Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
The first camera obscura essay
The first camera obscura essay
The first camera obscura essay
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: The first camera obscura essay
For my Research paper, I have studied how the ‘Camera Obscura’ was created and its impact on society. The reason I have chosen to discuss this topic is because it baffles me that an image can be created without using man made technology. An image could be simply made by a small crack in a cave, projecting an image of the outside, inside. The first use of light to create an image is the camera obscura. The name, ‘camera obscura’, was created by Johannes Kepler a German astronomer, in the early 17th century. He made it using a tent to observe the solar eclipse. The word ‘camera obscura’ means ‘dark chamber’.
The camera obscura is an optical device, known to be used since the times of Mozi and Aristotle. The earliest declaration of this type of device was by the Chinese theorist Mo-Ti, in the 5th Century BC, calling it ‘the locked treasure room’. The first published illustration of the camera obscura, is in a book from 1544 called ‘De radio astronomica et geometrica’, by Dutch scientist Reiner Gemma Frisius. He used it to observe a solar eclipse at Louvain. The camera obscura is a completely dark box or a room with a small hole in one wall. The light rays from outside the camera obscura, passes through the hole and produces an inverted image within the chamber of whatever is in front of the hole. As light travels in a straight line, the reflection of a lit object passes through the tiny hole, but does not scatter, it crosses and reforms as an upturned image on a flat surface. The camera obscura was a major deal as it created an image in true perspective. It creates the three-dimensional world we live in onto a “two-dimensional surface in a mathematically precise fashion” (Myers, A 2013).
Before the camera obscura was used for p...
... middle of paper ...
... obscura had required. We still use the convex lens, aperture and exposures.
Nostalgically today the camera obscura is having a revival of interest, around the globe the camera obscura is seen as a historical treasure. Artists such as Abelardo Morell are experimenting with this vintage medium. Abelardo Morell created his first camera obscura in his own living room in 1991. He blacked out all the windows with black plastic to keep all the light out and cut a small hole in the curtains for the aperture. After this photograph, Morell has been across the world taking stunning photographs with this technique. In the beginning, he used a large format camera and took exposures of up to five to ten hours, but recently he has changed to digital. He takes these photographs because he loves seeing the “weird and natural marriage of the inside and outside” (Morell, A 2013)
Prior to the invention of the daguerreotype, the Camera Obscura was the main optical instrument that was used to project images onto paper. The Camera Obscura was a device in the shape of a box that allowed light, which was being reflected from the images that the user was intending to capture, to enter through an opening at one end of the box to form an image on a surface and an artist would then trace the image to form the most accurate impression of an image at that peri...
Camera Lucida was Roland Barthes’ last written piece, published posthumously in 1980. This book deals with the topic of photography and the death of Barthes’ mother in 1977. The role of photography is questioned; he asks what about photography makes it a valid media? We read about the operator (the photographer), spectrum (the subject) and spectator (the viewer), also about the studium (what we see in the photograph) and the punctum (the unclassifiable, the thing that makes the photograph important to the viewer). According to Barthes the photograph is an adventure for the viewer, but it is ultimately death, the recording of something that will be dead after the picture is taken. This idea is the main focus of Barthes’ writing, the photograph “that-has-been”, in Latin “interfuit: what I see has been here, in this place which extends between infinity and the subject; it has been here, and yet immediately separated; it has been absolutely, irref...
For many years the only way to capture an image required one to paint or draw the model or object. This was until 1814 when Joseph Nicephore Niepce a French inventor, took the first picture in history. Even though the picture was a permanent print the image known as “View from the window at Le Guas” took eight hours to expose!
The first type of using light to make a picture was the daguerreotype. Both Louis Jacques Mande Daguerre and Nicephore Niepce, who passed away before the public was introduced to the daguerreotype, founded this type of picture taking. However, before this Louis Daguerre made a "theater without actors." Beaumont Newhall explains that this was an illusion made by extraordinary lighting effects that made the 45 ½ foot by 71 ½ foot pictures appear to change as one looked at them (2).
In the early 1400s, Italian engineer and architect, Filippo Brunelleschi, rediscovered the system of perspective as a mathematical technique to replicate depth and form within a picture plane. According to the principles, establishing one or more vanishing points can enable an artist to draw the parallels of an object to recede and converge, thus disappearing into a “distance”. In 1412, Brunelleschi demonstrated this technique to the public when he used a picture of the Florence Baptistery painted on a panel with a small hole in the centre.3 In his other hand, he held a mirror to reflect the painting itself, in which the reflected view seen through the hole depicted the correct perspective of the baptistery. It was confirmed that the image
.... 'It is a moment when the visible escapes from the timeless incorporeal order of the camera obscura and becomes lodged in another apparatus, within the unstable physiology and temporality of the human body'. Crary further demonstrates the shift in vision's location from camera to body by examining the way in which it was reproduced in various optical devices invented during this same period, specifically the stereoscope, the kaleidoscope, the phenakistiscope, and the diorama. His examination is based on a provocative premise: 'There is a tendency to conflate all optical devices in the nineteenth century as equally implicated in a vague collective drive to higher and higher standards of verisimilitude' (110). According to Crary, such an approach tends to neglect entirely how some of these devices were expressions of what he calls 'nonveridical' models of perception.
Also known as a previous commercial artist, Louis Daguerre invented the ability for cameras to capture fleeting images accurately . Louis Daguerre was born in November 18, 1787, in Cormeilles, France. His first job wasn’t a photographer, but it was Daguerre’s first step in getting attracted by the way lighting and reproducing accurate scenes work. Daguerre wasn’t a photographer, or an inventor from the beginning of his life. “By 1825, Daguerre was a successful commercial artist in Paris; creator, proprietor, and promoter of a giant illusionistic theater called the Diorama” (Nelson). The Diorama is a spectacle featuring theatrical paintings and lighting effects, along with huge paintings (Daniel). Daguerre was able to simulate various scenes by illustrating accurate reproductions (Nelson). “He knew the camera obscura and used it to make sketches from nature for creating an illusion of reality in his Diorama” (“History of Photography: Daguerre Pictures”). Through his prior knowledge for cameras, Daguerre was able to create the Diorama then go further into the world of photography. Louis Daguerre, known as one of the father of photography, influences many photographers with his daguerreotype, even today.
The Birth of Photography goes way back to the very early stages of it’s development, in 1565 it was found that certain silver salts turned black when open to an element, which at this time they believed to be air. It wasn’t until mid 1720’s when they discovered it was in fact light that reacted with the salts to turn them black; this led to numerous amounts of unsuccessful trials at capturing images in a lasting, photochemical form. Many scientists, amateur inventors and artists passionately pursued developing this form throughout the 29th century. A French scientist, Joseph Niepce was the man who made this process a success. He took an eight-hour exposure of what is believed to be his courtyard outside his house and created the first paper negative in 1816. It took another three years before a fixing agent was discovered for this process and the term ‘photography’ was born. It was hundreds of years till photography had reached this stage but over the next 80 years progression in photography was dramatic. Different techniques were tried and tested but most common was the black-and-white method, which dates back to the birth of photography. “In this ‘gelatin silver’ technique, a sheet of paper is coated with a mixture of white pigment and gelatin, then with a gelatin / silver-salts solution. It is exposed to light through a negative and developed in a chemical solution.” (Wheeler, 2002, p.9)
Susan Sontag has a very strong and interesting take on modern photography. In her essay, “In Plato’s Cave”, she talks about the power of photographs and what they convey about reality. Sontag states that “Strictly speaking, one never understands anything from a photograph.”(23). Sontag argues
As seen in paintings of battle scenes and portraits of wealthy Renaissance aristocracy, people have always strived to preserve and document their existence. The creation of photography was merely the logical continuum of human nature’s innate desire to preserve the past, as well as a necessary reaction to a world in a stage of dramatic and irreversible change. It is not a coincidence that photography arose in major industrial cities towards the end of the nineteenth century.
The theory shows how the painter may have used a camera obscura to give his works their realistic details.
When going for a walk, a person takes in the beauty around them. On this particular day, the refulgent sun is extra bright, making the sky a perfect blue. White, puffy clouds fill the sky, slowing moving at their own pace. The wind is peacefully calm, making the trees stand tall and proud. There is no humidity in the air. As this person walks down the road, they see a deer with her two fawns. The moment is absolutely beautiful. Moments like this happen only once in a great while, making us wanting to stay in the particular moment forever. Unfortunately, time moves on, but only if there were some way to capture the day’s magnificence. Thanks to Joseph Niépce, we can now capture these moments and others that take our breath away. The invention of the camera and its many makeovers has changed the art of photography.
Digital-less photography is an old way to take pictures that is not much used anymore. There are many different ways to produce the actual image when it is digital. In this paper I want to describe how dark rooms work, different thing that can happen to the picture during the process, the change in from digital-less to digital photography, this history of photography, and things you need for a darkroom.
Have you ever seen a painting or picture that captivates you and directly stirs up emotion within you? More than likely, you have. Usually, viewers merely observe the picture and enjoy the way it looks and how it makes them feel. But, have you ever asked yourself, “why?” What about the picture makes it pleasing to the viewer? With each strategy the photographer uses creates their own touch and passion that floods all over the picture. The emotional connection nearly goes unnoticed for when the picture is well photographed, the viewers experience the sensation in their subconscious. This is one of the most powerful tools that a photographer holds in their hands. If one can become a master of manipulating how the photo affects its viewers, the said photographer can potentially maneuver people’s minds and thoughts with one click of a button. The time spent with my mentor has opened up the door for me to tap into that power though the use of background, focus, shutter speed, angles, and most importantly, lighting. Even with all these techniques, the person behind the camera must remember that creativity must be at the forefront of all operations. Caleno (2014), when writing about the basics of capturing a beautiful moment in a picture commented, “If we want to be creative we must drop these pre-conceptions and start looking at things from a small child’s innocence.”
The Importance of Image in the Modern World Image is defined as the physical outward appearance that people view an individual or an object. Over the years, image has evolved from mere vanity to being regarded as a great importance in the modern world. It is not merely the vivid representation of a person or an object; it is a powerful tool used by us to impress and “wow” people, for self or even to make money. Image is also an important factor in society nowadays, as it draws a line between the popular people and the “fashion scum of society”; it separates the normal everyday products from the high-end gadgets. Image is indeed everything in the modern world today.