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History of photography

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					The first permanent photograph (later accidentally destroyed) was an image produced in 1826 by the
French inventor Joseph Nicéphore Niépce. His photographs were produced on a polished pewter plate
covered with a petroleum derivative called bitumen of Judea, which he then dissolved in white
petroleum. Bitumen hardens with exposure to light. The unhardened material may then be washed
away and the metal plate polished, rendering a positive image with light regions of hardened bitumen
and dark regions of bare pewter. Niépce then began experimenting with silver compounds based on a
Johann Heinrich Schultz discovery in 1727 that silver nitrate (AgNO3) darkens when exposed to light.

In partnership, Niépce (in Chalon-sur-Saône) and Louis Daguerre (in Paris) refined the existing silver
process. In 1833 Niépce died 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 exposing the
silver first to iodine vapour before exposure to light, and then to mercury fumes after the photograph
was taken, could form a latent image. Bathing the plate in a salt bath then fixes the image. On January 7,
1839 Daguerre announced that he had invented a process using silver on a copper plate called the
daguerreotype, and displayed the first plate.[9] The French government bought the patent and almost
immediately (on August 19 of that year) made it public domain.

In 1832, French-Brazilian painter and inventor Hercules Florence had already created a very similar
process, naming it Photographie.

After reading about Daguerre's invention, Fox Talbot worked on perfecting his own process; in 1839 he
acquired a key improvement, an effective fixer, from John Herschel, the astronomer, who had previously
showed that hyposulfite of soda (also known as hypo, or now sodium thiosulfate) would dissolve silver
salts. Later that year, Herschel made the first glass negative.
A calotype print showing the American photographer Frederick Langenheim (circa 1849). Note, the
caption on the photo calls the process Talbotype

By 1840, Talbot had invented the calotype process. He coated paper sheets with silver chloride to create
an intermediate negative image. Unlike a daguerreotype, a calotype negative could be used to
reproduce positive prints, like most chemical films do today. The calotype had yet another distinction
compared to other photographic processes of the day, in that the finished product lacked fine clarity
due to its translucent paper negative. This was seen as a positive attribute for portraits because it
softened the appearance of the human face. 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.
Later George Eastman refined Talbot's process, which is the basic technology used by chemical film
cameras today. Hippolyte Bayard had also developed a method of photography but delayed announcing
it, and so was not recognized as its inventor.

In 1839, John Herschel made the first glass negative, but his process was difficult to reproduce. Slovene
Janez Puhar invented a process for making photographs on glass in 1841; it was recognized on June 17,
1852 in Paris by the Académie Nationale Agricole, Manufacturière et Commerciale. In 1847, Nicephore
Niépce's cousin, the chemist Niépce St. Victor published his invention of a process for making glass
plates with an albumen emulsion; the Langenheim brothers of Philadelphia and John Whipple of Boston
also invented workable negative-on-glass processes in the mid 1840s.

In 1851 Frederick Scott Archer invented the collodion process.[citation needed] Photographer and
children's author Lewis Carroll used this process.[citation needed]
Roger Fenton's assistant seated on Fenton's photographic van, Crimea, 1855.
Herbert Bowyer Berkeley experimented with his own version of collodian emulsions after Samman
introduced the idea of adding dithionite to the pyrogallol developer.[citation needed] Berkeley
discovered that with his own addition of sulfite, to absorb the sulfur dioxide given off by the chemical
dithionite in the developer, that dithionite was not required in the developing process. In 1881 he
published his discovery. Berkeley's formula contained pyrogallol, sulfite and citric acid. Ammonia was
added just before use to make the formula alkaline. The new formula was sold by the Platinotype
Company in London as Sulpho-Pyrogallol Developer.[13]

Nineteenth-century experimentation with photographic processes frequently became proprietary. The
German-born, New Orleans photographer Theodore Lilienthal successfully sought legal redress in an
1881 infringement case involving his "Lambert Process" in the Eastern District of Louisiana.
[edit] Popularization
Mid 19th century "Brady stand" photo model's armrest table, meant to keep portrait models more still
during long exposure times (studio equipment nicknamed after the famed US photographer, Mathew
Brady).
A photographer appears to be photographing himself in a 19th-century photographic studio. (c. 1893)
General view of The Crystal Palace at Sydenham by Philip Henry Delamotte

The daguerreotype proved popular in responding to the demand for portraiture emerging from the
middle classes during the Industrial Revolution.[citation needed] This demand, that could not be met in
volume and in cost by oil painting, added to the push for the development of photography.

In 1847, Count Sergei Lvovich Levitsky designed a bellows camera which significantly improved the
process of focusing. This adaptation influenced the design of cameras for decades and is still found in
use today in some professional cameras. While in Paris, Levitsky would become the first to introduce
interchangeable decorative backgrounds in his photos, as well as the retouching of negatives to reduce
or eliminate technical deficiencies.[citation needed] Levitsky was also the first photographer to portray a
photo of a person in different poses and even in different clothes (for example, the subject plays the
piano and listens to himself).[citation needed] Roger Fenton and Philip Henry Delamotte helped
popularize the new way of recording events, the first by his Crimean war pictures, the second by his
record of the disassembly and reconstruction of The Crystal Palace in London. Other mid-nineteenth-
century photographers established the medium as a more precise means than engraving or lithography
of making a record of landscapes and architecture: for example, Robert Macpherson's broad range of
photographs of Rome, the interior of the Vatican, and the surrounding countryside became a
sophisticated tourist's visual record of his own travels.

By 1849, images captured by Levitsky on a mission to the Caucasus, were exhibited by the famous
Parisian optician Chevalier at the Paris Exposition of the Second Republic as an advertisement of their
lenses. These photos would receive the Exposition's gold medal; the first time a prize of its kind had ever
been awarded to a photograph.[citation needed]

That same year in 1849 in his St. Petersburg, Russia studio Levitsky would first propose the idea to
artificially light subjects in a studio setting using electric lighting along with daylight. He would say of its
use, "as far as I know this application of electric light has never been tried; it is something new, which
will be accepted by photographers because of its simplicity and practicality".[citation needed]
In 1851, at an exhibition in Paris, Levitsky would win the first ever gold medal awarded for a portrait
photograph.[citation needed]

In America, by 1851 a broadside by daguerreotypist Augustus Washington were advertising prices
ranging from 50 cents to $10.[14] However, daguerreotypes were fragile and difficult to copy.
Photographers encouraged chemists to refine the process of making many copies cheaply, which
eventually led them back to Talbot's process.

Ultimately, the modern photographic process 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 film, to replace the photographic plate so that a photographer no longer needed to carry
boxes of plates and toxic chemicals around. In July 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 complex parts of the process to others, and photography became available for the mass-market in
1901 with the introduction of the Kodak Brownie.

In the twentieth century, photography developed rapidly as a commercial service. End-user supplies of
photographic equipment accounted for only about 20 percent of industry revenue. For the modern
enthusiast photographer processing black and white film, little has changed since the introduction of the
35mm film Leica camera in 1925.[citation needed]

The first digitally scanned photograph was produced in 1957. The digital scanning process was invented
by Russell A. Kirsch, a computer pioneer at the National Institute of Standards and Technology. He
developed the system capable of feeding a camera's images into a computer. His first fed image was
that of his son, Walden Kirsch. The photo was set at 176x176 pixels.[15]

				
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Description: Nineteenth-century experimentation with photographic processes frequently became proprietary. The German-born, New Orleans photographer Theodore Lilienthal successfully sought legal redress in an 1881 infringement case involving his "Lambert Process" in the Eastern District of Louisiana.
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