material (such as film) to the required amount of light to form a "latent image" (on film) or "raw file" (in digital cameras) which, after appropriate processing, is converted to a usable image. Digital cameras use an electronic image sensor based on light-sensitive electronics such as charge-coupled device (CCD) or complementary metal-oxide-semiconductor (CMOS) technology. The resulting digital image is stored electronically, but can be reproduced on paper or film.
The movie camera is a type of photographic camera which takes a rapid sequence of photographs on strips of film. In contrast to a still camera, which captures a single snapshot at a time, the movie camera takes a series of images, each called a "frame". This is accomplished through an intermittent mechanism. The frames are later played back in a movie projector at a specific speed, called the "frame rate" (number of frames per second). While viewing, a person's eyes and brain merge the separate pictures together to create the illusion of motion.
In all but certain specialized cameras, the process of obtaining a usable exposure must involve the use, manually or automatically, of a few controls to ensure the photograph is clear, sharp and well illuminated. The controls usually include but are not limited to the following:
Focus: The adjustment to place the sharpest focus where it is desired on the subject.
Aperture : Adjustment of the lens opening, measured as f-number, which controls the amount of light passing through the lens. Aperture also has an effect on depth of field and diffraction – the higher the f-number, the smaller the opening, the less light, the greater the depth of field, and the more the diffraction blur. The focal length divided by the f-number gives the effective aperture diameter.
Shutter speed : Adjustment of the speed (often expressed either as fractions of seconds or as an angle, with mechanical shutters) of the shutter to control the amount of time during which the imaging medium is exposed to light for each exposure. Shutter speed may be used to control the amount of light striking the image plane; 'faster' shutter speeds (that is, those of shorter duration) decrease both the amount of light and the amount of image blurring from motion of the subject and/or camera.
White balance : On digital cameras, electronic compensation for the color temperature associated with a given set of lighting conditions, ensuring that white light is registered as such on the imaging chip and therefore that the colors in the frame will appear natural. On mechanical, film-based cameras, this function is served by the operator's choice of film stock or with color correction filters. In addition to using white balance to register natural coloration of the image, photographers may employ white balance to aesthetic end, for example white balancing to a blue object in order to obtain a warm color temperature.
Metering : Measurement of exposure so that highlights and shadows are exposed according to the photographer's wishes. Many modern cameras meter and set exposure automatically. Before automatic exposure, correct exposure was accomplished with the use of a separate light metering device or by the photographer's knowledge and experience of gauging correct settings. To translate the amount of light into a usable aperture and shutter speed, the meter needs to adjust for the sensitivity of the film or sensor to light. This is done by setting the "film speed" or ISO sensitivity into the meter.
ISO speed : Traditionally used to "tell the camera" the film speed of the selected film on film cameras, ISO speeds are employed on modern digital cameras as an indication of the system's gain from light to numerical output and to control the automatic exposure system. The higher the ISO number the greater the film sensitivity to light, whereas with a lower ISO number, the film is less sensitive to light. A correct combination of ISO speed, aperture, and shutter speed leads to an image that is neither too dark nor too light, hence it is 'correctly exposed,' indicated by a centered meter.
Autofocus point : On some cameras, the selection of a point in the imaging frame upon which the auto-focus system will attempt to focus. Many Single-lens reflex cameras (SLR) feature multiple auto-focus points in the viewfinder.
Many other elements of the imaging device itself may have a pronounced effect on the quality and/or aesthetic effect of a given photograph; among them are:
Focal length and type of lens (telephoto or "long" lens, macro, wide angle, fisheye, or zoom)
Filters placed between the subject and the light recording material, either in front of or behind the lens
Inherent sensitivity of the medium to light intensity and color/wavelengths.
The nature of the light recording material, for example its resolution as measured in pixels or grains of silver halide.
Exposure and rendering
Camera controls are inter-related. The total amount of light reaching the film plane (the "exposure") changes with the duration of exposure, aperture of the lens, and on the effective focal length of the lens (which in variable focal length lenses, can force a change in aperture as the lens is zoomed). Changing any of these controls can alter the exposure. Many cameras may be set to adjust most or all of these controls automatically. This automatic functionality is useful for occasional photographers in many situations.
The duration of an exposure is referred to as shutter speed, often even in cameras that don't have a physical shutter, and is typically measured in fractions of a second. Aperture is expressed by an f-number or f-stop (derived from focal ratio), which is proportional to the ratio of the focal length to the diameter of the aperture. If the f-number is decreased by a factor of , the aperture diameter is increased by the same factor, and its area is increased by a factor of 2. The f-stops that might be found on a typical lens include 2.8, 4, 5.6, 8, 11, 16, 22, 32, where going up "one stop" (using lower f-stop numbers) doubles the amount of light reaching the film, and stopping down one stop halves the amount of light.
Exposures can be achieved through various combinations of shutter speed and aperture. For example, f/8 at 8 ms (1/125th of a second) and f/5.6 at 4 ms (1/250th of a second) yield the same amount of light. The chosen combination has an impact on the final result. The aperture and focal length of the lens determine the depth of field, which refers to the range of distances from the lens that will be in focus. A longer lens or a wider aperture will result in "shallow" depth of field (i.e. only a small plane of the image will be in sharp focus). This is often useful for isolating subjects from backgrounds as in individual portraits or macro photography. Conversely, a shorter lens, or a smaller aperture, will result in more of the image being in focus. This is generally more desirable when photographing landscapes or groups of people. With very small apertures, such as pinholes, a wide range of distance can be brought into focus, but sharpness is severely degraded by diffraction with such small apertures. Generally, the highest degree of "sharpness" is achieved at an aperture near the middle of a lens's range (for example, f/8 for a lens with available apertures of f/2.8 to f/16). However, as lens technology improves, lenses are becoming capable of making increasingly sharp images at wider apertures.
Image capture is only part of the image forming process. Regardless of material, some process must be employed to render the latent image captured by the camera into a viewable image. With slide film, the developed film is just mounted for projection. Print film requires the developed film negative to be printed onto photographic paper or transparency. Digital images may be uploaded to an image server (e.g., a photo-sharing web site), viewed on a television, or transferred to a computer or digital photo frame.
Prior to the rendering of a viewable image, modifications can be made using several controls. Many of these controls are similar to controls during image capture, while some are exclusive to the rendering process. Most printing controls have equivalent digital concepts, but some create different effects. For example, dodging and burning controls are different between digital and film processes. Other printing modifications include:
Chemicals and process used during film development
Duration of print exposure – equivalent to shutter speed
Printing aperture – equivalent to aperture, but has no effect on depth of field
Contrast – changing the visual properties of objects in an image to make them distinguishable from other objects and the background
Dodging – reduces exposure of certain print areas, resulting in lighter areas
Burning in – increases exposure of certain areas, resulting in darker areas
Paper texture – glossy, matte, etc
Paper type – resin-coated (RC) or fiber-based (FB)
Paper size
Toners – used to add warm or cold tones to black and white prints
Uses
Photography gained the interest of many scientists and artists from its inception. Scientists have used photography to record and study movements, such as Eadweard Muybridge's study of human and animal locomotion in 1887. Artists are equally interested by these aspects but also try to explore avenues other 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. Photography is used by amateurs to preserve memories of favorite times, to capture special moments, to tell stories, to send messages, and as a source of entertainment.
History
Photography is the result of combining several technical discoveries. Long before the first photographs were made, Chinese philosopher Mo Ti described a pinhole camera in the 5th century B.C.E.,[4] Ibn al-Haytham (Alhazen) (965–1040) studied the camera obscura and pinhole camera,[4][5] Albertus Magnus (1193–1280) discovered silver nitrate,[6] and Georges Fabricius (1516–1571) discovered silver chloride.[citation needed] Daniel Barbaro described a diaphragm in 1568.[citation needed] Wilhelm Homberg described how light darkened some chemicals (photochemical effect) in 1694.[citation needed] The fiction book Giphantie, published in 1760, by French author Tiphaigne de la Roche, described what can be interpreted as photography.[citation needed]
Photography as a usable process goes back to the 1820s with the development of chemical photography. The first permanent photoetching was an image produced in 1822[3] by the French inventor Nicéphore Niépce, but it was destroyed by a later attempt to duplicate it.[3] Niépce was successful again in 1825. He made the first permanent photograph from nature with a camera obscura in 1826. However, because his photographs took so long to expose (8 hours), he sought to find a new process. Working in conjunction with Louis Daguerre, they experimented with silver compounds based on a Johann Heinrich Schultz discovery in 1724 that a silver and chalk mixture darkens when exposed to light. Niépce died in 1833, but Daguerre continued the work, eventually culminating with the development of the daguerreotype in 1837. Daguerre took the first ever photo of a person in 1839 when, while taking a daguerreotype of a Paris street, a pedestrian stopped for a shoe shine, long enough to be captured by the long exposure (several minutes). Eventually, France agreed to pay Daguerre a pension for his formula, in exchange for his promise to announce his discovery to the world as the gift of France, which he did in 1839.
Meanwhile, Hercules Florence had already created a very similar process in 1832, naming it Photographie, and 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 portraits were made readily available to the masses. By 1840, Talbot had invented the calotype process, which creates negative images. John Herschel made many contributions to the new methods. He invented the cyanotype process, now familiar as the "blueprint". He was the first to use the terms "photography", "negative" and "positive". He discovered sodium thiosulphate solution to be a solvent of silver halides in 1819, and informed Talbot and Daguerre of his discovery in 1839 that it could be used to "fix" pictures and make them permanent. He made the first glass negative in late 1839.
In March 1851, Frederick Scott Archer published his findings in "The Chemist" on the wet plate collodion process. This became the most widely used process between 1852 and the late 1880s when the dry plate was introduced. There are three subsets to the Collodion process; the Ambrotype (positive image on glass), the Ferrotype or Tintype (positive image on metal) and the negative which was printed on Albumen or Salt paper.
Many advances in photographic glass plates and printing were made in through the nineteenth century. In 1884, George Eastman developed the technology of film to replace photographic plates, leading to the technology used by film cameras today.
In 1908 Gabriel Lippmann won the Nobel Laureate in Physics for his method of reproducing colors photographically based on the phenomenon of interference, also known as the Lippmann plate.
Processes
Black-and-white
All photography was originally monochrome, or black-and-white. Even after color film was readily available, black-and-white photography continued to dominate for decades, due to its lower cost and its "classic" photographic look. It is important to note that some monochromatic pictures are not always pure blacks and whites, but also contain other hues depending on the process. The cyanotype process produces an image of blue and white for example. The albumen process, first used more than 150 years ago, produces brown tones.
Many photographers continue to produce some monochrome images. Some full color digital images are processed using a variety of techniques to create black and whites, and some manufacturers produce digital cameras that exclusively shoot monochrome.
Color
Color photography was explored beginning in the mid 1800s. Early 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. Russian photographer Sergei Mikhailovich Prokudin-Gorskii developed another technique, with three color plates taken in quick succession.
Practical application of the technique was held back by the very limited color response of early film; however, in the early 1900s, following the work of photo-chemists such as H. W. Vogel, emulsions with adequate sensitivity to green and red light at last became available.
The first commercially successful color process, the Autochrome, invented by the French Lumière brothers, reached the market in 1907. It was based on a 'screen-plate' filter made of dyed grains of potato starch, and was one of many additive color screen products available between the 1890s and the 1950s. A later example of the additive screen process was the German Agfacolor introduced in 1932. In 1935, American Kodak introduced the first modern ('integrated tri-pack') color film which was developed by two musicians Leopold Mannes and Leopold Godowsky ("Man" and "God") working with the Kodak Research Labs. It was Kodachrome, based on multiple layered silver gelatin emulsions that were each sensitized to one of the three additive colors—red, green, and blue. The cyan, magenta, and yellow dyes were created in those layers by adding color couplers during processing. This was followed in 1936 by Agfa's Agfacolor Neu. Unlike the Kodachrome tri-pack process, the color couplers in Agfacolor Neu were incorporated into the emulsion layers during manufacture, which greatly simplified the film processing. Most modern color films, except Kodachrome, use such incorporated-coupler techniques, though since the 1970s nearly all have used a technique developed by Kodak to accomplish this, rather than the original Agfa method. Instant color film was introduced by Polaroid 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.
Full-spectrum, ultraviolet and infrared
Ultraviolet and infrared films have been available for many decades and employed in a variety of photographic avenues since the 1960s. New technological trends in digital photography have opened a new direction in full spectrum photography, where careful filtering choices across the ultraviolet, visible and infrared lead to new artistic visions.
Modified digital cameras can detect some ultraviolet, all of the visible and much of the near infrared spectrum, as most digital imaging sensors are sensitive from about 350 nm to 1000 nm. An off-the-shelf digital camera contains an infrared hot mirror filter that blocks most of the infrared and a bit of the ultraviolet that would otherwise be detected by the sensor, narrowing the accepted range from about 400 nm to 700 nm.[7] Replacing a hot mirror or infrared blocking filter with an infrared pass or a wide spectrally transmitting filter allows the camera to detect the wider spectrum light at greater sensitivity. Without the hot-mirror, the red, green and blue (or cyan, yellow and magenta) colored micro-filters placed over the sensor elements pass varying amounts of ultraviolet (blue window) and infrared (primarily red, and somewhat lesser the green and blue micro-filters).
Uses of full spectrum photography are for fine art photography, geology, forensics & law enforcement, and even some claimed use in ghost hunting.
Digital photography
Traditional photography burdened photographers working at remote locations without easy access to processing facilities, and competition from television pressured photographers to deliver images to newspapers with greater speed. Photo journalists at remote locations often carried miniature photo labs and a means of transmitting images through telephone lines. In 1981, Sony unveiled the first consumer camera to use a charge-coupled device for imaging, eliminating the need for film: the Sony Mavica. While the Mavica saved images to disk, the images were displayed on television, and the camera was not fully digital. In 1990, Kodak unveiled the DCS 100, the first commercially available digital camera. Although its high cost precluded uses other than photojournalism and professional photography, commercial digital photography was born.
Digital imaging uses an electronic image sensor to record the image as a set of electronic data rather than as chemical changes on film. The primary difference between digital and chemical photography is that chemical photography resists manipulation because it involves film and photographic paper, while digital imaging is a highly manipulative medium. This difference allows for a degree of image post-processing that is comparatively difficult in film-based photography and permits different communicative potentials and applications.
Digital point-and-shoot cameras have become widespread consumer products, outselling film cameras, and including new features such as video and audio recording. Kodak announced in January 2004 that it would no longer sell reloadable 35 mm cameras in western Europe, Canada and the United States after the end of that year. Kodak was at that time a minor player in the reloadable film cameras market. In January 2006, Nikon followed suit and announced that they will stop the production of all but two models of their film cameras: the low-end Nikon FM10, and the high-end Nikon F6. On May 25, 2006, Canon announced they will stop developing new film SLR cameras.[8] Though most new camera designs are now digital, a new 6x6cm/6x7cm medium format film camera was introduced in 2008 in a cooperation between Fuji and Voigtländer.[9][10]
According to a survey made by Kodak in 2007, 75 percent of professional photographers say they will continue to use film, even though some embrace digital.[11]
According to the U.S. survey results, more than two-thirds (68 percent) of professional photographers prefer the results of film to those of digital for certain applications including:
film’s superiority in capturing more information on medium and large format films (48 percent);
creating a traditional photographic look (48 percent);
capturing shadow and highlighting details (45 percent);
the wide exposure latitude of film (42 percent); and
archival storage (38 percent)
Digital imaging has raised many ethical concerns because of the ease of manipulating digital photographs in post processing. Many photojournalists have declared they will not crop their pictures, or are forbidden from combining elements of multiple photos to make "illustrations," passing them as real photographs. Today's technology has made picture editing relatively simple for even the novice photographer. However, recent changes of in-camera processing allows digital fingerprinting of RAW photos to verify against tampering of digital photos for forensics use.
Camera phones, combined with sites like Flickr, have led to a new kind of social photography.
Modes of production
Amateur
An amateur photographer is one who practices photography as a hobby and not for profit. The quality of some amateur work is comparable or superior to that of many professionals and may be highly specialised or eclectic in its choice of subjects. Amateur photography is often pre-eminent in photographic subjects which have little prospect of commercial use or reward.
Commercial
Commercial photography is probably best defined as any photography for which the photographer is paid for images rather than works of art. In this light money could be paid for the subject of the photograph or the photograph itself. Wholesale, retail, and professional uses of photography would fall under this definition. The commercial photographic world could include:
Advertising photography: photographs made to illustrate and usually sell a service or product. These images, such as packshots, are generally done with an advertising agency, design firm or with an in-house corporate design team.
Fashion and glamour photography: This type of photography usually incorporates models. Fashion photography emphasizes the clothes or product, glamour emphasizes the model. Glamour photography is popular in advertising and in men's magazines. Models in glamour photography may be nude, but this is not always the case.
Crime Scene Photography: This type of photography consists of photographing scenes of crime such as robberies and murders. A black and white camera or an infrared camera may be used to capture specific details.
Still life photography usually depicts inanimate subject matter, typically commonplace objects which may be either natural or man-made.
Food photography can be used for editorial, packaging or advertising use. Food photography is similar to still life photography, but requires some special skills.
Editorial photography: photographs made to illustrate a story or idea within the context of a magazine. These are usually assigned by the magazine.
Photojournalism: this can be considered a subset of editorial photography. Photographs made in this context are accepted as a documentation of a news story.
Portrait and wedding photography: photographs made and sold directly to the end user of the images.
Landscape photography: photographs of different locations.
Wildlife photography that demonstrates life of the animals.
Photo sharing: publishing or transfer of a user's digital photos online.
Paparazzi
The market for photographic services demonstrates the aphorism "A 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 employ a photographer directly, organize a public competition, or obtain rights to stock photographs. Photo stock can be procured through traditional stock giants, such as Getty Images or Corbis; smaller microstock agencies, such as Fotolia; or web marketplaces, such as Cutcaster.
Art
During the twentieth century, both fine art photography and documentary photography became accepted by the English-speaking art world and the gallery system. In the United States, a handful of photographers, including Alfred Stieglitz, Edward Steichen, John Szarkowski, F. Holland Day, and Edward Weston, spent their lives advocating for photography as a fine art. At first, fine art photographers tried to imitate painting styles. This movement is called Pictorialism, often using soft focus for a dreamy, 'romantic' look. In reaction to that, Weston, Ansel Adams, and others formed the Group f/64 to advocate 'straight photography', the photograph as a (sharply focused) thing in itself and not an imitation of something else.
The aesthetics of photography is a matter that continues to be discussed regularly, especially in artistic circles. Many artists argued that photography was the mechanical reproduction of an image. If photography is authentically art, then photography in the context of art would need redefinition, such as determining what component of a photograph makes it beautiful to the viewer. The controversy began with the earliest images "written with light"; Nicéphore Niépce, Louis Daguerre, and others among the very earliest photographers were met with acclaim, but some questioned if their work met the definitions and purposes of art.
Clive Bell in his classic essay Art states that only "significant form" can distinguish art from what is not art.
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.
—[12]
On February 14, 2006 Sotheby’s London sold the 2001 photograph "99 Cent II Diptychon" for an unprecedented $3,346,456 to an anonymous bidder making it the most expensive of all time.
Conceptual photography
Photography that turns a concept or idea into a photograph. Even though what is depicted in the photographs are real objects, the subject is strictly abstract.
Science and forensics
The camera has a long and distinguished history as a means of recording phenomena from the first use by Daguerre and Fox-Talbot, such as astronomical events (eclipses for example), small creatures and plants when the camera was attached to the eyepiece of microscopes (in photomicroscopy) and for macro photography of larger specimens. The camera also proved useful in recording crime scenes and the scenes of accidents, such as the Wootton bridge collapse in 1861 and the Staplehurst rail crash of 1865. One of the first systematic applications occurred at the scene of the Tay Rail Bridge disaster of 1879. The court, just a few days after the accident, ordered James Valentine of Dundee to record the scene using both long distance shots and close-ups of the debris. The set of over 50 accident photographs was used in the subsequent court of inquiry so that witnesses could identify pieces of the wreckage, and the technique is now commonplace both at accident scenes and subsequent cases in courts of law. The set of over 50 Tay bridge photographs are of very high quality, being made on a large plate camera with a small aperture and using fine grain emulsion film on a glass plate. When the surviving positive prints are scanned at high resolution, they can be enlarged to show details of the failed components such as broken cast iron lugs and the tie bars which failed to hold the towers in place. The set of original photographs is held at Dundee City Library. The photographs show that, in the words of the Public Inquiry the bridge was "badly designed, badly built and badly maintained". The methods used in analysing old photographs are collectively known as forensic photography.
Between 1846 and 1852 Charles Brooke invented a technology for the automatic registration of instruments by photography. These instruments included barometers, thermometers, psychrometers, and magnetometers, which recorded their readings by means of an automated photographic process.
Photography has become ubiquitous in recording events and data in science and engineering, and at crime scenes or accident scenes. The method has been much extended by using other wavelengths, such as infrared photography and ultraviolet photography, as well as spectroscopy. Those methods were first used in the Victorian era and developed much further since that time.
Other image forming techniques
Besides the camera, other methods of forming images with light are available. For instance, a photocopy or xerography machine forms permanent images but uses the transfer of static electrical charges rather than photographic film, hence the term electrophotography. Photograms are images produced by the shadows of objects cast on the photographic paper, without the use of a camera. Objects can also be placed directly on the glass of an image scanner to produce digital pictures.
Social and cultural implications
There are many ongoing questions about different aspects of photography. In her writing "On Photography" (1977), Susan Sontag discusses concerns about the objectivity of photography. This is a highly debated subject within the photographic community.[13] It has been concluded that photography is a subjective discipline "to photograph is to appropriate the thing photographed. It means putting one’s self into a certain relation to the world that feels like knowledge, and therefore like power."[14] Photographers decide what to take a photo of, what elements to exclude and what angle to frame the photo. Along with the context that a photograph is received in, photography is definitely a subjective form.
Modern photography has raised a number of concerns on its impact on society. In Alfred Hitchcock's Rear Window (1954), the camera is presented as a promoter of voyeuristic inhibitions. 'Although the camera is an observation station, the act of photographing is more than passive observing'.[14] Michal Powell's Peeping Tom (1960) portrays the camera as both sexual and sadistically violent technology that literally kills in this picture and at the same time captures images of the pain and anguish evident on the faces of the female victims.[citation needed]
"The camera doesn't rape or even possess, though it may presume, intrude, trespass, distort, exploit, and, at the farthest reach of metaphor, assassinate - all activities that, unlike the sexual push and shove, can be conducted from a distance, and with some detachment."[14]
Photography is one of the new media forms that changes perception and changes the structure of society.[15] Further unease has been caused around cameras in regards to desensitization. Fears that disturbing or explicit images are widely accessible to children and society at large have been raised. Particularly, photos of war and pornography are causing a stir. Sontag is concerned that "to photograph is to turn people into objects that can be symbolically possessed." Desensitization discussion goes hand in hand with debates about censored images. Sontag writes of her concern that the ability to censor pictures means the photographer has the ability to construct reality.[14]
One of the practices through which photography constitutes society is tourism. Tourism and photography combine to create a "tourist gaze"[16] in which local inhabitants are positioned and defined by the camera lens. However, it has also been argued that there exists a "reverse gaze"[17] through which indigenous photographees can position the tourist photographer as a shallow consumer of images.
Forms
Aviation photography
Architectural photography
Candid photography
Cloudscape photography
Digiscoping
Documentary photography
Erotic photography
Fashion photography
Fine art photography
Fire photography
Food photography
Forensic photography
Glamour photography
Head shot
Landscape art
Landscape photography
Miksang (contemplative photography)
Nature photography
Wedding photography
Special occasion photography
Social photography
Nude photography
Old-time photography
Photojournalism
Portrait photography
Sports photography
Still life photography
Stock photography
Street photography
Travel photography
Underwater photography
Vernacular photography
VR photography
War photography
Wedding photography
Wildlife photography
Photographers and photographs
List of most expensive photographs
List of photographers
Movie stills photographer
Equipment (cameras, etc.)
Camera
Camera Phone
Color chart
Digital camera
Digital single-lens reflex camera
Dry box
Film base
Film format
Film holder
Film scanner
Film stock
Filter
Flash
Gray card
Lenses for SLR and DSLR cameras
List of photographic equipment makers
Monopod
Movie projector
Perspective control lens
Photographic film
Photographic lens
Reflector
Rangefinder camera
SD Card(for digital photography)
Single-lens reflex camera
Slide projector
Soft box
Still camera
Toy camera
Tripod
Twin-lens reflex camera
Video camera
View camera
Zone plate
History
Albumen print
Calotype
Daguerreotype
Timeline of photography technology
Techniques
Aerial Photography
Afocal photography
Astrophotography
Bokeh
Contre-jour
Cross processing
Cyanotype
Film developing
Full spectrum photography
Harris Shutter
High dynamic range imaging
High speed photography
Image fusion
Infrared photography
Kinetic photography
Kite aerial photography
Lead room
Light painting
Lith-Print
Macro photography
Micrography, or Photomicrography
Monochrome Photography
Motion blur
Night photography
Panning
Panoramic photography
Photogram
Photograph conservation
Photographic mosaic
Photographic print toning
Push printing
Push processing
Rephotography
Rollout photography
Sabatier Effect
Schlieren photography
Stereoscopy
Sun printing
Tilted plane focus
Time-lapse
Ultraviolet photography
Wide dynamic range
Zoom burst
General concepts
Camera obscura
Composition in visual arts
Diana camera
Early photographers of York
Gelatin-silver process
Gum printing
Hand-coloring
Holography
Kirlian photography
Lomography
Mourning portraits
Negative
North American Nature Photography Association
Photograph
Print permanence
Vignetting
Technical principles
Angle of view
Aperture
Color temperature
Depth of field
Depth of focus
Digital versus film photography
Double exposure
Exposure
F-number
Film format
Film speed
Perspective distortion
Photographic printing
Photographic processes
Pinhole camera
Reciprocity (photography)
Red-eye effect
Rule of thirds
Science of photography
Shutter speed
Zone System
After This what you think about Photography
Rio, Darlisa's wonderful dog, was constantly in the scene as we shot the scenes at Trillium. I'm loving this one and she held still enough for me to capture her during a long exposure.
Trillium Lake in Oregon
Channeling my inner "Robert Björkén (Hobbyfotograf)" whose still life work I greatly admire.
Sony A7RII with Sony FE 90mm Macro G OSS. Image captured handheld and edited in Adobe Lightroom CC. Image lit using Rotolight Neo (camera right) and white reflector (camera left).
© Amazing Images Photography www.amazingimagesphotography.net
*I am posting four cabinet cards that are new to the photostream and one that I am bringing to the top. I am calling them "Arts & Letters". The group includes cards related to photography, sculpture, painting, music, and books. Since this is one of my favorite cabinet cards related to photography I decided to bring it to the top of my stream as part of the group.
This cabinet card shows a mustached man with a folding camera in a studio setting. My impression is that he brought his prized, and perhaps new, camera and tripod to the studio to be recorded.
I will continue to upload selections of our photographs of photographers with cameras. Please check back in a few days. Until then you can see more of our photographs of photographers at:
Gear in the photo...
Camera: Nikon D810A
Lens: Sigma 50mm f/1.4 Art
Rotator: Hutech.com Camera Rotator
Guide Scope: Borg 50mm achromat
Guide Camera: QHY 5L-II
Mount: iOptron iEQ30
The Camera Rotator allows me to change the angle of the camera so I can achieve desired alignment and framing.
I never had much interest in these, but one came up on e-bay at a bargain price . . . I thought. It was missing the original lens (came with a 135mm, should be a 127mm) and had a home-made lens board. The rangefinder did not work.
A correct Rapax shutter (it has special pins extended from the back of the cocking and shutter levers to couple with the Kalart electrically fired linkage) and the correct 127mm Raptar lens came up on e-bay the following week, so I snapped it up.
Then another Kalart came up on e-bay, so I bought it in order to figure out how to fix the rangefinder and fabricate a missing linkage part. This is Kalart Press Camera number 598.
Here's the story of Kalart:
www.xs4all.nl/~lommen9/kalartcamera/index.html
Note (22 May 2011): I just learned where they hide the actual serial number. I had been going by casting numbers on the camera frame, which are hidden when the camera is assembled. The serial number is under the the spring back at the feed end. This is s.n. B00590
A matchbox camera I finished tonight (2/17/07). Built following the plans from alspix stuff. Hopefully I will be able to get a few shots out of this little camera.
Many have asked us what Cooper does on a typical day. Easier than explaining it, I thought I'd show you. Yesterday Cooper let me follow him around with the video camera while he took photos with his collar camera.
Cooper's official blog: www.PhotographerCat.com | Cooper on Facebook
Buy Cooper's photo book, framed photos and more at Cooper's gallery store.
Kodak Brownie Starflash Camera came in a variety of colors
Made 1957-1965 - uses 127 film.
I will probably use one of these in the not too distant future to do some B/W photos
A small falling plate camera for stereo pairs.
The negatives were loaded into holders fed into the rear of the camera. After an exposure is made, the holders are released to swing down underneath the others, allowing the next frame to be exposed.
The small metal stereoscope will hold a stereo pair of images and focus is achieved by moving the holder back and forth.
Please go here to see more interesting cameras and photographic items from my personal collection -
www.flickr.com/photos/69559277@N04/sets/72157648539313227...
Old is Gold. I can definitely vouch for that one as far as photography is concerned. Here is a marriage of three technologies.
The image is that of a Pentax 67, a 6 by 7, medium format camera that I use to shoot portraits. Its a beauty as far as film photography goes, as it has one of the largest negative size in the medium format. HERE IS A BEAUTY THAT THIS CAMERA CAPTURED.
However the photograph of this camera has been shot with an über-modern Canon EOS 5D Mark II, that is a full frame digital camera. However the lens mounted on the 5D is a manual Leica Summilux lens, which is again old school.
A fusion of different eras.
Photograph © Kausthub Desikachar
Photographed with a Canon EOS 5D Mark II, and Leica Summilux-R 80mm F1.4 lens, with B+W UV and Haze Filter. Handheld.
PS: Since this has been taken with a manual lens, the EXIF data won't reflect the lens information correctly.
Please do not reproduce in any form without prior written consent from the copyright holder. Please contact the photographer through Flickrmail, to inquire about licensing arrangements.
TAG YOU! Post a picture of your camera(s)
clockwise from top:
Canon Rebel T3
Diana F+
Lomography Fisheye
Tito (R.I.P.) Film Canon AT-1
Dad's old Nikon Film.
This Kodak Retina (serial number 404802 K) of 1936/40 is my first camera.
I used it from 1962 to 1967.
Used previously by my father, I did apply some changes: attachments for belt, contact syncro- flash, slide for flash and to the bottom attack for close-up photography for a system designed by my father, a talented mechanical precision.
I still have this machine...... working perfectly!
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Questa Kodak Retina (numero di serie 404802 K) del 1936-1940 è la mia prima macchina fotografica che ho usato dal 1962 al 1967. Era la macchina di mio padre alla quale io feci apportare alcune modifiche: attacchi per cintura, contatto sincro-lampo, slitta per il flash e sulla parte inferiore una slitta per collegare un sistema per fotografare a distanza ravvicinata progettato da mio padre, valente meccanico di precisione.
Conservo ancora questa macchina ..... perfettamente funzionante!
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Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved
You can see my most interesting photo's on flickr: -------> FLICKR click here
You can see my web site as Nikon Photographer Advanced: -------> NPA click here
Leica's flagship in 1938, the IIIa with collapsible 50/2.0 Summar lens. Now I can take photos just like Henri Cartier-Bresson!
Ever wonder how these things work? rick_oleson.tripod.com/index-90.html
Or how to spot a counterfeit? rick_oleson.tripod.com/index-213.html
Or how to take one apart? rick_oleson.tripod.com/index-155.html
The Yashica Mat 124 is probably the best known of Japanese TLRs. Largely a copy of the Rolleiflex Automats, it does not match the Rollei in ruggedness and build quality but its built-in coupled light meter is a better job than anything Rollei had ever done.
When I told Peace I was going to take his picture with some Brownies he did his best Homer Simpson impression ... "mmmmmmm brownies mmmmmm". He was disappointed they weren't the edible kind but he really enjoyed this version anyway!
Happy Teddy Bear Tuesday!
Staunton, Virginia
Brownie Starmite's above his head and Starflash's on his shelf. Just a small sample of the entire Brownie collection!
Hundreds of cameras - all makes and models. Well worth the trip!
Trying to catch up on photos but still consumed with Kaylee's potty training and other house keeping. Here's a quick shot of a vintage camera from our collection found at a garage sale up in Washington.
Happy Cliche Saturday!!
my newest find from ebay - Mamiya 645AF. only a couple of years ago it was worth thousands of pounds:-) since the arrival of full frame DSLRs, these became obsolete as a first choice camera for wedding or fashion snappers and now it's the best time to aquire one. pity it isn't AFD, but i don't think i'll be able to afford a digital back for medium format anyway. i'd prefer to spend the money on AF lenses, as apart from 80mm AF i've got manual ones only.
this was my first time exposure..about 30minute drive from the mall to home. with the the camera taped to my vw's windshield. kinda amazed the photo lab guy
15mm matchbox pinhole
© Leanne Boulton, All Rights Reserved
Street candid taken in Glasgow, Scotland.
Press 'L' for full screen, if you fancy it.
Like so many of you we are caught up by cameras, many old, and if we can afford it, some pretty incredible new.
Anything photographic calls to me. The camera on the right is a deco film family camera from the 20's the one in the middle is a recent purchase and is a dainty camera called The Premoette Jr. made by Rochester optical before it became Kodak in 1913. The one on the left is a 4x5 Wollensak Optical wooden field camera, made july 23, 1901 (who puts dates on cameras now?) I have the wooden film holders for it and intend to take it out and use it one day.
Canon Sure Shot WP-1 35mm film camera and Olympus Tough TG-5 digital camera at the XXX Root Beer Drive-In in Issaquah, Washington
The top camera is an Agfa Ansco Viking folding camera.
The middle camera is a Holga wide pinhole camera.
The bottom camera is a Zero Image 69 pinhole camera.
All three take medium format 120 roll film and are capable of producing 6x9cm images.
The Ansco only takes 6x9cm images.
The Holga takes 6x9cm or 6x6cm images.
The Zero takes 6x9cm, 6x6cm, or 6x4.5 images.
All three allow the user to see the exposure number through a red window on the back of the camera. The exposure numbers are written on the paper backing that protects the film from exposure to light coming through the red window. There are three sets of numbers printed on the paper backing. The numbers on the top are for 6x4.5 images. The numbers in the middle are for 6x6 images. The numbers on the bottom are for 6x9 images.
In spite of the directions of the arrow printed on the paper backing, the film winds from right to left for the Ansco and the Zero. For the Holga, the film winds from left to right. As a result, this poses a problem when using the numbers printed on the paper backing.
The Ansco has one red window located on the bottom of the camera back so it can read the eight numbers that indicate eight 6x9 shots per roll.
The Zero has three red windows. The top window is for reading the sixteen numbers that indicate the sixteen 6x4.5 shots per roll.
The middle window on the Zero is for reading the twelve numbers that indicate the twelve 6x6 shots per roll.
The bottom window on the Zero is for reading the eight numbers that indicate the eight 6x9 shots per roll.
The Holga has two red windows. The middle window is for reading the twelve numbers that indicate the twelve 6x6 shots per roll.
The Holga bottom window should read the eight numbers for the 6x9 images. However, for some reason, the Holga winds film in the opposite direction of the Ansco and the Zero. As a result, the numbers for the Holga are upside down. The bottom window for the Holga is actually reading the numbers for the 6x4.5 images. To correct for this mistake, the user can to use the bottom window but must use only the odd numbers (1, 3, 5, 7, 9, 11, 13, 15) to count the eight 6x9 shots per roll.
I now have an internet webcam with live video stream trained 24x7 on my build area! Check it out at OCHREJELLY.CAMERA.
And if I'm building, you can even tweet me @OchreJellyCam. It'll go straight to my iPad.
As magical as all this is, there may be some IT kinks to iron out at first. So report in the comments whether you can or cannot see anything (both of which are equally useful to know). Be sure to include country, region and browser you are viewing from.
Also, my camera seems to be prejudice against Internet Explorer users... Right now it only feeds static images to IE (you have to hit Refresh to see changes). So IE users, lemme know if you would prefer ActiveX, Java or Quicktime to see a live feed.
I've been working on a curved plane pinhole camera to replace the first one I tried. This one has a curved back from laminated veneer to reduce overall size. the film mask is half of 4" steel tube I polished to a shine for less friction. I spent alot more time on this one making sure all the gaps are reduced to a minimum and surfaces that contact film are slick to reduce friction. The film spools sit on the black curve which is a plastic I laminated to the wood to also reduce friction.The top and bottom are 1/8" aluminum sheet which hold the back snug. The back will have a set of rollers attached similar to the Noblex which hold the film against the mask. If I have any patience left when it's done I'll add an additional pinhole to the top of the camera for a perpendicular effect similar to an anamorphic camera.
I wonder if there are very many Contaflex Prima outfits quite like this one. I kind of doubt it, I expect anyone wanting to invest in this sort of kit would have started out with a Super; the Prima was ZI's "top-of-the-cheap-line" model, sort of a 1960 Rebel T3i.
I don't usually go in for accumulating a whole bunch of accessories around one old camera, but somehow this was just too weird to pass up.
For the record: At lower left is a Contaflex Prima with its 45/2.8 Pantar normal lens (a triplet), fitted with an interchangeable magazine film back. The dark slide for removing the magazine is extending from the bottom of the camera. The normal film back is at the top of the photo; in front if it is the 75mm telephoto, then the 30mm wide angle lens (these replace just the front element of the normal lens on the camera). In front of the wide angle is a Proxar close-up lens (I actually have a full set of 4 of these, for distances of 200, 300, 500 and 1000mm). To the right, in back are the takeup spool and a spacer that go into the body when the normal film back is used instead of the magazine back. The rest of the stuff is the boxes and cases that the accessories came in.
Out with the old (broken SD1000), in with the new (fancy G10).
I'm really curious to see how this does shooting shows at venues that wouldn't allow my D70. The sensor's similar to the rest of the current Canon point and shoot lineup (icky 1/1.7" CCD sensor) but the lens is nice (28-140mm f/2.8-f/4.5), it's got a viewfinder and dedicated knobs for ISO and exposure compensation and a lots of tweakable features to get just the picture I want.