The movement of photography has been constantly growing and expanding throughout the centuries. With the increase in popularity for this new media came various expansions and technological advancements. Photography led to advancements in the camera as well as advancements in the methodology of taking a photograph. These advancements did not happen suddenly; the technology and advancements in photography we have today is the product of many centuries of work through a collective effort from many different intellectuals, artists and photographers.
The movement of photography first started even before photography was invented, with the physionotrace. The physionotrace mechanized a technique for making profiles that can be traced back to the 1600s. …show more content…
The camera lucida, literally translated to the light room, consisted of a rod to which was affixed a glass prism having two silvered sides that reflected the scene at which it was aimed. A person wishing to draw a scene would attach the camera lucida to a drawing table and adjust the prism so that the image is reflected directly into the eye. Then, looking down the user moves the prism slightly to create the illusion of the scene existing on the drawing paper. The artist could then trace the outlines of the scene directly onto the drawing paper, while looking up occasionally to see the actual scene. The camera lucida was very useful for travelers who wanted to record topographic or architectural views. (pg …show more content…
Lithography, perfected in 1789 by the German actor and writer Alois Senefelder, uses drawings on a flat surface, usually a smooth stone, rather than a metal or wood recessed surface. Lithography appealed to painters, but it also intrigued early nineteenth - century entrepreneurs, who saw it as a means that could surpass other types of illustration. Niepce’s interest then shifted and he began to experiment with ways to produce an image through the action of light upon photosensitive materials. He used paper that was made light sensitive through the application of silver chloride solution. Then, he would expose the photosensitive paper in a camera obscura. At first he experienced the same difficulties both Wedgewood and Davy faced; the image was too indistinct and the action of the light could not be thoroughly stopped. Also, the tones of the image were reversed, thus creating a negative image. Niepce tried to use the negative to create a positive image and to reverse the dark a light portions through chemical means, but both were unsuccessful. Niepce continued to try out various light sensitive materials. He attempted to copy engravings by means of the action of light. To do so, he saturated an engraving with oil to make it more transparent. Then, he placed it on a pewter plate that had been coated with bitumen of Judea, a
The movement of photography first started even before photography was invented, with the physionotrace. The physionotrace mechanized a technique for making profiles that can be traced back to the 1600s. …show more content…
The camera lucida, literally translated to the light room, consisted of a rod to which was affixed a glass prism having two silvered sides that reflected the scene at which it was aimed. A person wishing to draw a scene would attach the camera lucida to a drawing table and adjust the prism so that the image is reflected directly into the eye. Then, looking down the user moves the prism slightly to create the illusion of the scene existing on the drawing paper. The artist could then trace the outlines of the scene directly onto the drawing paper, while looking up occasionally to see the actual scene. The camera lucida was very useful for travelers who wanted to record topographic or architectural views. (pg …show more content…
Lithography, perfected in 1789 by the German actor and writer Alois Senefelder, uses drawings on a flat surface, usually a smooth stone, rather than a metal or wood recessed surface. Lithography appealed to painters, but it also intrigued early nineteenth - century entrepreneurs, who saw it as a means that could surpass other types of illustration. Niepce’s interest then shifted and he began to experiment with ways to produce an image through the action of light upon photosensitive materials. He used paper that was made light sensitive through the application of silver chloride solution. Then, he would expose the photosensitive paper in a camera obscura. At first he experienced the same difficulties both Wedgewood and Davy faced; the image was too indistinct and the action of the light could not be thoroughly stopped. Also, the tones of the image were reversed, thus creating a negative image. Niepce tried to use the negative to create a positive image and to reverse the dark a light portions through chemical means, but both were unsuccessful. Niepce continued to try out various light sensitive materials. He attempted to copy engravings by means of the action of light. To do so, he saturated an engraving with oil to make it more transparent. Then, he placed it on a pewter plate that had been coated with bitumen of Judea, a