All About Photography

Tele-snaps

2013-04-14T21:24:00.001-07:00

Tele-snaps

Tele-snaps (often known as Telesnaps) were off-screen photographs of British television broadcasts, taken and sold commercially by John Cura (born Alberto Giovanni Cura inClapham, South London, England; 9 April 1902 - 21 April 1969). From 1947 until 1968, Cura ran a business selling the 250,000-plus tele-snaps he took. The photographs were snapped in half of a normal frame of 35mm film, at an exposure of 1/25th of a second. Generally around 70-80 tele-snaps were taken of each programme. They were mostly purchased by actors anddirectors to use as records and examples of their work before the advent of videocassette recorders.

For many early programmes tele-snaps are the only surviving record of their appearance. From the 1990s onwards, tele-snaps have often been used by groups of fans to recreate lostDoctor Who episodes, creating "reconstructions" by marrying the images to fan-recorded off-air soundtracks of the episodes.

History

From a young age, Cura had been interested in electronics and photography, developing a reputation among his family as a “Heath Robinson inventor”. In June 1946, the BBC resumed its television service following the hiatus imposed by the Second World War. Cura, recently demobilized from the RAF, combined his twin passions of photography and electronics and began to experiment with developing a camera that could take pictures from a television screen. He eventually came up with a mechanism that took tiny (24 X 18 mm), but very detailed, images at a speed of 1/25th of a second.

Once satisfied with his process, Cura wrote to the BBC on 11 September 1947 enclosing samples of his work and requesting permission to exploit the images commercially. Cura's request caused considerable consternation in the BBC's legal department who were concerned about copyright. Ultimately, the BBC concluded that a television image was not covered by existing copyright law and replied to Cura giving him permission to proceed but to “only photograph the television image of individual artists who have instructed you to do so prior to their television appearance, and that you do not give or sell the photographs to anyone other than the artist in question”. Cura often ignored this restriction, however, frequently sending tele-snaps to artists on spec in the hope of attracting business from them. Many of his clients were BBC programme makers who found his photographs useful records of their work.

In 1951, Cura came once again to the attention of the BBC's lawyers when he requested that he be allowed to photograph entire BBC productions, writing that his service “enables you to have a permanent pictorial record for valuable reference in years to come, of series which have a brief life of an hour or so and are then lost forever”. The BBC had also been contacted by several newspapers at this time, looking for permission to use Cura's tele-snaps – especially after it transpired that Cura had taken the only image of Oxford's boat sinking during that year's Boat Race between Oxford and Cambridge. The BBC made petitions to the Houses of Parliament to have the Copyright Acts overhauled to give them legal certainty regarding the issue. Although a revised Copyright Bill was enacted in 1956, it did little to curtail Cura's activities.

Cura's business was at its peak in the mid-fifties, his business having doubled overnight following the launch of ITV in 1955. A second television set was purchased and a second camera constructed to enable Cura to photograph both channels. Cura also enjoyed success with two best-selling books on improving television reception and correcting picture faults, which were illustrated with his tele-snaps. He also appeared on the BBC's television panel game show What's My Line?. Celebrity clients of the tele-snaps service included Benny Hill and the Beverley Sisters. By 1959, Cura claimed to have taken over 250,000 tele-snaps and that sets of his tele-snaps had been “presented to and graciously accepted by the Royal Family; Their Majesties the King of Denmark; the late King of Norway; Queen Juliana of the Netherlands; Ex-president Auriol of France; Earl Attlee; Sir Winston Churchill; Mr Charles Chaplin; Mrs Eleanor Roosevelt” as well as a wide range of newspapers and periodicals. However, when Cura raised the prices for his service in 1964, the BBC ordered a review of the tele-snap service, which at this stage was costing them £1,300 per annum, and, with many programmes now routinely recorded on film or video, the business began to decline.

John Cura continued to take tele-snaps right up within a few months of his death in 1969 from colon cancer. His widow offered her late husband's collection of tele-snaps to the BBC but was turned down. It is believed that they were subsequently destroyed.^[5] However, many copies of tele-snaps survive on broadcasters' production files and in the private collections of many of the artists and technicians whose work Cura photographed.

Cultural significance

In the early days of television, the means of making recordings of television programmes were limited and programmes were, in the main, transmitted live. This began to change as techniques for recording programmes onto film (telerecording) and, later, videotape were developed in the 1950s. Even after the technology for recording programmes had become the norm, it was a common practice, due to a combination of the costs of storage and restrictions on broadcasting repeats, for UK broadcasters to wipe programmes after transmission. As a result, John Cura's tele-snaps are often the only surviving record of many lost programmes from the early years of television.

Tele-snaps have been used to reconstruct lost television shows by marrying up the tele-snaps with audio recordings of missing shows to create a slide-show backed by the programme's soundtrack. Most notably, this technique has been employed, on an amateur, not-for-profit basis, by some enthusiasts of the Britishscience fiction series Doctor Who, which has over one hundred missing episodes. Some professional reconstructions using tele-snaps have also been created including:

A brief (fifteen minutes) reconstruction of episodes two and three of the Doctor Who serial “The Ice Warriors” for its VHS videotape release in 1998.
A full reconstruction of the final episode of the Doctor Who serial “The Tenth Planet” for its VHS videotape release in 2000.
A condensed (30 minutes) reconstruction of the seven part Doctor Who serial “Marco Polo” for the DVD release, “The Beginning”, in 2006.
A full reconstruction of the Doctor Who serial “The Power of the Daleks” for the MP3 CD release of that story in 2005.
A condensed reconstruction of the missing episodes of the 1961 science fiction serial A for Andromeda for its DVD release in 2006. Since no soundtrack for the missing episodes of this serial exists, this reconstruction is backed by music used in the serial with on-screen captions employed to narrate the story.
Narrated reconstructions of episodes from the first season of The Avengers have been included as extras on the Region 2 DVDs of the series released by Optimum (wikipedia)

Gallery #2

2012-11-30T04:31:00.001-08:00

All photo take by my handphone

Kite aerial photography

2012-03-06T23:28:00.000-08:00

Kite aerial photography

Kite aerial photography (KAP) is a hobby and a type of photography. A camera is lifted using a kite and is triggered either remotely or automatically to take aerial photographs. The camera rigs can range from the extremely simple, consisting of a trigger mechanism with a disposable camera, to complex apparatus using radio control and digital cameras. On some occasions it can be a good alternative to other forms of aerial photography.

Camera rig and stabilisation

Kite aerial photograph of Calton Hill, Edinburgh

The camera can be attached directly to the kite but is usually secured to an adjustable rig suspended from the kite line at a distance from the kite. This distance reduces excessive movement being transmitted from the kite to the camera and allows the kite to be flown into higher, stable air before the camera is attached. If possible, the camera is set to a high shutter speed to reduce motion blur. Cameras using internal image stabilization features can increase the number of sharp photos. In order to take photographs that are oriented correctly with the horizon, a suspension method is used to allow the rig to automatically level itself under the kite line.

Pendulum suspension

Picavet cross

This simple levelling method involves suspending the camera from a rigid length of material below the kite line. Gravity naturally keeps the rig level, irrespective of the angle of the kite line. The pendulum will oscillate due to movement from the kite line and wind pressure, but the camera will remain steadier and more level than without a pendulum.

Picavet suspension

A Picavet suspension, named after its French inventor Pierre Picavet, consists of a rigid cross suspended below the kite line from two points. A single line is threaded several times between the points of the cross and the points of attachment to the kite line and the rig is attached to the cross. The Picavet line runs through eye hooks or small pulleys so that the weight of the rig causes it to settle naturally into a level position. The dimensions and shape of the Picavet have been adapted many times in attempts to increase stability or to improve portability.

Shutter release and camera positioning

The shutter of the camera can be released in several ways, depending on the type of camera and complexity of the rig electronics, if used. Shutter release mechanisms include using a radio controlled servo to press the shutter release button, using an infrared signal or wired connection to instruct the camera to release the shutter, or by using the camera's inbuilt intervalometer. Ideally the camera is allowed to reach its final altitude before the shutter is released to avoid taking photos during launch.

Fixing the camera directly to the kite or line makes changes to positioning awkward. If the camera is fitted within a frame, this 'rig' can be designed to rotate horizontally and vertically and to change the picture format from portrait to landscape by rotating the camera. Adjustments to these angles can be made by manually setting the rig on the ground or by adjusting the rig while it is airborne using a remote control or an automatic controller in the rig. Commonly a radio control system, as used for model aircraft is used. The servos in these systems are readily adaptable to adjust rig positioning. Several automatic controllers have been developed that can take a photo, move the camera by a set angle, take the next photo and so on.

Kites

The most important aspect of any kite used to lift a camera is stability. Generally single lined kites are used as they allow very long line lengths and need less intervention from the flyer than steerable designs. Almost any stable kite design can be used to lift lightweight camera rigs (up to approx 500g/1lb). As weight increases, specific designs are chosen for their additional flying characteristics, such as line pull, wind range, flying angle and ease of launch. Widely used designs are parafoil, rokkaku, delta (including variations such as delta conyne) and the new lighter-than-air helikite design. Of these, the parafoil is most popular as it generates a strong pull for its size, and can be easily stored in a small space due to its sparless construction. Sparred kites such as the rokkaku or delta tend to fly at a higher angle than parafoils, which is of benefit when the space between the launch site and photographic subject is limited. A higher flying angle permits the kite to lift more weight, as more of the generated force is acting vertically. Helikites allow reliable KAP in difficult conditions, thus opening up the use of KAP for professional photography.

HISTORY

The first kite aerial photographs were taken by British meteorologist Douglas Archibald in 1887 and Arthur Batut in Labruguière (France) in 1888.
Manned kite flying and aerial photography was advanced also by French Marcel Maillot, British Robert Baden-Powell, Americans Charles Lamson and William Abner Eddy, Australian Lawrence Hargrave (inventor of box kite in 1893 and kite train in 1884) and French Captain Saconney.
The famous kite image of San Francisco after the 1906 earthquake (right) was taken by an early pioneer in KAP, George Lawrence using a large panoramic camera and stabilizing rig he designed.

KAP today

With the advent of the internet, light and affordable digital cameras, radio control and microelectronics, kite aerial photography has become increasingly popular. In latter years, kits have become available that enable a beginner to quickly assemble a functional KAP rig and start taking aerial pictures in the visible part of the spectrum and, with more experience, in the near ultra-violet, near and thermal infra-red parts of the spectrum too. Practical and commercial use of KAP is limited by the unpredictability of the weather (notably wind, sun and rain) and the fact that not every site is suitable to flying a kite. Launching a kite near buildings or downwind of trees can be problematic, due to heavy turbulence. The main applications today are amateur photography, art and archaeology. Attempts to commercialise KAP have so far been largely unsuccessful.(en.wikipedia.org)

Street Photography

2012-03-05T05:29:00.004-08:00

Street photography is a type of documentary photography that features subjects in candid situations within public places such as streets,parks, beaches, malls, political conventions and other settings.

Street photography uses the techniques of straight photography in that it shows a pure vision of something, like holding up a mirror to society. Street photography often tends to be ironic and can be distanced from its subject matter, and often concentrates on a single human moment, caught at a decisive or poignant moment. On the other hand, much street photography takes the opposite approach and provides a very literal and extremely personal rendering of the subject matter, giving the audience a more visceral experience of walks of life they might only be passingly familiar with. In the 20th century, street photographers have provided an exemplary and detailed record of street culture in Europe and North America, and elsewhere to a somewhat lesser extent.
Many classic works of street photography were created in the period between roughly 1890 and 1975 and coincided with the introduction of portable cameras, especially small 35mm, rangefinder cameras, most famously the Leica, as used by Henri Cartier-Bresson, among others

Technique

Most kinds of portable camera are used for street photography, for example rangefinders, digital and 35mm SLRs, point-and-shoot camerasand smartphones. A commonly used focusing technique is zone focusing — setting a fixed focal distance and shooting from that distance — as an alternative to autofocus, particularly using wide angle lenses with their increased depth of field. Zone focusing facilitates shooting "from the hip" i.e. without bringing the camera up to the eye. Alternatively, waist-level finders allow for composing the shot and/or adjusting focus without bringing attention to the photographer.(http://en.wikipedia.org/wiki/Secret_photography)

Candid photography

2012-03-03T21:39:00.005-08:00

A candid photograph is a photograph that is made either without the subject's knowledge or without their explicit permission, hence they are captured unposed.

Context

Candid photography catches moments of life from immersion in it. Candid photography is opposed to the stalking involved in animal photography, sports photography or photographic journalistic intrusion, which all have a focus on getting distant objects photographed, e.g. by using telephoto lenses. Candid photography's setup includes a photographer who is there with the "subjects" to be photographed, close, and not hidden. People photographed on candid shots either ignore or accept the close presence of the photographer's camera without posing.

The events documented are often private, they involve people in close relation to something they do, or they involve people's relation to each other. Candids are the kinds of pictures taken at children's birthday parties and on Christmas morning, opening the presents; the pictures a wedding photographer takes at the reception, of people dancing, eating, and socialising.

As an art form

Some professional photographers develop candid photography into an art form. Henri Cartier-Bresson might be considered the master of the art of candid photography, capturing the "decisive moment" in everyday life over a span of several decades. Arthur Fellig, better known as Weegee, was one of the great photographers to document life in the streets of New York to often capture life — and death — at their rawest edges.

Almost all successful photographers in the field of candid photography master the art of making people relax and feel at ease around the camera, they master the art of blending in at parties, of finding acceptance despite an obvious intrusive element - the camera. This is certainly true for most celebrity photographers, such as René Burri, or Raeburn Flerlage.

It could be argued that candid photography is the purest form of photojournalism. There is a fine line between photojournalism and candid photography, a line that was blurred by photographers such as Bresson and Weegee. Photojournalism often sets out to tell a story in images, whereas candid photography simply captures people living an event.

Camera equipment

The 35mm Leica camera first introduced in the 1920s is associated with candid photography.

Equipment for candid photography is typically lightweight, small and unobtrusive rather than big and intimidating. Lomo rule photographydescribes using an old Russian point-and shoot-camera for candid photography. The larger the equipment, the more difficult to master the art of making the equipment appear to be unobtrusive to achieve candid photography.

Candid photography typically requires high film speeds or ISOs as strobe flashes can interrupt interactions, causing people to stage their photo appearance rather than behaving naturally. For this reason, candid photography has traditionally taken place outdoors, where the sun provides ample light. Due to higher film speeds (ISO) being required for indoor ambient light photography, candid photography can feature grainy, high contrast images. However, several recent full-frame DSLR cameras have brought high-ISO noise to historically low levels, allowing for clean, saturated images at speeds up to and beyond ISO 6400.

As small point and shoot cameras with affordable lenses are used widely for candid photography, photographs may feature vignetting, distortion and over saturation of colors. Due to short reaction times, exposure or focus may be slightly off. Due to strobe flashes being obstructive to candid photography and incompatible with many compacts, pictures may show blurring or other technical faults. All these are usually accepted as features of candid photography (http://en.wikipedia.org)

Glamour photography

2012-03-03T21:32:00.002-08:00

Glamour photography

For Items, clothing, locations and other things that can improve appearance, see Glamour (presentation).

Glamour photography is a genre of photography whereby the subjects, usually female, are portrayed in a romantic or sexually alluring way. The subjects may be fully clothed or seminude, but glamour photography stops short of deliberately arousing the viewer and being pornographic photography.

Glamour photography is generally a composed image of a subject in a still position. The subjects of glamour photography are often professional models, and the photographs are normally intended for commercial use, including mass-produced calendars, pinups and for men's magazines, such as Playboy; but amateur subjects are also sometimes used, and sometimes the photographs are intended for private and personal use only. Photographers use a combination of cosmetics, lighting and airbrushing techniques to produce an appealing image of the subject.

Early history

While there is some overlap in the time periods, the term glamour photography did not begin to be commonly applied to such photography until the 1960s. Before then, the term erotic photography was more commonly used. Early types of this kind of modeling were often associated with "French postcards", small postcard sized images, that were sold by street vendors in France. In the early 1900s the pinup became popular and depicted scantily dressed women often in a playful pose seemingly surprised or startled by the viewer. The subject would usually have an expression of delight which seemed to invite the viewer to come and play. Betty Grable was one of the most famous pinup models of all time; her pinup in a bathing suit was extremely popular with World War II soldiers.
In December 1953, Marilyn Monroe was featured in the first issue of Playboy magazine. Bettie Page was the Playmate of the Month in January 1955. Playboy was the first magazine featuring nude glamour photography targeted at the mainstream consumer.
The British Queen of Curves in the 1950s and early sixties was Pamela Green. Harrison Marks, on the encouragement of Green, took up glamour photography and together in 1957 they published the pinup magazine Kamera. Currently in England the earliest use of the word "glamour" as a euphemism for nude modeling or photography is attributed to Marks' publicity material in 1950s.
Glamour models popular in the early 1990s included Hope Talmons and Dita Von Teese and the modern era is represented in the U.S. by models like Heidi Van Horne and Bernie Dexter, while the UK's leading representative of the genre is Lucy Pinder.

Magazines and movie stars

Standards of glamour photography have changed over time, reflecting changes in social acceptance. In the early 1920s, United Statesphotographers like Ruth Harriet Louise and George Hurrell photographed celebrities to glamorise their stature by utilizing lighting techniques to develop dramatic effects.During World War II pin-up pictures of scantily clad movie stars were extremely popular among US servicemen. However, until the 1950s, the use of glamour photography in advertising or men’s magazines was highly controversial or even illegal. Magazines featuring glamour photography were sometimes marketed as "art magazines" or "health magazines".

Popular portraiture

Since the 1990s glamour photography has increased in popularity among the public. Glamour portrait studios opened, offering professional hair and makeup artists and professional retouching to allow the general public to have the "model" experience. These sometimes include "boudoir" portraits but are more commonly used by professionals and high school seniors who want to look "their best" for their portraits.

Magazines

Playboy was instrumental in changing the world of glamour photography as the first magazine which focused on nude models and was targeted at the mainstream consumer. In December 1953, Hugh Hefner published the first edition of Playboy with Marilyn Monroe on the cover, and nude photos of Monroe inside. Monroe's star status and charming personality helped to diminish the public outcry. When asked what she had on during the photoshoot, she replied "the radio". After Playboy broke through, many other magazines followed and this was instrumental in opening the market for the introduction of glamour photography into modern society. Today, softcore nude photographs of models appear in publications such as Perfect 10, or tabloid newspapers such as Britain's The Sun'sPage 3.

Recently in order to increase profits by expanding possible sale locations, several popular glamour magazines (known as lad mags) are modifying the trend. They revert to styles of glamour photography of years ago by showing less nudity, in favor of implied (covered) nudity or toplessness, such as the handbra technique, where a woman hides her nipples andareolae by covering both breasts with her own hands, or those of another person.Examples include FHM (For Him Magazine) and Maxim magazines, which launched in 1994 and 1995, respectively.( http://en.wikipedia.org)

Nature Photography

2012-03-03T21:04:00.001-08:00

Nature photography

Nature photography refers to a wide range of photography taken outdoors and devoted to displaying natural elements such as landscapes, wildlife, plants, and close-ups of natural scenes and textures. Nature photography tends to put a stronger emphasis on the aesthetic value of the photo than other photography genres, such as photojournalism and documentary photography.

Nature photographs are published in scientific, travel and cultural magazines such as National Geographic Magazine, National Wildlife Magazine and Audubon Magazine or other more specific magazines such as Outdoor Photographer and Nature's Best Photography. Well known nature photographers include Frans Lanting, Galen Rowell, Eliot Porter and Art Wolfe.]

Wildlife photography

Wildlife photography is devoted to capturing interesting animals in action, such as eating, fighting, or in flight. Although usually shot in the wild, game farms are also a frequent location for wildlife photography.
The techniques of wildlife photography differ greatly from those used in landscape photography. For example, in wildlife photography wide apertures are used to achieve a fast shutter speed, freeze the subject's motion, and blur the backgrounds, while landscape photographers prefer small apertures. Wildlife is also usually shot with long telephoto lenses from a great distance; the use of such telephoto lenses frequently necessitates the use of a tripod (since the longer the lens, the harder it is to handhold). Many wildlife photographers use blinds or camouflage.

Macro / Texture

The macro photography article explains close-up photography in general; however, this is also a type of nature photography. While common macro subjects - bees, dragonflies, and so on - could be described as wildlife, their world also makes for good photography.
Many photographers record images of the texture in a stone, tree bark, leaf, or any of other small scenes. Many of these images are abstract. Tiny plants and mushrooms are also popular subjects. Close-up nature photography doesn't always need a true macro lens; however, the scenes here are small enough that they're generally considered different from regular landscapes.

Ethics

A number of ethical concerns and debates surround the creation of nature photography. Common issues involve the potential of stress or harm to wildlife, the potential of photographers overrunning and destroying natural areas, the use of game farms, and veracity and manipulation in photography.

http://en.wikipedia.org/

about lomographs

2012-03-03T20:46:00.004-08:00

Lomographs

A Lomograph holds a charm all of its own. Somehow, everything is amplified, making ordinary objects stand out, enhancing details that would normally go unnoticed. Characterised by ever-changing variables such as the mysterious vignettes that frame the shot, light leaks, lo-fi grain, beautiful blurs, the magical balance of contrast and saturation … just to name a few.

A combination these factors and a healthy touch of the unexpected go into making each Lomograph unique. Essentially, Lomography embraces the element of surprise that only analogue film photography can bring and wholeheartedly celebrates the outcome.

Experiment with different kinds of films, and try different tips and techniques, such as cross-processing (x-pro) – it works well with Lomographic cameras!

LomoWalls

A LomoWall is created from a flood of authentic, colourful, and awe-inspiring Lomographs. Part-exhibition, part-experience, it's a sum total of thousands of Lomographs taken by Lomographers from all over the globe. So far, we've built LomoWalls in the Photokina in Cologne; Trafalgar Square in London; Beijing; and MoMA in New York.

Ready to share your Lomographs yet? Our website is fully equipped with exciting features for easy sharing and uploading. The Photos archive gives you a daily dose of Lomographic eye-candy; the Lab is where you upload and organize your own shots to show-off in yourLomoHome!

Lomography Products

Practical and sensual, good-looking, friendly, inexpensive, and a tad intellectual (but not too high-brow) – these are just some of the endearing qualities that you'll discover in our Lomographic products, which are distributed worldwide. Their sole purpose? To satiate your desires for Lomographic creative expression!

Our roots go all the way back in Russia, home to superior optics. You'll find that most of our products are still being created there, care of our friends who are certified analogue experts!

Our product collection began with the Lomo LC-A, whose success kept us churning out a supply of stimulating products, including an assortment of offbeat optics that yield totally unique images: the medium-format Diana F+ and Lubitel 166+, the sweet and petiteDiana Mini, fun and spontaneous Instax products and multi-lensed cameras such as the Supersampler andOktomat, and panoramic Horizon cameras. Also included in our line-up is an extensive collection ofFilms, Bags, Publications, Fashion Items andAccessories to adorn you and your Lomographic lifestyle!

View our Catalogue (http://www.lomography.com)

PHOTOGRAPHY

2011-11-04T16:42:00.001-07:00

Photography is the art, science and practice of creating durable images by recording light or other electromagnetic radiation, either electronically by means of an image sensor or chemically by means of a light-sensitive material such as photographic film.Typically, a lens is used to focus the light reflected or emitted from objects into a real image on the light-sensitive surface inside a camera during a timed exposure.
The result in an electronic image sensor is an electrical charge at each pixel, which is electronically processed and stored in a digital image file for subsequent display or processing. The result in a photographic emulsion is an invisible latent image, which is later chemically developed into a visible image, either negative or positive depending on the purpose of the photographic material and the method of processing. A negative image on film is traditionally used to photographically create a positive image on a paper base, known as a print, either by using an enlarger or by contact printing.

Photography has many uses for business, science, manufacturing (e.g. Photolithography), art, and recreational purposes.

A portable folding reflector positioned to "bounce" sunlight onto a model.

As far as can be ascertained, it was Sir John Herschel in a lecture before the Royal Society of London, on March 14, 1839 who made the word "photography" known to the world. But in an article published on February 25 of the same year in a German newspaper called the Vossische Zeitung, Johann von Maedler, a Berlin astronomer, had used the word photography already.The word photography is based on the Greek φῶς (photos) "light" and γραφή (graphé) "representation by means of lines" or "drawing", together meaning "drawing with light"

The camera 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 camera (or 'camera obscura') is a dark room or chamber from which, as far as possible, all light is excluded except the light that forms the image. The subject being photographed, however, must be illuminated. Cameras can range from small to very large, a whole room that is kept dark while the object to be photographed is in another room where it is properly illuminated. This was common for reproduction photography of flat copy when large film negatives were used. A general principle known from the birth of photography is that the smaller the camera, the brighter the image. This meant that as soon as photographic materials became sensitive enough (fast enough) to take candid or what were called genre pictures, small detective cameras were used, some of them disguised as a tie pin that was really a lens, as a piece of luggage or even a pocket watch (the Ticka camera).

The discovery of the 'camera obscura' that provides an image of a scene is very old, dating back to ancient China. Leonardo da Vinci mentions natural camera obscuras that are formed by dark caves on the edge of a sunlit valley. A hole in the cave wall will act as a pinhole camera and project a laterally reversed, upside down image on a piece of paper. So the invention of photography was really concerned with finding a means to fix and retain the image in the camera obscura. This in fact occurred first using the reproduction of images without a camera when Josiah Wedgewood, from the famous family of potters, obtained copies of paintings on leather using silver salts. As he had no way of fixing them, that is to say to stabilize the image by washing out the non exposed silver salts, they turned completely black in the light and had to be kept in a dark room for viewing.

Renaissance painters used the camera obscura which, in fact, gives the optical rendering in color that dominates Western Art. The Camera Obscura literally means "dark chamber" in Latin. It is a box with a hole in it which allows light to go through and create an image onto the piece of paper.

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:

Control Description

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 (normal, long focus, wide angle, telephoto, macro, 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.

[edit]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 do not have a physical shutter, and is typically measured in fractions of a second. It is quite possible to have exposures one of several seconds, usually for still-life subects, and for night scenes exposure times can be several hours.

The effective 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. Longer lenses will pass less light even though the diameter of the aperture is the same due to the greater distance the light has to travel: shorter lenses (a shorter focal length) will be brighter with the same size of aperture.

The smaller the f/number, the larger the effective aperture. The present system of f/numbers to give the effective aperture of a lens was standardized by an international convention. There were earlier, different series of numbers in older cameras.

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.

Image capture can be achieved through various combinations of shutter speed, aperture, and film or sensor speed. Different (but related) settings of aperture and shutter speed enable photographs to be taken under various conditions of film or sensor speed, lighting and motion of subjects and/or camera, and desired depth of field. A slower speed film will exhibit less "grain", and a slower speed setting on an electronic sensor will exhibit less "noise", while higher film and sensor speeds allow for a faster shutter speed, which reduces motion blur or allows the use of a smaller aperture to increase the depth of field. For example, a wider aperture is used for lower light and a lower aperture for more light. If a subject is in motion, then a high shutter speed may be needed. A tripod can also be helpful in that it enables a slower shutter speed to be used.

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.

A photographer using a tripod for greater stability during long exposure.

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

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 of photography

Earliest known surviving heliographic engraving, 1825, printed from a metal plate made by Joseph Nicéphore Niépce with his "heliographic process". The plate was exposed under an ordinary engraving and copied it by photographic means. This was a step towards the first permanent photograph from nature taken with a camera obscura, in 1826.

Photography is the result of combining several technical discoveries. Long before the first photographs were made, Chinese philosopher Mo Di and Greek mathematicians Aristotle and Euclid described a pinhole camera in the 5th and 4th centuries BC.In the 6th century AD, Byzantine mathematician Anthemius of Tralles used a type of camera obscura in his experiments,Ibn al-Haytham (Alhazen) (965–1040) studied the camera obscura and pinhole camera,Albertus Magnus (1193–1280) discovered silver nitrate,and Georges Fabricius (1516–71) discovered silver chloride.Daniele Barbaro described a diaphragm in 1568.Wilhelm Homberg described how light darkened some chemicals (photochemical effect) in 1694.The fiction book Giphantie, published in 1760, by French author Tiphaigne de la Roche, described what can be interpreted as photography.

Invented in the first decades of the 19th century, photography (by way of the camera) seemed able to capture more detail and information than traditional mediums, such as painting and sculpting.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 by the French inventor Nicéphore Niépce, but it was destroyed by a later attempt to duplicate it.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 1816 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 1838 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.

A latticed window in Lacock Abbey, England, photographed by William Fox Talbot in 1835. Shown here in positive form, this is the oldest known extant photographic negative made in a camera.

Meanwhile, Hercules Florence had already created a very similar process in 1832, naming it Photographie, and English inventor 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.Talbot's famous 1835 print of the Oriel window in Lacock Abbey is the oldest known negative in existence 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.

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).

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 1860s 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 19th 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.

Early color photograph taken by Prokudin-Gorskii (1915).

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, often because of the established archival permanence of well processed silver halide based materials.

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 photography

Color photography was explored beginning in the mid-19th century. Early experiments in color required extremely long exposures (hours or days for camera images) and could not "fix" the photograph to prevent the color from quickly fading when exposed to white light.

The first permanent color photograph was taken in 1861 using the three-color-separation principle first published by physicist James Clerk Maxwell in 1855. Maxwell's idea was to take three separate black-and-white photographs through red, green and blue filters. This provides the photographer with the three basic channels required to recreate a color image. Transparent prints of the images could be projected through similar color filters and superimposed on the projection screen, an additive method of color reproduction. A color print on paper could be produced by superimposing carbon prints of the three images made in their complementary colors, a subtractive method of color reproduction pioneered by Louis Ducos du Hauron in the late 1860s. Russian photographer Sergei Mikhailovich Prokudin-Gorskii made extensive use of this color separation technique, employing a special camera which successively exposed the three color-filtered images on different parts of an oblong plate. Because his exposures were not simultaneous, unsteady subjects exhibited color "fringes" or, if rapidly moving through the scene, appeared as brightly colored ghosts in the resulting projected or printed images.

The development of color photography was held back by the limited sensitivity of early photographic materials, which were mostly sensitive to blue, only slightly sensitive to green and virtually insensitive to red. The discovery of dye sensitization by photochemist Hermann Vogel in 1873 suddenly made it possible to add sensitivity to green, yellow and even red. Improved color sensitizers and ongoing improvements in the overall sensitivity of emulsions steadily reduced the once-prohibitive long exposure times required for color, bringing it ever closer to commercial viability.

Autochrome, the first commercially successful color process, was introduced by the Lumière brothers in 1907. Autochrome plates incorporated a mosaic color filter layer made of dyed grains of potato starch, which allowed the three color components to be recorded as adjacent microscopic image fragments. After an Autochrome plate was reversal processed to produce a positive transparency, the starch grains served to illuminate each fragment with the correct color and the tiny colored points blended together in the eye, synthesizing the color of the subject by the additive method. Autochrome plates were one of several varieties of additive color screen plates and films marketed between the 1890s and the 1950s.

Kodachrome, the first modern "integral tripack" (or "monopack") color film, was introduced by Kodak in 1935. It captured the three color components in a multilayer emulsion. One layer was sensitized to record the red-dominated part of the spectrum, another layer recorded only the green part and a third recorded only the blue. Without special film processing, the result would simply be three superimposed black-and-white images, but complementary cyan, magenta, and yellow dye images were created in those layers by adding color couplers during a complex processing procedure. Agfa's similarly structured Agfacolor Neu was introduced in 1936. Unlike Kodachrome, the color couplers in Agfacolor Neu were incorporated into the emulsion layers during manufacture, which greatly simplified the processing. Currently available color films still employ a multilayer emulsion and the same principles, most closely resembling Agfa's product.

Instant color film, used in a special camera which yielded a unique finished color print only a minute or two after the exposure, was introduced by Polaroid in 1963.

Color photography may form images as positive transparencies, which can be used 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.

[edit]Full-spectrum, ultraviolet and infrared

Main article: Full spectrum photography

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.[20] 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.

Manual shutter control and exposure settings can achieve unusual results.

Main article: Digital photography

See also: Digital versus film 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 1991, Kodak unveiled the DCS 100, the first commercially available digital single lens reflex 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 photo 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 imaging has raised 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 "photomontages," passing them as "real" photographs. Today's technology has made photo editing relatively simple for even the novice photographer. However, recent changes of in-camera processing allows digital fingerprinting of photos to detect tampering for purposes of forensic photography.

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.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.

According to a survey made by Kodak in 2007 when the majority of photography was already digital, 75 percent of professional photographers say they will continue to use film, even though some embrace digital.

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)

An amateur photographer is one who practices photography as a hobby and not for profit. The quality of some amateur work is comparable to that of many professionals and may be highly specialized 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 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 usually incorporates models. Photographers here are paid more because of the demand for good photographers to shoot the item being sold and incorporate the models beauty in the image. Fashion photography like the work featured in Harper's Bazaar emphasizes clothes and other products; glamour emphasizes the model and body form. Glamour photography is popular in advertising and men's magazines which means these pictures are more revealing than editorial fashion photography. Models in glamour photography sometimes work nude.

Crime scene 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 illustrates a story or idea within the context of a magazine. These are usually assigned by the magazine.

Photojournalism 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 depicts locations.

Wildlife photography demonstrates the life of animals.

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.

Classic Alfred Stieglitz photograph, The Steerage shows unique aesthetic of black-and-white photos.

During the 20th 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.

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.

Wootton bridge collapse in 1861

5×7 in. unretouched photograph of the Wright brothers' first flight, 1903.

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. The methods used in analysing photographs for use in legal cases are collectively known as forensic photography.

By 1853, Charles Brooke had 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.

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.

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. Sontag argues, "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."Photographers decide what to take a photo of, what elements to exclude and what angle to frame the photo, and these factors may reflect a particular socio-historical context. Along these lines it can be argued that photography is a subjective form of representation.

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 promoting voyeurism. 'Although the camera is an observation station, the act of photographing is more than passive observing'.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."

Photography is one of the new media forms that changes perception and changes the structure of society. 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.

One of the practices through which photography constitutes society is tourism. Tourism and photography combine to create a "tourist gaze" in which local inhabitants are positioned and defined by the camera lens. However, it has also been argued that there exists a "reverse gaze"through which indigenous photographees can position the tourist photographer as a shallow consumer of images.

Additionally, photography has been the topic of many songs in popular culture.

Main article: Photography and the law

Photography is both restricted and protected by the law in many jurisdictions. Protection of photographs is typically achieved through the granting of copyright or moral rights to the photographer. In the UK a recent law (Counter-Terrorism Act 2008) increases the power of the police to prevent people, even press photographers, from taking pictures in public places. sumber:www.wikipedia.com

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