Menu
Home
People
Places
Arts
History
Plants & Animals
Science
Life & Culture
Technology
Reference.org
Photography
open-in-new
<h2 id="etymology">Etymology</h2> <p>The word "photography" was created from the Greek roots φωτός (<i><i>phōtós</i></i>), genitive of φῶς (<i><i>phōs</i></i>), "light"<a class="footnote-ref" id="fnref:2" href="#fn:2"><sup>2</sup></a> and γραφή (<i><i>graphé</i></i>) "representation by means of lines" or "drawing",<a class="footnote-ref" id="fnref:3" href="#fn:3"><sup>3</sup></a> together meaning "drawing with light".<a class="footnote-ref" id="fnref:4" href="#fn:4"><sup>4</sup></a> </p><p>Several people may have coined the same new term from these roots independently. <a href="/facts/Hercules_Florence/pS2vyrYg">Hércules Florence</a>, a French painter and inventor living in Campinas, <a href="/facts/Brazil/QHkG46GL">Brazil</a>, used the French form of the word, <i><i>photographie</i></i>, in private notes which a Brazilian historian believes were written in 1834.<a class="footnote-ref" id="fnref:5" href="#fn:5"><sup>5</sup></a> This claim is widely reported but is not yet largely recognized internationally. The first use of the word by Florence became widely known after the research of Boris Kossoy in 1980.<a class="footnote-ref" id="fnref:6" href="#fn:6"><sup>6</sup></a> </p><p>On 25 February 1839, the German newspaper <i><i><a href="/facts/Vossische_Zeitung/keFalw3U">Vossische Zeitung</a></i></i> published an article titled <i><i>Photographie</i></i>, discussing several priority claims, especially that of <a href="/facts/Henry_Fox_Talbot/B1MoKnd3">Henry Fox Talbot</a>'s, in relation to Daguerre's claim of invention.<a class="footnote-ref" id="fnref:7" href="#fn:7"><sup>7</sup></a> The article is the earliest known occurrence of the word in public print.<a class="footnote-ref" id="fnref:8" href="#fn:8"><sup>8</sup></a> It was signed "J.M.", believed to have been Berlin astronomer <a href="/facts/Johann_von_Maedler/Ma2z9Ub1">Johann von Maedler</a>.<a class="footnote-ref" id="fnref:9" href="#fn:9"><sup>9</sup></a> The astronomer <a href="/facts/John_Herschel/Hcg9pFEp">John Herschel</a> is also credited with coining the word, independent of Talbot, in 1839.<a class="footnote-ref" id="fnref:10" href="#fn:10"><sup>10</sup></a> </p><p>The inventors <a href="/facts/Nic%25C3%25A9phore_Ni%25C3%25A9pce/J5oBtaUb">Nicéphore Niépce</a>, Talbot, and <a href="/facts/Louis_Daguerre/xlnHu14v">Louis Daguerre</a> seem not to have known or used the word "photography", but referred to their processes as "Heliography" (Niépce), "Photogenic Drawing"/"Talbotype"/"Calotype" (Talbot), and "Daguerreotype" (Daguerre).<a class="footnote-ref" id="fnref:11" href="#fn:11"><sup>11</sup></a> </p> <h2 id="history">History</h2> <p class="note">Main articles: <a href="/facts/History_of_photography/kLK6xFCG">History of photography</a> and <a href="/facts/Timeline_of_photography_technology/5XL72s5F">Timeline of photography technology</a></p> <p class="note">See also: <a href="/facts/History_of_the_camera/HjXuqtqa">History of the camera</a></p> <h3>Precursor technologies</h3> <p>Photography is the result of combining several technical discoveries relating to seeing an image and capturing the image. The discovery of the <a href="/facts/Camera_obscura/0xEbeJKd">camera obscura</a> ("dark chamber" in <a href="/facts/Latin/pM3Kge85">Latin</a>) that provides an image of a scene dates back to <a href="/facts/History_of_Science_and_Technology_in_China/JlA3afbj">ancient China</a>. Greek mathematicians <a href="/facts/Aristotle/U2bDlBFW">Aristotle</a> and <a href="/facts/Euclid/dHpVyL4R">Euclid</a> independently described a camera obscura in the 5th and 4th centuries BCE.<a class="footnote-ref" id="fnref:12" href="#fn:12"><sup>12</sup></a><a class="footnote-ref" id="fnref:13" href="#fn:13"><sup>13</sup></a> In the 6th century CE, Byzantine mathematician <a href="/facts/Anthemius_of_Tralles/endJxsDu">Anthemius of Tralles</a> used a type of camera obscura in his experiments.<a class="footnote-ref" id="fnref:14" href="#fn:14"><sup>14</sup></a> </p><p>The <a href="/facts/Physics_in_the_medieval_Islamic_world/VbUCtwNK">Arab physicist</a> <a href="/facts/Ibn_al-Haytham/Q5H9hm4J">Ibn al-Haytham</a> (Alhazen) (965–1040) also invented a camera obscura as well as the first true <a href="/facts/Pinhole_camera/8JmYNdeL">pinhole camera</a>.<a class="footnote-ref" id="fnref:15" href="#fn:15"><sup>15</sup></a><a class="footnote-ref" id="fnref:16" href="#fn:16"><sup>16</sup></a><a class="footnote-ref" id="fnref:17" href="#fn:17"><sup>17</sup></a> The invention of the camera has been traced back to the work of Ibn al-Haytham.<a class="footnote-ref" id="fnref:18" href="#fn:18"><sup>18</sup></a> While the effects of a single light passing through a pinhole had been described earlier,<a class="footnote-ref" id="fnref:19" href="#fn:19"><sup>19</sup></a> Ibn al-Haytham gave the first correct analysis of the camera obscura,<a class="footnote-ref" id="fnref:20" href="#fn:20"><sup>20</sup></a> including the first geometrical and quantitative descriptions of the phenomenon,<a class="footnote-ref" id="fnref:21" href="#fn:21"><sup>21</sup></a> and was the first to use a screen in a dark room so that an image from one side of a hole in the surface could be projected onto a screen on the other side.<a class="footnote-ref" id="fnref:22" href="#fn:22"><sup>22</sup></a> He also first understood the relationship between the <a href="/facts/Focus_(optics)/QuRKfhg6">focal point</a> and the pinhole,<a class="footnote-ref" id="fnref:23" href="#fn:23"><sup>23</sup></a> and performed early experiments with <a href="/facts/Afterimage/C93egAYk">afterimages</a>, laying the foundations for the invention of photography in the 19th century.<a class="footnote-ref" id="fnref:24" href="#fn:24"><sup>24</sup></a> </p><p><a href="/facts/Leonardo_da_Vinci/E83tcPl2">Leonardo da Vinci</a> mentions natural camerae obscurae 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. <a href="/facts/Renaissance/4D9Bc6KU">Renaissance</a> painters used the camera obscura which, in fact, gives the optical rendering in color that dominates Western Art. It is a box with a small hole in one side, which allows specific light rays to enter, projecting an inverted image onto a viewing screen or paper. </p><p>The birth of photography was then concerned with inventing means to capture and keep the image produced by the camera obscura. <a href="/facts/Albertus_Magnus/12FJVrX9">Albertus Magnus</a> (1193–1280) discovered <a href="/facts/Silver_nitrate/U5w4A3DN">silver nitrate</a>,<a class="footnote-ref" id="fnref:25" href="#fn:25"><sup>25</sup></a> and <a href="/facts/Georg_Fabricius/VzgqyAEG">Georg Fabricius</a> (1516–1571) discovered <a href="/facts/Silver_chloride/qSbcrlqq">silver chloride</a>,<a class="footnote-ref" id="fnref:26" href="#fn:26"><sup>26</sup></a> and the techniques described in <a href="/facts/Ibn_al-Haytham/Q5H9hm4J">Ibn al-Haytham</a>'s <a href="/facts/Book_of_Optics/SmYrlPcg">Book of Optics</a> are capable of producing primitive photographs using medieval materials. </p><p><a href="/facts/Daniele_Barbaro/B2vhqyIG">Daniele Barbaro</a> described a <a href="/facts/Diaphragm_(optics)/bwnWCojS">diaphragm</a> in 1566.<a class="footnote-ref" id="fnref:27" href="#fn:27"><sup>27</sup></a> <a href="/facts/Wilhelm_Homberg/zyFNlCPL">Wilhelm Homberg</a> described how light darkened some chemicals (photochemical effect) in 1694.<a class="footnote-ref" id="fnref:28" href="#fn:28"><sup>28</sup></a> Around 1717, <a href="/facts/Johann_Heinrich_Schulze/dVoT36w6">Johann Heinrich Schulze</a> used a light-sensitive slurry to capture images of cut-out letters on a bottle and on that basis many German sources and some international ones credit Schulze as the inventor of photography.<a class="footnote-ref" id="fnref:29" href="#fn:29"><sup>29</sup></a><a class="footnote-ref" id="fnref:30" href="#fn:30"><sup>30</sup></a> The fiction book <i><a href="/facts/Giphantie/w4T6vXjJ">Giphantie</a></i>, published in 1760, by French author <a href="/facts/Tiphaigne_de_la_Roche/dw0uDFuG">Tiphaigne de la Roche</a>, described what can be interpreted as photography.<a class="footnote-ref" id="fnref:31" href="#fn:31"><sup>31</sup></a> </p><p>In June 1802, <a href="/facts/United_Kingdom_of_Great_Britain_and_Ireland/yw0GUkge">British</a> inventor <a href="/facts/Thomas_Wedgwood_(photographer)/kwLhn6vL">Thomas Wedgwood</a> made the first known attempt to capture the image in a camera obscura by means of a light-sensitive substance.<a class="footnote-ref" id="fnref:32" href="#fn:32"><sup>32</sup></a> He used paper or white leather treated with <a href="/facts/Silver_nitrate/U5w4A3DN">silver nitrate</a>. Although he succeeded in capturing the shadows of objects placed on the surface in direct sunlight, and even made shadow copies of paintings on glass, it was reported in 1802 that "the images formed by means of a camera obscura have been found too faint to produce, in any moderate time, an effect upon the nitrate of silver." The shadow images eventually darkened all over.<a class="footnote-ref" id="fnref:33" href="#fn:33"><sup>33</sup></a> </p> <h3>Invention</h3> <p>The first permanent <a href="/facts/Photoetching/snXCBjWM">photoetching</a> was an image produced in 1822 by the French inventor <a href="/facts/Nic%25C3%25A9phore_Ni%25C3%25A9pce/J5oBtaUb">Nicéphore Niépce</a>, but it was destroyed in a later attempt to make prints from it.<a class="footnote-ref" id="fnref:34" href="#fn:34"><sup>34</sup></a> Niépce was successful again in 1825. In 1826 he made the <i><a href="/facts/View_from_the_Window_at_Le_Gras/FB7GfFPA">View from the Window at Le Gras</a></i>, the earliest surviving photograph from nature (i.e., of the image of a real-world scene, as formed in a <a href="/facts/Camera_obscura/0xEbeJKd">camera obscura</a> by a <a href="/facts/Lens_(optics)/ejlH6n5c">lens</a>).<a class="footnote-ref" id="fnref:35" href="#fn:35"><sup>35</sup></a> </p> <p>Because Niépce's camera photographs required an extremely long <a href="/facts/Exposure_(photography)/Rzr0aGMd">exposure</a> (at least eight hours and probably several days), he sought to greatly improve his <a href="/facts/Bitumen_of_Judea/KpspwtaB">bitumen</a> process or replace it with one that was more practical. In partnership with <a href="/facts/Louis_Daguerre/xlnHu14v">Louis Daguerre</a>, he worked out post-exposure processing methods that produced visually superior results and replaced the bitumen with a more light-sensitive resin, but hours of exposure in the camera were still required. With an eye to eventual commercial exploitation, the partners opted for total secrecy. </p><p>Niépce died in 1833 and Daguerre then redirected the experiments toward the light-sensitive <a href="/facts/Silver_halide/uM8V4wJc">silver halides</a>, which Niépce had abandoned many years earlier because of his inability to make the images he captured with them light-fast and permanent. Daguerre's efforts culminated in what would later be named the <a href="/facts/Daguerreotype/22CYYBJq">daguerreotype</a> process. The essential elements—a silver-plated surface sensitized by <a href="/facts/Iodine/JlfMecMf">iodine</a> vapor, developed by <a href="/facts/Mercury_(element)/WlxfoHva">mercury</a> vapor, and "fixed" with hot saturated <a href="/facts/Sodium_chloride/MWcXl3Mb">salt</a> water—were in place in 1837. The required exposure time was measured in minutes instead of hours. Daguerre took the earliest confirmed photograph of a person in 1838 while capturing a view of a Paris street: unlike the other pedestrian and horse-drawn traffic on the busy boulevard, which appears deserted, one man having his boots polished stood sufficiently still throughout the several-minutes-long exposure to be visible. The existence of Daguerre's process was publicly announced, without details, on 7 January 1839. The news created an international sensation. France soon agreed to pay Daguerre a pension in exchange for the right to present his invention to the world as the gift of France, which occurred when complete working instructions were unveiled on 19 August 1839. In that same year, American photographer <a href="/facts/Robert_Cornelius/GgX3bKt9">Robert Cornelius</a> is credited with taking the earliest surviving photographic self-portrait. </p> <p>In Brazil, <a href="/facts/Hercules_Florence/pS2vyrYg">Hercules Florence</a> had started working out a silver-salt-based paper process in 1832, later naming it <i>photographia</i>, at least four years before <a href="/facts/John_Herschel/Hcg9pFEp">John Herschel</a> coined the English word <i>photography</i>. In 1834, having settled on <a href="/facts/Silver_nitrate/U5w4A3DN">silver nitrate</a> on paper, a combination which had been the subject of experiments by <a href="/facts/Thomas_Wedgwood_(photographer)/kwLhn6vL">Thomas Wedgwood</a> around the year 1800, Florence's notebooks indicate that he eventually succeeded in creating light-fast, durable images.<a class="footnote-ref" id="fnref:36" href="#fn:36"><sup>36</sup></a> Partly because he never published his invention adequately, partly because he was an obscure inventor living in a remote and undeveloped province, Hércules Florence died, in Brazil, unrecognized internationally as one of the inventors of photography during his lifetime.<a class="footnote-ref" id="fnref:37" href="#fn:37"><sup>37</sup></a><a class="footnote-ref" id="fnref:38" href="#fn:38"><sup>38</sup></a><a class="footnote-ref" id="fnref:39" href="#fn:39"><sup>39</sup></a> </p><p>Meanwhile, a <a href="/facts/United_Kingdom_of_Great_Britain_and_Ireland/yw0GUkge">British</a> inventor, <a href="/facts/William_Fox_Talbot/B1MoKnd3">William Fox Talbot</a>, had succeeded in making crude but reasonably light-fast silver images on paper as early as 1834<a class="footnote-ref" id="fnref:40" href="#fn:40"><sup>40</sup></a> but had kept his work secret. After reading about Daguerre's invention in January 1839, Talbot published his hitherto secret method in a paper to the Royal Society<a class="footnote-ref" id="fnref:41" href="#fn:41"><sup>41</sup></a> and set about improving on it. At first, like other pre-daguerreotype processes, Talbot's paper-based photography typically required hours-long <a href="/facts/Exposure_(photography)/Rzr0aGMd">exposures</a> in the camera, but in 1840 he created the <a href="/facts/Calotype/LcnTTp5K">calotype</a> process, which used the <a href="/facts/Photographic_processing/6VTxcPMA">chemical development</a> of a <a href="/facts/Latent_image/yThkWWp3">latent image</a> to greatly reduce the exposure needed and compete with the daguerreotype. In both its original and calotype forms, Talbot's process, unlike Daguerre's, created a translucent <a href="/facts/Negative_(photography)/57wf7X3f">negative</a> which could be used to print multiple positive copies; this is the basis of most modern chemical photography up to the present day, as daguerreotypes could only be replicated by rephotographing them with a camera.<a class="footnote-ref" id="fnref:42" href="#fn:42"><sup>42</sup></a> Talbot's famous tiny paper negative of the Oriel window in <a href="/facts/Lacock_Abbey/qvuVoaoe">Lacock Abbey</a>, one of a number of camera photographs he made in the summer of 1835, may be the oldest camera negative in existence.<a class="footnote-ref" id="fnref:43" href="#fn:43"><sup>43</sup></a><a class="footnote-ref" id="fnref:44" href="#fn:44"><sup>44</sup></a> </p><p>In March 1837,<a class="footnote-ref" id="fnref:45" href="#fn:45"><sup>45</sup></a> Steinheil, along with <a href="/facts/Wolfgang_Franz_von_Kobell/mb0vqHN6">Franz von Kobell</a>, used <a href="/facts/Silver_chloride/qSbcrlqq">silver chloride</a> and a cardboard camera to make pictures in <a href="/facts/Negative_(photography)/57wf7X3f">negative</a> of the <a href="/facts/Munich_Frauenkirche/JTssoPW8">Frauenkirche</a> and other buildings in Munich, then taking another picture of the negative to get a <a href="/facts/Positive_(photography)/D16X6aAI">positive</a>, the actual black and white reproduction of a view on the object. The pictures produced were round with a diameter of 4 cm, the method was later named the "Steinheil method". </p><p>In France, <a href="/facts/Hippolyte_Bayard/Vwaf7TEX">Hippolyte Bayard</a> invented his own process for producing direct positive paper prints and claimed to have invented photography earlier than Daguerre or Talbot.<a class="footnote-ref" id="fnref:46" href="#fn:46"><sup>46</sup></a> </p><p>British chemist <a href="/facts/John_Herschel/Hcg9pFEp">John Herschel</a> made many contributions to the new field. He invented the <a href="/facts/Cyanotype/M7b2HhFM">cyanotype</a> process, later familiar as the "blueprint". He was the first to use the terms "photography", "negative" and "positive". He had discovered in 1819 that <a href="/facts/Sodium_thiosulphate/qAMvfeuv">sodium thiosulphate</a> was a solvent of silver halides, and in 1839 he informed Talbot (and, indirectly, Daguerre) that it could be used to "fix" silver-halide-based photographs and make them completely light-fast. He made the first <a href="/facts/Glass_negative/LbTmHKJb">glass negative</a> in late 1839. </p> <p>In the March 1851 issue of <i>The Chemist</i>, <a href="/facts/Frederick_Scott_Archer/RQqpoecD">Frederick Scott Archer</a> published his wet plate <a href="/facts/Collodion_process/7nexn45a">collodion process</a>. It became the most widely used photographic medium until the gelatin dry plate, introduced in the 1870s, eventually replaced it. There are three subsets to the collodion process; the <a href="/facts/Ambrotype/9qnnRt11">Ambrotype</a> (a positive image on glass), the <a href="/facts/Ferrotype/jFuULJNK">Ferrotype</a> or Tintype (a positive image on metal) and the glass negative, which was used to make positive prints on <a href="/facts/Albumen/yABu7h1r">albumen</a> or salted paper. </p><p>Many advances in <a href="/facts/Photographic_plate/LbTmHKJb">photographic glass plates</a> and printing were made during the rest of the 19th century. In 1891, <a href="/facts/Gabriel_Lippmann/PQbftI3c">Gabriel Lippmann</a> introduced a process for making natural-color photographs based on the optical phenomenon of the <a href="/facts/Interference_(wave_propagation)/lI5f78I4">interference</a> of light waves. His scientifically elegant and important but ultimately impractical invention earned him the Nobel Prize in Physics in 1908. </p><p>Glass plates were the medium for most original camera photography from the late 1850s until the general introduction of flexible plastic films during the 1890s. Although the convenience of the film greatly popularized amateur photography, early films were somewhat more expensive and of markedly lower optical quality than their glass plate equivalents, and until the late 1910s they were not available in the large formats preferred by most professional photographers, so the new medium did not immediately or completely replace the old. Because of the superior dimensional stability of glass, the use of plates for some scientific applications, such as <a href="/facts/Astrophotography/NeWNUJEn">astrophotography</a>, continued into the 1990s, and in the niche field of laser <a href="/facts/Holography/4J1gW0M6">holography</a>, it has persisted into the 21st century. </p> <h3>Film</h3> <p class="note">Main article: <a href="/facts/Photographic_film/37aFq6ls">Photographic film</a></p> <p><a href="/facts/Hurter_and_Driffield/TyboooL8">Hurter and Driffield</a> began pioneering work on the <a href="/facts/Sensitometry/mDWEXXSy">light sensitivity</a> of photographic emulsions in 1876. Their work enabled the first quantitative measure of film speed to be devised. </p><p>The first flexible photographic roll film was marketed by <a href="/facts/George_Eastman/8FxpnoKV">George Eastman</a>, founder of <a href="/facts/Kodak/zMnK74Cp">Kodak</a> in 1885, but this original "film" was actually a coating on a paper base. As part of the processing, the image-bearing layer was stripped from the paper and transferred to a hardened gelatin support. The first transparent plastic roll film followed in 1889. It was made from highly flammable <a href="/facts/Nitrocellulose/5NoD5eTm">nitrocellulose</a> known as nitrate film. </p><p>Although <a href="/facts/Cellulose_acetate/sBnBCBb1">cellulose acetate</a> or "<a href="/facts/Safety_film/KyJYQKFL">safety film</a>" had been introduced by Kodak in 1908,<a class="footnote-ref" id="fnref:47" href="#fn:47"><sup>47</sup></a> at first it found only a few special applications as an alternative to the hazardous nitrate film, which had the advantages of being considerably tougher, slightly more transparent, and cheaper. The changeover was not completed for <a href="/facts/X-ray/wseP79cN">X-ray</a> films until 1933, and although safety film was always used for 16 mm and 8 mm home movies, nitrate film remained standard for theatrical 35 mm motion pictures until it was finally discontinued in 1951. </p><p>Films remained the dominant form of photography until the early 21st century when advances in digital photography drew consumers to digital formats.<a class="footnote-ref" id="fnref:48" href="#fn:48"><sup>48</sup></a> Although modern photography is dominated by digital users, film continues to be used by enthusiasts and professional photographers. The distinctive "look" of film based photographs compared to digital images is likely due to a combination of factors, including (1) differences in spectral and tonal sensitivity (S-shaped density-to-exposure (H&D curve) with film vs. linear response curve for digital CCD sensors),<a class="footnote-ref" id="fnref:49" href="#fn:49"><sup>49</sup></a> (2) resolution, and (3) continuity of tone.<a class="footnote-ref" id="fnref:50" href="#fn:50"><sup>50</sup></a> </p> <h3>Black-and-white</h3> <p class="note">Main article: <a href="/facts/Monochrome_photography/xuEUuQNC">Monochrome photography</a></p> <p class="note">See also: <a href="/facts/Black-and-White/CXPjISFh">Black-and-White</a></p> <p class="note">See also: <a href="/facts/Black_and_White_Photography/xuEUuQNC">Black and White Photography</a></p> <p>Originally, all photography was <a href="/facts/Monochrome_photography/xuEUuQNC">monochrome</a>, or <i><a href="/facts/Black-and-white/CXPjISFh">black-and-white</a></i>. Even after color film was readily available, black-and-white photography continued to dominate for decades, due to its lower cost, chemical stability, and its "classic" photographic look. The tones and contrast between light and dark areas define black-and-white photography.<a class="footnote-ref" id="fnref:51" href="#fn:51"><sup>51</sup></a> Monochromatic pictures are not necessarily composed of pure blacks, whites, and intermediate shades of gray but can involve shades of one particular <a href="/facts/Hue/9qufc1ap">hue</a> depending on the process. The <a href="/facts/Cyanotype/M7b2HhFM">cyanotype</a> process, for example, produces an image composed of blue tones. The <a href="/facts/Albumen_print/sXMzVQMK">albumen print</a> process, publicly revealed in 1847, produces brownish tones. </p><p>Many <a href="/facts/Photographers/rmSPgLfE">photographers</a> continue to produce some monochrome images, sometimes 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-white results, and some manufacturers produce digital cameras that exclusively shoot monochrome. Monochrome printing or electronic display can be used to salvage certain photographs taken in color which are unsatisfactory in their original form; sometimes when presented as black-and-white or single-color-toned images they are found to be more effective. Although color photography has long predominated, monochrome images are still produced, mostly for artistic reasons. Almost all <a href="/facts/Digital_cameras/LSGTserm">digital cameras</a> have an option to shoot in monochrome, and almost all image editing software can combine or selectively discard <a href="/facts/RGB_color_model/3Be0zwCj">RGB</a> color channels to produce a monochrome image from one shot in color. </p> <h3>Color</h3> <p class="note">Main article: <a href="/facts/Color_photography/dqwVRGcn">Color photography</a></p> <p><a href="/facts/Color_photography/dqwVRGcn">Color photography</a> was explored beginning in the 1840s. 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. </p><p>The first permanent color photograph was taken in 1861 using the three-color-separation principle first published by Scottish physicist <a href="/facts/James_Clerk_Maxwell/jtYyze61">James Clerk Maxwell</a> in 1855.<a class="footnote-ref" id="fnref:52" href="#fn:52"><sup>52</sup></a><a class="footnote-ref" id="fnref:53" href="#fn:53"><sup>53</sup></a> The foundation of virtually all practical color processes, Maxwell's idea was to take three separate black-and-white photographs through red, green and blue <a href="/facts/Filter_(photography)/H1EXnTbX">filters</a>.<a class="footnote-ref" id="fnref:54" href="#fn:54"><sup>54</sup></a><a class="footnote-ref" id="fnref:55" href="#fn:55"><sup>55</sup></a> 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 <a href="/facts/Additive_color/RXEDm1hb">additive method</a> of color reproduction. A color print on paper could be produced by superimposing <a href="/facts/Carbon_print/QXR6LvCc">carbon prints</a> of the three images made in their <a href="/facts/Complementary_color/XDAx27pR">complementary colors</a>, a <a href="/facts/Subtractive_color/lY5JqRgT">subtractive method</a> of color reproduction pioneered by <a href="/facts/Louis_Ducos_du_Hauron/W7MMEu9r">Louis Ducos du Hauron</a> in the late 1860s. </p> <p>Russian photographer <a href="/facts/Sergei_Mikhailovich_Prokudin-Gorskii/tSKx6ram">Sergei Mikhailovich Prokudin-Gorskii</a> 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 <a href="/facts/Photographic_plate/LbTmHKJb">plate</a>. 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. </p><p>Implementation of color photography was hindered 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 <a href="/facts/Hermann_W._Vogel/BAnI8R3T">Hermann Vogel</a> 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 <a href="/facts/Photographic_emulsion/qhu1MQ4F">emulsions</a> steadily reduced the once-prohibitive long exposure times required for color, bringing it ever closer to commercial viability. </p><p><a href="/facts/Autochrome/FWd6NGFU">Autochrome</a>, the first commercially successful color process, was introduced by the <a href="/facts/Auguste_and_Louis_Lumi%25C3%25A8re/fYfN5pEa">Lumière brothers</a> in 1907. Autochrome <a href="/facts/Photographic_plate/LbTmHKJb">plates</a> incorporated a <a href="/facts/Mosaic/6QQYFQUe">mosaic</a> color filter layer made of dyed grains of <a href="/facts/Potato_starch/23XN77x3">potato starch</a>, which allowed the three color components to be recorded as adjacent microscopic image fragments. After an Autochrome plate was <a href="/facts/Reversal_film/7gcu9F4b">reversal processed</a> to produce a positive <a href="/facts/Reversal_film/7gcu9F4b">transparency</a>, 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 <a href="/facts/Additive_color/RXEDm1hb">additive method</a>. Autochrome plates were one of several varieties of additive color screen plates and films marketed between the 1890s and the 1950s. </p><p><a href="/facts/Kodachrome/DTw4Xjow">Kodachrome</a>, the first modern "integral tripack" (or "monopack") color film, was introduced by <a href="/facts/Kodak/zMnK74Cp">Kodak</a> in 1935. It captured the three color components in a multi-layer <a href="/facts/Photographic_emulsion/qhu1MQ4F">emulsion</a>. One layer was sensitized to record the red-dominated part of the <a href="/facts/Visible_spectrum/frPBh8o5">spectrum</a>, another layer recorded only the green part and a third recorded only the blue. Without special <a href="/facts/Film_processing/6VTxcPMA">film processing</a>, the result would simply be three superimposed black-and-white images, but <a href="/facts/Complementary_color/XDAx27pR">complementary</a> cyan, magenta, and yellow dye images were created in those layers by adding <a href="/facts/Color_coupler/EVxYSx6x">color couplers</a> during a complex processing procedure. </p><p><a href="/facts/Agfa-Gevaert/TNsfjVuj">Agfa's</a> similarly structured <a href="/facts/Agfacolor/GARgpz1p">Agfacolor</a> 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 multi-layer emulsion and the same principles, most closely resembling Agfa's product. </p><p><a href="/facts/Instant_film/67XTEk0M">Instant color film</a>, used in a special camera which yielded a unique finished color print only a minute or two after the exposure, was introduced by <a href="/facts/Polaroid_Corporation/vnVVyzQf">Polaroid</a> in 1963. </p><p><a href="/facts/Color_photography/dqwVRGcn">Color photography</a> may form images as positive transparencies, which can be used in a <a href="/facts/Slide_projector/b2N84a91">slide projector</a>, 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 photo printing equipment. After a transition period centered around 1995–2005, color film was relegated to a niche market by inexpensive multi-megapixel digital cameras. Film continues to be the preference of some photographers because of its distinctive "look". </p> <h3>Digital</h3> <p class="note">Main article: <a href="/facts/Digital_photography/a2UfweJh">Digital photography</a></p> <p class="note">See also: <a href="/facts/Digital_camera/LSGTserm">Digital camera</a></p> <p>In 1981, <a href="/facts/Sony/7x4tCtBd">Sony</a> unveiled the first consumer camera to use a <a href="/facts/Charge-coupled_device/l6xffIcz">charge-coupled device</a> for imaging, eliminating the need for film: the <a href="/facts/Sony_Mavica/wrLPIprM">Sony Mavica</a>. While the Mavica saved images to disk, the images were displayed on television, and the camera was not fully digital. </p><p>The first digital camera to both record and save images in a digital format was the Fujix DS-1P created by Fujifilm in 1988.<a class="footnote-ref" id="fnref:56" href="#fn:56"><sup>56</sup></a> </p><p>In 1991, Kodak unveiled the <a href="/facts/DCS_100/0ykV9A0R">DCS 100</a>, the first commercially available digital single-lens reflex camera. Although its high cost precluded uses other than <a href="/facts/Photojournalism/X3G4vIIS">photojournalism</a> and professional photography, commercial <a href="/facts/Digital_photography/a2UfweJh">digital photography</a> was born. </p><p>Digital imaging uses an electronic <a href="/facts/Image_sensor/j3GNrRln">image sensor</a> to record the image as a set of electronic data rather than as chemical changes on film.<a class="footnote-ref" id="fnref:57" href="#fn:57"><sup>57</sup></a> An important difference between digital and chemical photography is that chemical photography resists <a href="/facts/Photo_manipulation/HfFJFmFg">photo manipulation</a> because it involves <a href="/facts/Photographic_film/37aFq6ls">film</a> and <a href="/facts/Photographic_paper/7P6Q8H6D">photographic paper</a>, 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. </p> <p>Digital photography dominates the 21st century. More than 99% of photographs taken around the world are through digital cameras, increasingly through smartphones. </p> <h2 id="techniques">Techniques</h2> <p>A large variety of photographic techniques and media are used in the process of capturing images for photography. These include the camera; dual photography; full-spectrum, ultraviolet and infrared media; light field photography; and other imaging techniques. </p> <h3>Cameras</h3> <p class="note">Main article: <a href="/facts/Camera/j4uqsfJQ">Camera</a></p> <p>The camera is the image-forming device, and a <a href="/facts/Photographic_plate/LbTmHKJb">photographic plate</a>, <a href="/facts/Photographic_film/37aFq6ls">photographic film</a> or a <a href="/facts/Silicon/cgWx0hdr">silicon</a> electronic <a href="/facts/Image_sensor/j3GNrRln">image sensor</a> is the capture medium. The respective recording medium can be the plate or film itself, or a digital magnetic or electronic memory.<a class="footnote-ref" id="fnref:58" href="#fn:58"><sup>58</sup></a> </p><p>Photographers control the camera and lens to "expose" the light recording material to the required amount of light to form a "<a href="/facts/Latent_image/yThkWWp3">latent image</a>" (on plate or film) or <a href="/facts/RAW_file/1T6qygdz">RAW file</a> (in digital cameras) which, after appropriate processing, is converted to a usable image. <a href="/facts/Digital_photography/a2UfweJh">Digital cameras</a> use an electronic image sensor based on light-sensitive electronics such as <a href="/facts/Charge-coupled_device/l6xffIcz">charge-coupled device</a> (CCD) or <a href="/facts/Complementary_metal%25E2%2580%2593oxide%25E2%2580%2593semiconductor/NJIWYgBl">complementary metal–oxide–semiconductor</a> (CMOS) technology. The resulting digital image is stored electronically, but can be reproduced on a paper. </p><p>The camera (or '<a href="/facts/Camera_obscura/0xEbeJKd">camera obscura</a>') is a dark room or chamber from which, as far as possible, all light is excluded except the light that forms the image. It was discovered and used in the 16th century by painters. 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 (see <a href="/facts/Process_camera/Q2JH1ybu">Process camera</a>). </p><p>As soon as photographic materials became "fast" (sensitive) enough for taking <a href="/facts/Candid_photography/aVSW8BRf">candid</a> or surreptitious pictures, small "detective" cameras were made, some actually disguised as a book or handbag or pocket watch (the <i>Ticka</i> camera) or even worn hidden behind an <a href="/facts/Ascot_tie/1zrT8eDQ">Ascot</a> necktie with a tie pin that was really the lens. </p><p>The <a href="/facts/Movie_camera/eG3QEX9A">movie camera</a> is a type of photographic camera that takes a rapid sequence of photographs on recording medium. 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 to create the illusion of motion.<a class="footnote-ref" id="fnref:59" href="#fn:59"><sup>59</sup></a> </p> <h3>Stereoscopic</h3> <p class="note">Main article: <a href="/facts/Stereoscopy/jfHumNV8">Stereoscopy</a></p> <p>Photographs, both monochrome and color, can be captured and displayed through two side-by-side images that emulate human stereoscopic vision. Stereoscopic photography was the first that captured figures in motion.<a class="footnote-ref" id="fnref:60" href="#fn:60"><sup>60</sup></a> While known colloquially as "3-D" photography, the more accurate term is stereoscopy. Such cameras have long been realized by using film and more recently in digital electronic methods (including cell phone cameras). </p> <h3>Dualphotography</h3> <p class="note">Main article: <a href="/facts/Dualphotography/f9Be0ckv">Dualphotography</a></p> <p>Dualphotography consists of photographing a scene from both sides of a photographic device at once (e.g. camera for back-to-back dualphotography, or two networked cameras for portal-plane dualphotography). The dualphoto apparatus can be used to simultaneously capture both the subject and the photographer, or both sides of a geographical place at once, thus adding a supplementary narrative layer to that of a single image.<a class="footnote-ref" id="fnref:61" href="#fn:61"><sup>61</sup></a> </p> <h3>Full-spectrum, ultraviolet and infrared</h3> <p class="note">Main article: <a href="/facts/Full_spectrum_photography/LEVu1Yeh">Full spectrum photography</a></p> <p><a href="/facts/Ultraviolet_photography/C4dxKIHs">Ultraviolet</a> and <a href="/facts/Infrared_photography/VHHECAPR">infrared</a> 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 <a href="/facts/Full_spectrum_photography/LEVu1Yeh">full spectrum photography</a>, where careful filtering choices across the ultraviolet, visible and infrared lead to new artistic visions. </p><p>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 <a href="/facts/Hot_mirror/WE137Wzc">hot mirror</a> 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.<a class="footnote-ref" id="fnref:62" href="#fn:62"><sup>62</sup></a> </p><p>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). </p><p>Uses of full spectrum photography are for <a href="/facts/Fine_art_photography/3hQpPDDh">fine art photography</a>, <a href="/facts/Remote_sensing/pj2crmGs">geology</a>, <a href="/facts/History_of_forensic_photography/wHzMq6RT">forensics</a> and law enforcement. </p> <h3>Layering</h3> <p>Layering is a photographic <a href="/facts/Composition_(visual_arts)/ts4RRPV8">composition</a> technique that manipulates the foreground, subject or middle-ground, and background layers in a way that they all work together to tell a story through the image.<a class="footnote-ref" id="fnref:63" href="#fn:63"><sup>63</sup></a> Layers may be incorporated by altering the focal length, distorting the perspective by positioning the camera in a certain spot.<a class="footnote-ref" id="fnref:64" href="#fn:64"><sup>64</sup></a> People, movement, light and a variety of objects can be used in layering.<a class="footnote-ref" id="fnref:65" href="#fn:65"><sup>65</sup></a> </p> <h3>Light field</h3> <p class="note">See also: <a href="/facts/Light-field_camera/PDMtREM4">Light-field camera</a></p> <p>Digital methods of image capture and display processing have enabled the new technology of "light field photography" (also known as synthetic aperture photography). This process allows focusing at various depths of field to be selected <i>after</i> the photograph has been captured.<a class="footnote-ref" id="fnref:66" href="#fn:66"><sup>66</sup></a> As explained by <a href="/facts/Michael_Faraday/NDcc3lyt">Michael Faraday</a> in 1846, the "<a href="/facts/Light_field/03Bcot3s">light field</a>" is understood as 5-dimensional, with each point in 3-D space having attributes of two more angles that define the direction of each ray passing through that point. </p><p>These additional vector attributes can be captured optically through the use of <a href="/facts/Microlenses/AQ4NvCrK">microlenses</a> at each pixel point within the 2-dimensional image sensor. Every pixel of the final image is actually a selection from each sub-array located under each microlens, as identified by a post-image capture focus algorithm. </p> <h3>Other</h3> <p>Besides the camera, other methods of forming images with light are available. For instance, a <a href="/facts/Photocopy/aF7URdyU">photocopy</a> or <a href="/facts/Xerography/5S5CJdBe">xerography</a> machine forms permanent images but uses the transfer of static <a href="/facts/Electric_charge/xxsBfmlB">electrical charges</a> rather than photographic medium, hence the term <a href="/facts/Electrophotography/5S5CJdBe">electrophotography</a>. <a href="/facts/Photogram/0CQdX1AP">Photograms</a> 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 <a href="/facts/Image_scanner/7DEJFTwx">image scanner</a> to produce digital pictures. </p> <h2 id="types">Types</h2> <h3>Amateur</h3> <p>Amateur photographers take photos for personal use, as a <a href="/facts/Hobby/MH1aFd8v">hobby</a> or out of casual interest, rather than as a business or job. The quality of amateur work can be comparable to that of many professionals. Amateurs can fill a gap in subjects or topics that might not otherwise be photographed if they are not commercially useful or salable. Amateur photography grew during the late 19th century due to the popularization of the hand-held camera.<a class="footnote-ref" id="fnref:67" href="#fn:67"><sup>67</sup></a> Twenty-first century <a href="/facts/Social_media/kUIkfpIA">social media</a> and near-ubiquitous <a href="/facts/Camera_phone/EzCfpkdl">camera phones</a> have made photographic and video recording pervasive in everyday life. In the mid-2010s <a href="/facts/Smartphone/cSIrBMWG">smartphone</a> cameras added numerous automatic assistance features like <a href="/facts/Color_management/4PtNuCee">color management</a>, <a href="/facts/Autofocus/1B0tQWg2">autofocus</a> <a href="/facts/Face_detection/KVIvPRFA">face detection</a> and <a href="/facts/Image_stabilization/DrBT5QVS">image stabilization</a> that significantly decreased skill and effort needed to take high quality images.<a class="footnote-ref" id="fnref:68" href="#fn:68"><sup>68</sup></a> </p> <h3>Commercial</h3> <p>Commercial photography is probably best defined as any photography for which the photographer is paid for <a href="/facts/Image/fY9DudpT">images</a> rather than <a href="/facts/Works_of_art/Kr7f0ugA">works of art</a>. In this light, money could be paid for the subject of the photograph or the photograph itself. The commercial photographic world could include: </p> <ul><li>Advertising photography: There are photographs made to illustrate and usually sell a service or product. These images, such as <a href="/facts/Packshot/2dqEhSS4">packshots</a>, are generally done with an <a href="/facts/Advertising_agency/bx9RybxT">advertising agency</a>, <a href="/facts/Design_firm/kR4GNeja">design firm</a> or with an in-house corporate design team.</li> <li><a href="/facts/Architectural_photography/98We7Juf">Architectural photography</a> focuses on capturing photographs of buildings and architectural structures that are aesthetically pleasing and accurate in terms of representations of their subjects.</li> <li><a href="/facts/Event_photography/U06QbNc5">Event photography</a> focuses on photographing guests and occurrences at mostly social events.</li> <li>Fashion and glamour photography usually incorporates <a href="/facts/Photographic_model/MbCN8xJz">models</a> and is a form of advertising photography. <a href="/facts/Fashion_photography/Ur4u1Nuj">Fashion photography</a>, like the work featured in <i><a href="/facts/Harper%2527s_Bazaar/0RBnYmIX">Harper's Bazaar</a></i>, emphasizes clothes and other products; glamour emphasizes the model and body form while glamour photography is popular in advertising and <a href="/facts/Men%2527s_magazine/y6UrjInS">men's magazines</a>. Models in <a href="/facts/Glamour_photography/nga2A4T2">glamour photography</a> sometimes work <a href="/facts/Nude_photography/YRLtEkKl">nude</a>.</li> <li><a href="/facts/360_product_photography/V0vVa6oG">360 product photography</a> displays a series of photos to give the impression of a rotating object. This technique is commonly used by ecommerce websites to help shoppers visualise products.</li> <li><a href="/facts/Concert_photography/tBdjST0j">Concert photography</a> focuses on capturing candid images of both the artist or band as well as the atmosphere (including the crowd). Many of these photographers work freelance and are contracted through an artist or their management to cover a specific show. Concert photographs are often used to promote the artist or band in addition to the venue.</li> <li><a href="/facts/Crime_scene_photography/6rIhKHmL">Crime scene photography</a> consists of photographing scenes of crime such as robberies and murders. A black and white camera or an <a href="/facts/Infrared_camera/dplJK39u">infrared camera</a> may be used to capture specific details.</li> <li><a href="/facts/Still_life_photography/258TnndX">Still life photography</a> usually depicts inanimate subject matter, typically commonplace objects which may be either natural or man-made. Still life is a broader category for food and some natural photography and can be used for advertising purposes.</li> <li>Real estate photography focuses on the production of photographs showcasing a property that is for sale, such photographs requires the use of wide-lens and extensive knowledge in <a href="/facts/High-dynamic-range_imaging/bC6NAbGS">high-dynamic-range imaging</a> photography.</li></ul> <ul><li><a href="/facts/Food_photography/P6sV9Clh">Food photography</a> can be used for editorial, packaging or advertising use. Food photography is similar to still life photography but requires some special skills.</li> <li><a href="/facts/Photojournalism/X3G4vIIS">Photojournalism</a> can be considered a subset of editorial photography. Photographs made in this context are accepted as a documentation of a news story.</li> <li><a href="/facts/Paparazzi/r3Bv5yX7">Paparazzi</a> is a form of photojournalism in which the photographer captures candid images of athletes, celebrities, politicians, and other prominent people.</li> <li><a href="/facts/Portrait_photography/hkSIxPMg">Portrait</a> and <a href="/facts/Wedding_photography/2NE7gLBA">wedding photography</a>: Are photographs made and sold directly to the end user of the images.</li> <li><a href="/facts/Landscape_photography/476VfFq6">Landscape photography</a> typically captures the presence of nature but can also focus on human-made features or disturbances of landscapes.</li> <li><a href="/facts/Wildlife_photography/MH2mLjFy">Wildlife photography</a> demonstrates the life of wild animals.</li></ul> <h3>Art</h3> <p class="note">Main article: <a href="/facts/Art_photography/3hQpPDDh">Art photography</a></p> <p>During the 20th century, both <a href="/facts/Fine_art_photography/3hQpPDDh">fine art photography</a> and <a href="/facts/Documentary_photography/6FJeBrnf">documentary photography</a> became accepted by the <a href="/facts/English_language/tpkxGt7b">English-speaking</a> art world and the <a href="/facts/Art_gallery/GskyzG3P">gallery</a> system. In the United States, a handful of photographers, including <a href="/facts/Alfred_Stieglitz/v2SVMIw2">Alfred Stieglitz</a>, <a href="/facts/Edward_Steichen/IttLnoya">Edward Steichen</a>, <a href="/facts/John_Szarkowski/ULcKd0hD">John Szarkowski</a>, <a href="/facts/F._Holland_Day/VNcMj9Bj">F. Holland Day</a>, and <a href="/facts/Edward_Weston/Dhkyzbwc">Edward Weston</a>, spent their lives advocating for photography as a fine art. At first, fine art photographers tried to imitate painting styles. This movement is called <a href="/facts/Pictorialism/c2BN21hB">Pictorialism</a>, often using <a href="/facts/Soft_focus/ISj6c9E0">soft focus</a> for a dreamy, 'romantic' look. In reaction to that, Weston, <a href="/facts/Ansel_Adams/VIBXz5Ml">Ansel Adams</a>, and others formed the <a href="/facts/Group_f%2f64/LCnzKp1M">Group f/64</a> to advocate '<a href="/facts/Straight_photography/gbPWUxAH">straight photography</a>', the photograph as a (sharply focused) thing in itself and not an imitation of something else. </p><p>The <a href="/facts/Aesthetics/FSD8f7oF">aesthetics</a> 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 <a href="/facts/Beauty/AQTx8lL2">beautiful</a> to the viewer. The controversy began with the earliest images "written with light"; <a href="/facts/Nic%25C3%25A9phore_Ni%25C3%25A9pce/J5oBtaUb">Nicéphore Niépce</a>, <a href="/facts/Louis_Daguerre/xlnHu14v">Louis Daguerre</a>, and others among the very earliest photographers were met with acclaim, but some questioned if their work met the definitions and purposes of art. </p><p><a href="/facts/Clive_Bell/v7bcNRLK">Clive Bell</a> in his classic essay <i>Art</i> states that only "significant form" can distinguish art from what is not art. </p> <blockquote><p>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.<a class="footnote-ref" id="fnref:69" href="#fn:69"><sup>69</sup></a></p></blockquote> <p>On 7 February 2007, Sotheby's London sold the 2001 photograph <i><a href="/facts/99_Cent_II_Diptychon/VMjUWlzs">99 Cent II Diptychon</a></i> for an unprecedented $3,346,456 to an anonymous bidder, making it the most expensive at the time.<a class="footnote-ref" id="fnref:70" href="#fn:70"><sup>70</sup></a> </p><p><a href="/facts/Conceptual_photography/In9qSIns">Conceptual photography</a> turns a concept or idea into a photograph. Even though what is depicted in the photographs are real objects, the subject is strictly abstract. </p> <p>In parallel to this development, the then largely separate interface between painting and photography was closed in the second half of the 20th century with the <a href="/facts/Chemigram/l1YFEBsr">chemigram</a> of <a href="/facts/Pierre_Cordier/XrmjAS35">Pierre Cordier</a> and the <a href="/facts/Chemogram/QoSfmC2P">chemogram</a> of <a href="/facts/Josef_H._Neumann/r6YEM52a">Josef H. Neumann</a>.<a class="footnote-ref" id="fnref:71" href="#fn:71"><sup>71</sup></a> In 1974 the chemograms by Josef H. Neumann concluded the separation of the painterly background and the photographic layer by showing the picture elements in a symbiosis that had never existed before, as an unmistakable unique specimen, in a simultaneous painterly and at the same time real photographic perspective, using lenses, within a photographic layer, united in colors and shapes. This Neumann <a href="/facts/Chemogram/QoSfmC2P">chemogram</a> from the 1970s thus differs from the beginning of the previously created cameraless chemigrams of a <a href="/facts/Pierre_Cordier/XrmjAS35">Pierre Cordier</a> and the <a href="/facts/Photogram/0CQdX1AP">photogram</a> <a href="/facts/Man_Ray/HAJXW1Ea">Man Ray</a> or <a href="/facts/L%25C3%25A1szl%25C3%25B3_Moholy-Nagy/Hzc6KVVe">László Moholy-Nagy</a> of the previous decades. These works of art were almost simultaneous with the invention of photography by various important artists who characterized <a href="/facts/Hippolyte_Bayard/Vwaf7TEX">Hippolyte Bayard</a>, <a href="/facts/Thomas_Wedgwood_(photographer)/kwLhn6vL">Thomas Wedgwood</a>, <a href="/facts/William_Henry_Fox_Talbot/B1MoKnd3">William Henry Fox Talbot</a> in their early stages, and later Man Ray and László Moholy-Nagy in the twenties and by the painter in the thirties <a href="/facts/Edmund_Kesting/ILNC5vDm">Edmund Kesting</a> and <a href="/facts/Christian_Schad/vXNKD2Q8">Christian Schad</a> by draping objects directly onto appropriately sensitized photo paper and using a light source without a camera. <a class="footnote-ref" id="fnref:72" href="#fn:72"><sup>72</sup></a> </p> <h3>Photojournalism</h3> <p class="note">Main article: <a href="/facts/Photojournalism/X3G4vIIS">Photojournalism</a></p> <p><a href="/facts/Photojournalism/X3G4vIIS">Photojournalism</a> is a particular form of photography (the collecting, editing, and presenting of news material for publication or broadcast) that employs images in order to tell a news story. It is now usually understood to refer only to still images, but in some cases the term also refers to video used in broadcast journalism. Photojournalism is distinguished from other close branches of photography (e.g., <a href="/facts/Documentary_photography/6FJeBrnf">documentary photography</a>, social documentary photography, <a href="/facts/Street_photography/H1k8EEqM">street photography</a> or <a href="/facts/Celebrity_photography/KJufkpB8">celebrity photography</a>) by complying with a rigid ethical framework which demands that the work be both honest and impartial whilst telling the story in strictly journalistic terms. Photojournalists create pictures that contribute to the news media, and help communities connect with one other. Photojournalists must be well informed and knowledgeable about events happening right outside their door. They deliver news in a creative format that is not only informative, but also entertaining, including <a href="/facts/Sports_photography/XWqIKA6H">sports photography</a>. </p> <h3>Science and forensics</h3> <p class="note">Further information: <a href="/facts/Forensic_photography/6rIhKHmL">Forensic photography</a></p> <p>The camera has a long and distinguished history as a means of recording scientific phenomena from the first use by Daguerre and Fox-Talbot, such as astronomical events (<a href="/facts/Solar_eclipse/2XsCFG1a">eclipses</a> for example), small creatures and plants when the camera was attached to the eyepiece of microscopes (in <a href="/facts/Micrograph/M6fk5VED">photomicroscopy</a>) and for <a href="/facts/Macro_photography/sPKYgzQl">macro photography</a> of larger specimens. The camera also proved useful in recording <a href="/facts/Crime_scene/NHyakvAJ">crime scenes</a> and the scenes of accidents, such as the <a href="/facts/Wootton_bridge_collapse/fb3Du9j3">Wootton bridge collapse</a> in 1861. The methods used in analysing photographs for use in legal cases are collectively known as <a href="/facts/Forensic_photography/6rIhKHmL">forensic photography</a>. Crime scene photos are usually taken from three vantage points: overview, mid-range, and close-up.<a class="footnote-ref" id="fnref:73" href="#fn:73"><sup>73</sup></a> </p><p>In 1845 <a href="/facts/Francis_Ronalds/AC8xhRLf">Francis Ronalds</a>, the Honorary Director of the <a href="/facts/Kew_Observatory/0cJxDDu2">Kew Observatory</a>, invented the first successful camera to make continuous recordings of meteorological and geomagnetic parameters. Different machines produced 12- or 24- hour photographic traces of the minute-by-minute variations of <a href="/facts/Atmospheric_pressure/wJLMSaVG">atmospheric pressure</a>, temperature, <a href="/facts/Humidity/Nwb28VlT">humidity</a>, <a href="/facts/Atmospheric_electricity/15aNFMpX">atmospheric electricity</a>, and the three components of <a href="/facts/Earth%2527s_magnetic_field/73G36wmx">geomagnetic forces</a>. The cameras were supplied to numerous observatories around the world and some remained in use until well into the 20th century.<a class="footnote-ref" id="fnref:74" href="#fn:74"><sup>74</sup></a><a class="footnote-ref" id="fnref:75" href="#fn:75"><sup>75</sup></a> <a href="/facts/Charles_Brooke_(surgeon)/uVeWrKQN">Charles Brooke</a> a little later developed similar instruments for the <a href="/facts/Royal_Observatory%2c_Greenwich/gDxv9o65">Greenwich Observatory</a>.<a class="footnote-ref" id="fnref:76" href="#fn:76"><sup>76</sup></a> </p><p>Science regularly uses image technology that has derived from the design of the <a href="/facts/Pinhole_camera/8JmYNdeL">pinhole camera</a> to avoid distortions that can be caused by lenses. <a href="/facts/X-ray/wseP79cN">X-ray</a> machines are similar in design to pinhole cameras, with high-grade filters and laser radiation.<a class="footnote-ref" id="fnref:77" href="#fn:77"><sup>77</sup></a> Photography has become universal in recording events and data in science and engineering, and at <a href="/facts/Crime_scene/NHyakvAJ">crime scenes</a> or accident scenes. The method has been much extended by using other wavelengths, such as <a href="/facts/Infrared_photography/VHHECAPR">infrared photography</a> and <a href="/facts/Ultraviolet_photography/C4dxKIHs">ultraviolet photography</a>, as well as <a href="/facts/Spectroscopy/mj71FuNK">spectroscopy</a>. Those methods were first used in the <a href="/facts/Victorian_era/HQxGp7wh">Victorian era</a> and improved much further since that time.<a class="footnote-ref" id="fnref:78" href="#fn:78"><sup>78</sup></a> </p><p>The first photographed atom was discovered in 2012 by physicists at Griffith University, Australia. They used an electric field to trap an "Ion" of the element, Ytterbium. The image was recorded on a CCD, an electronic photographic film.<a class="footnote-ref" id="fnref:79" href="#fn:79"><sup>79</sup></a> </p> <h3>Wildlife photography</h3> <p class="note">Main article: <a href="/facts/Wildlife_photography/MH2mLjFy">Wildlife photography</a></p> <p>Wildlife photography involves capturing images of various forms of wildlife. Unlike other forms of photography such as product or food photography, successful wildlife photography requires a photographer to choose the right place and right time when specific wildlife are present and active. It often requires great patience and considerable skill and command of the right photographic equipment.<a class="footnote-ref" id="fnref:80" href="#fn:80"><sup>80</sup></a> </p> <h2 id="social-and-cultural-implications">Social and cultural implications</h2> <p>There are many ongoing questions about different aspects of photography. In her <i><a href="/facts/On_Photography/LLyaWqPT">On Photography</a></i> (1977), <a href="/facts/Susan_Sontag/YRkqTzp4">Susan Sontag</a> dismisses the objectivity of photography. This is a highly debated subject within the photographic community.<a class="footnote-ref" id="fnref:81" href="#fn:81"><sup>81</sup></a> 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."<a class="footnote-ref" id="fnref:82" href="#fn:82"><sup>82</sup></a> 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. </p><p>Modern photography has raised a number of concerns on its effect on society. In <a href="/facts/Alfred_Hitchcock/LqkmpImQ">Alfred Hitchcock</a>'s <i><a href="/facts/Rear_Window/wGtcwCw2">Rear Window</a></i> (1954), the camera is presented as promoting voyeurism. 'Although the camera is an observation station, the act of photographing is more than passive observing'.<a class="footnote-ref" id="fnref:83" href="#fn:83"><sup>83</sup></a> </p> <blockquote> <p>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.<a class="footnote-ref" id="fnref:84" href="#fn:84"><sup>84</sup></a> </p> </blockquote> <p>Digital imaging has raised ethical concerns because of the ease of manipulating digital photographs in post-processing. Many <a href="/facts/Photojournalists/X3G4vIIS">photojournalists</a> have declared they will not <a href="/facts/Image_cropping/8BAUtHoE">crop</a> their pictures or are forbidden from combining elements of multiple photos to make "<a href="/facts/Photomontage/4hwt7cTe">photomontages</a>", passing them as "real" photographs. Today's technology has made <a href="/facts/Image_editing/l5LvzVBa">image editing</a> relatively simple for even the novice photographer. However, recent changes of in-camera processing allow <a href="/facts/Device_fingerprint/XXpTDRtc">digital fingerprinting</a> of photos to detect tampering for purposes of <a href="/facts/Forensic_photography/6rIhKHmL">forensic photography</a>. </p><p>Photography is one of the <a href="/facts/New_media/AhuRPHpN">new media</a> forms that changes perception and changes the structure of society.<a class="footnote-ref" id="fnref:85" href="#fn:85"><sup>85</sup></a> 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, <a href="/facts/War_photography/S5BY0AI2">photos of war</a> and <a href="/facts/Pornography/1chvn1Xt">pornography</a> 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.<a class="footnote-ref" id="fnref:86" href="#fn:86"><sup>86</sup></a> </p><p>One of the practices through which photography constitutes society is tourism. Tourism and photography combine to create a "tourist <a href="/facts/Gaze/8rTak15B">gaze</a>"<a class="footnote-ref" id="fnref:87" href="#fn:87"><sup>87</sup></a> in which local inhabitants are positioned and defined by the camera lens. However, it has also been argued that there exists a "reverse gaze"<a class="footnote-ref" id="fnref:88" href="#fn:88"><sup>88</sup></a> through which indigenous photographees can position the tourist photographer as a shallow consumer of images. </p> <h2 id="law">Law</h2> <p class="note">Main article: <a href="/facts/Photography_and_the_law/er3SdGgH">Photography and the law</a></p> <p>Photography is both restricted and protected by the law in many jurisdictions. Protection of photographs is typically achieved through the granting of <a href="/facts/Copyright/7GHEWEx9">copyright</a> or moral rights to the photographer. In the United States, photography is protected as a <a href="/facts/First_Amendment_to_the_United_States_Constitution/1hNSoIvG">First Amendment right</a> and anyone is free to photograph anything seen in public spaces as long as it is in plain view.<a class="footnote-ref" id="fnref:89" href="#fn:89"><sup>89</sup></a> 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.<a class="footnote-ref" id="fnref:90" href="#fn:90"><sup>90</sup></a> In South Africa, any person may photograph any other person, without their permission, in public spaces and the only specific restriction placed on what may not be photographed by government is related to anything classed as national security. Each country has different laws. </p> <h2 id="see-also">See also</h2> <ul><li><a href="/facts/Outline_of_photography/y13QSNau">Outline of photography</a></li> <li><a href="/facts/Science_of_photography/YM8YjBIV">Science of photography</a></li> <li><a href="/facts/List_of_photographers/MAIKK8Lj">List of photographers</a></li> <li><a href="/facts/List_of_photography_awards/JT3lWWHk">List of photography awards</a></li> <li><a href="/facts/List_of_most_expensive_photographs/Ha9Sq6q4">List of most expensive photographs</a></li> <li><a href="/facts/List_of_photographs_considered_the_most_important/TpJt87gK">List of photographs considered the most important</a></li> <li><a href="/facts/Astrophotography/NeWNUJEn">Astrophotography</a></li> <li><a href="/facts/Image_editing/l5LvzVBa">Image editing</a></li> <li><a href="/facts/Imaging/Lkw7V9M8">Imaging</a></li> <li><a href="/facts/Minilab/q5Yn4FgJ">Photolab and minilab</a></li> <li><a href="/facts/Visual_arts/95RgxP8e">Visual arts</a></li> <li><a href="/facts/Large_format/oWa3GmYG">Large format</a></li> <li><a href="/facts/Medium_format_(film)/gWghbVj9">Medium format</a></li> <li><a href="/facts/Microform/4VfjjRRG">Microform</a></li></ul> <h2 id="further-reading">Further reading</h2> <h3>Introduction</h3> <ul><li>Barrett, T 2012, Criticizing Photographs: an introduction to understanding images, 5th edn, McGraw-Hill, New York.</li> <li>Bate, D. (2009), Photography: The Key Concepts, Bloomsbury, New York.</li> <li>Berger, J. (Dyer, G. ed.), (2013), Understanding a Photograph, Penguin Classics, London.</li> <li>Bright, S 2011, Art Photography Now, Thames & Hudson, London.</li> <li>Cotton, C. (2015), The Photograph as Contemporary Art, 3rd edn, Thames & Hudson, New York.</li> <li>Heiferman, M. (2013), Photography Changes Everything, Aperture Foundation, US.</li> <li>Shore, S. (2015), The Nature of Photographs, 2nd ed. Phaidon, New York.</li> <li>Wells, L. (2004), <i>Photography. A Critical Introduction</i> [Paperback], 3rd ed. Routledge, London. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 0-415-30704-X</li></ul> <h3>History</h3> <ul><li><i>A New History of Photography</i>, ed. by Michel Frizot, Köln : Könemann, 1998</li> <li>Franz-Xaver Schlegel, <i>Das Leben der toten Dinge – Studien zur modernen Sachfotografie in den USA 1914–1935</i>, 2 Bände, Stuttgart/Germany: Art in Life 1999, <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 3-00-004407-8.</li></ul> <h3>Reference works</h3> <ul><li><a href="/facts/Tom_Ang/I3fscL5q">Tom Ang</a> (2002). <a href="https://books.google.com/books?id=fu3akyrFZEMC&q=intitle:Dictionary+intitle:of+intitle:Photography+intitle:and+intitle:Digital+intitle:Imaging+inauthor:ang&pg=PP1"><i>Dictionary of Photography and Digital Imaging: The Essential Reference for the Modern Photographer</i></a>. Watson-Guptill. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0-8174-3789-3.</li> <li>Hans-Michael Koetzle: <i>Das Lexikon der Fotografen: 1900 bis heute</i>, Munich: Knaur 2002, 512 p., <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 3-426-66479-8</li> <li>John Hannavy (ed.): <i>Encyclopedia of Nineteenth-Century Photography</i>, 1736 p., New York: Routledge 2005 <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0-415-97235-2</li> <li>Lynne Warren (Hrsg.): <i>Encyclopedia of Twentieth-Century Photography</i>, 1719 p., New York: Routledge, 2006</li> <li><i>The Oxford Companion to the Photograph</i>, ed. by Robin Lenman, Oxford University Press 2005</li> <li>"The Focal Encyclopedia of Photography", Richard Zakia, Leslie Stroebel, Focal Press 1993, <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 0-240-51417-3</li> <li>Stroebel, Leslie (2000). <i>Basic Photographic Materials and Processes</i>. et al. Boston: Focal Press. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0-240-80405-7.</li></ul> <h3>Other books</h3> <ul><li><i>Photography and The Art of Seeing</i> by <a href="/facts/Freeman_Patterson/rw14yugy">Freeman Patterson</a>, Key Porter Books 1989, <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 1-55013-099-4.</li> <li><i>The Art of Photography:</i> An Approach to Personal Expression by Bruce Barnbaum, Rocky Nook 2010, <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 1-933952-68-7.</li> <li><i>Image Clarity: High Resolution Photography</i> by John B. Williams, Focal Press 1990, <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 0-240-80033-8.</li></ul> <h2 id="external-links">External links</h2> <ul><li><a href="http://all-art.org/history658_photography1.html">World History of Photography</a> <a href="https://web.archive.org/web/20101031022835/http://all-art.org/history658_photography1.html">Archived</a> 31 October 2010 at the <a href="/facts/Wayback_Machine/nmQ3a6JC">Wayback Machine</a> From The History of Art.</li> <li><a href="http://www.floridamemory.com/photographiccollection/photo_exhibits/photographic-processes/">Daguerreotype to Digital: A Brief History of the Photographic Process</a> – State Library & Archives of Florida</li></ul> <h2 id="references">References</h2> <ol> <li id="fn:1"><p>Spencer, D A (1973). The Focal Dictionary of Photographic Technologies. Focal Press. p. 454. ISBN 978-0-13-322719-2. <a href="978-0-13-322719-2" target="_blank">978-0-13-322719-2</a> <a href="#fnref:1" class="footnote-back-ref">↩</a></p></li> <li id="fn:2"><p>φάος Archived 25 May 2013 at the Wayback Machine, Henry George Liddell, Robert Scott, A Greek-English Lexicon, on Perseus <a href="https://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.04.0057%3Aentry%3Dfa%2Fos" target="_blank">https://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.04.0057%3Aentry%3Dfa%2Fos</a> <a href="#fnref:2" class="footnote-back-ref">↩</a></p></li> <li id="fn:3"><p>"Henry George Liddell, Robert Scott, A Greek-English Lexicon, γρα^φ-ή". www.perseus.tufts.edu. Retrieved 1 March 2024. <a href="https://www.perseus.tufts.edu/hopper/text?doc=Perseus:text:1999.04.0057:entry=grafh/" target="_blank">https://www.perseus.tufts.edu/hopper/text?doc=Perseus:text:1999.04.0057:entry=grafh/</a> <a href="#fnref:3" class="footnote-back-ref">↩</a></p></li> <li id="fn:4"><p>Harper, Douglas. "photograph". Online Etymology Dictionary. <a href="https://www.etymonline.com/word/photograph" target="_blank">https://www.etymonline.com/word/photograph</a> <a href="#fnref:4" class="footnote-back-ref">↩</a></p></li> <li id="fn:5"><p>Boris Kossoy (2004). Hercule Florence: El descubrimiento de la fotografía en Brasil. Instituto Nacional de Antropología e Historia. ISBN 978-968-03-0020-4. Archived from the original on 28 April 2016. Retrieved 13 December 2015. <a href="978-968-03-0020-4" target="_blank">978-968-03-0020-4</a> <a href="#fnref:5" class="footnote-back-ref">↩</a></p></li> <li id="fn:6"><p>Kossoy, Boris (1980). Hercule Florence: a descoberta isolada da fotografia no Brasil. São Paulo: Duas Cidades. ISBN 9788531409448.{{cite book}}: CS1 maint: publisher location (link) <a href="9788531409448" target="_blank">9788531409448</a> <a href="#fnref:6" class="footnote-back-ref">↩</a></p></li> <li id="fn:7"><p>"Who First Used the Word Photography?". Photophys. 28 March 2015. Archived from the original on 18 January 2017. Retrieved 25 June 2019. <a href="https://photophys.com/photophys/entry/who-first-used-the-word" target="_blank">https://photophys.com/photophys/entry/who-first-used-the-word</a> <a href="#fnref:7" class="footnote-back-ref">↩</a></p></li> <li id="fn:8"><p>Mathur, P.; Mathur, K.; Mathur, S. (6 March 2014). Developments and Changes in Science Based Technologies. Partridge Publishing. p. 50. ISBN 9781482813982. Retrieved 25 June 2019. <a href="9781482813982" target="_blank">9781482813982</a> <a href="#fnref:8" class="footnote-back-ref">↩</a></p></li> <li id="fn:9"><p>Eder, J.M. (1945) [1932]. History of Photography, 4th. edition [Geschichte der Photographie]. New York: Dover Publications, Inc. pp. 258–59. ISBN 978-0-486-23586-8. {{cite book}}: ISBN / Date incompatibility (help) <a href="978-0-486-23586-8" target="_blank">978-0-486-23586-8</a> <a href="#fnref:9" class="footnote-back-ref">↩</a></p></li> <li id="fn:10"><p>"Sir John Frederick William Herschel (British, 1792–1871) (Getty Museum)". The J. Paul Getty in Los Angeles. Archived from the original on 1 October 2018. Retrieved 20 June 2019. <a href="http://www.getty.edu/art/collection/artists/1881/sir-john-frederick-william-herschel-british-1792-1871/" target="_blank">http://www.getty.edu/art/collection/artists/1881/sir-john-frederick-william-herschel-british-1792-1871/</a> <a href="#fnref:10" class="footnote-back-ref">↩</a></p></li> <li id="fn:11"><p>Eder, J.M. (1945) [1932]. History of Photography, 4th. edition [Geschichte der Photographie]. New York: Dover Publications, Inc. pp. 258–59. ISBN 978-0-486-23586-8. {{cite book}}: ISBN / Date incompatibility (help) <a href="978-0-486-23586-8" target="_blank">978-0-486-23586-8</a> <a href="#fnref:11" class="footnote-back-ref">↩</a></p></li> <li id="fn:12"><p>Campbell, Jan (2005) Film and cinema spectatorship: melodrama and mimesis Archived 29 April 2016 at the Wayback Machine. Polity. p. 114. ISBN 0-7456-2930-X <a href="https://books.google.com/books?id=lOEqvkmSxhsC&pg=PA114" target="_blank">https://books.google.com/books?id=lOEqvkmSxhsC&pg=PA114</a> <a href="#fnref:12" class="footnote-back-ref">↩</a></p></li> <li id="fn:13"><p>Krebs, Robert E. (2004). Groundbreaking Scientific Experiments, Inventions, and Discoveries of the Middle Ages and the Renaissance. Greenwood Publishing Group. p. 20. ISBN 978-0-313-32433-8. <a href="978-0-313-32433-8" target="_blank">978-0-313-32433-8</a> <a href="#fnref:13" class="footnote-back-ref">↩</a></p></li> <li id="fn:14"><p>Crombie, Alistair Cameron (1990) Science, optics, and music in medieval and early modern thought. A&C Black. p. 205. ISBN 978-0-907628-79-8 <a href="/wiki/Alistair_Cameron_Crombie" target="_blank">/wiki/Alistair_Cameron_Crombie</a> <a href="#fnref:14" class="footnote-back-ref">↩</a></p></li> <li id="fn:15"><p>Krebs, Robert E. (2004). Groundbreaking Scientific Experiments, Inventions, and Discoveries of the Middle Ages and the Renaissance. Greenwood Publishing Group. p. 20. ISBN 978-0-313-32433-8. <a href="978-0-313-32433-8" target="_blank">978-0-313-32433-8</a> <a href="#fnref:15" class="footnote-back-ref">↩</a></p></li> <li id="fn:16"><p>Wade, Nicholas J.; Finger, Stanley (2001). "The eye as an optical instrument: from camera obscura to Helmholtz's perspective". Perception. 30 (10): 1157–77. doi:10.1068/p3210. ISSN 0301-0066. PMID 11721819. S2CID 8185797. <a href="/wiki/Doi_(identifier)" target="_blank">/wiki/Doi_(identifier)</a> <a href="#fnref:16" class="footnote-back-ref">↩</a></p></li> <li id="fn:17"><p>Plott, John C. (1984). Global History of Philosophy: The Period of scholasticism (part one). Motilal Banarsidass Publ. p. 460. ISBN 978-0-89581-678-8. According to Nazir Ahmed if only Ibn-Haitham's fellow-workers and students had been as alert as he, they might even have invented the art of photography since al-Haitham's experiments with convex and concave mirrors and his invention of the "pinhole camera" whereby the inverted image of a candle-flame is projected were among his many successes in experimentation. One might likewise almost claim that he had anticipated much that the nineteenth century Fechner did in experimentation with after-images. <a href="978-0-89581-678-8" target="_blank">978-0-89581-678-8</a> <a href="#fnref:17" class="footnote-back-ref">↩</a></p></li> <li id="fn:18"><p>Belbachir, Ahmed Nabil (2009). Smart Cameras. Springer Science & Business Media. ISBN 978-1-4419-0953-4. The invention of the camera can be traced back to the 10th century when the Arab scientist Al-Hasan Ibn al-Haytham alias Alhacen provided the first clear description and correct analysis of the (human) vision process. Although the effects of single light passing through the pinhole have already been described by the Chinese Mozi (Lat. Micius) (5th century B), the Greek Aristotle (4th century BC), and the Arab <a href="978-1-4419-0953-4" target="_blank">978-1-4419-0953-4</a> <a href="#fnref:18" class="footnote-back-ref">↩</a></p></li> <li id="fn:19"><p>Belbachir, Ahmed Nabil (2009). Smart Cameras. Springer Science & Business Media. ISBN 978-1-4419-0953-4. The invention of the camera can be traced back to the 10th century when the Arab scientist Al-Hasan Ibn al-Haytham alias Alhacen provided the first clear description and correct analysis of the (human) vision process. Although the effects of single light passing through the pinhole have already been described by the Chinese Mozi (Lat. Micius) (5th century B), the Greek Aristotle (4th century BC), and the Arab <a href="978-1-4419-0953-4" target="_blank">978-1-4419-0953-4</a> <a href="#fnref:19" class="footnote-back-ref">↩</a></p></li> <li id="fn:20"><p>Wade, Nicholas J.; Finger, Stanley (2001), "The eye as an optical instrument: from camera obscura to Helmholtz's perspective", Perception, 30 (10): 1157–1177, doi:10.1068/p3210, PMID 11721819, S2CID 8185797, The principles of the camera obscura first began to be correctly analysed in the eleventh century, when they were outlined by Ibn al-Haytham. <a href="/wiki/Doi_(identifier)" target="_blank">/wiki/Doi_(identifier)</a> <a href="#fnref:20" class="footnote-back-ref">↩</a></p></li> <li id="fn:21"><p>Needham, Joseph. Science and Civilization in China, vol. IV, part 1: Physics and Physical Technology (PDF). p. 98. Archived from the original (PDF) on 3 July 2017. Retrieved 5 September 2016. Alhazen used the camera obscura particularly for observing solar eclipses, as indeed Aristotle is said to have done, and it seems that, like Shen Kua, he had predecessors in its study, since he did not claim it as any new finding of his own. But his treatment of it was competently geometrical and quantitative for the first time. <a href="https://web.archive.org/web/20170703010030/http://monoskop.org/images/7/70/Needham_Joseph_Science_and_Civilisation_in_China_Vol_4-1_Physics_and_Physical_Technology_Physics.pdf" target="_blank">https://web.archive.org/web/20170703010030/http://monoskop.org/images/7/70/Needham_Joseph_Science_and_Civilisation_in_China_Vol_4-1_Physics_and_Physical_Technology_Physics.pdf</a> <a href="#fnref:21" class="footnote-back-ref">↩</a></p></li> <li id="fn:22"><p>"Who Invented Camera Obscura?". Photography History Facts. All these scientists experimented with a small hole and light but none of them suggested that a screen is used so an image from one side of a hole in surface could be projected at the screen on the other. First one to do so was Alhazen (also known as Ibn al-Haytham) in 11th century. <a href="http://www.photographyhistoryfacts.com/photography-development-history/camera-obscura-history/" target="_blank">http://www.photographyhistoryfacts.com/photography-development-history/camera-obscura-history/</a> <a href="#fnref:22" class="footnote-back-ref">↩</a></p></li> <li id="fn:23"><p>Needham, Joseph. Science and Civilization in China, vol. IV, part 1: Physics and Physical Technology (PDF). p. 99. Archived from the original (PDF) on 3 July 2017. Retrieved 5 September 2016. The genius of Shen Kua's insight into the relation of focal point and pinhole can better be appreciated when we read in Singer that this was first understood in Europe by Leonardo da Vinci (+ 1452 to + 1519), almost five hundred years later. A diagram showing the relation occurs in the Codice Atlantico, Leonardo thought that the lens of the eye reversed the pinhole effect, so that the image did not appear inverted on the retina; though in fact it does. Actually, the analogy of focal-point and pin-point must have been understood by Ibn al-Haitham, who died just about the time when Shen Kua was born. <a href="https://web.archive.org/web/20170703010030/http://monoskop.org/images/7/70/Needham_Joseph_Science_and_Civilisation_in_China_Vol_4-1_Physics_and_Physical_Technology_Physics.pdf" target="_blank">https://web.archive.org/web/20170703010030/http://monoskop.org/images/7/70/Needham_Joseph_Science_and_Civilisation_in_China_Vol_4-1_Physics_and_Physical_Technology_Physics.pdf</a> <a href="#fnref:23" class="footnote-back-ref">↩</a></p></li> <li id="fn:24"><p>Plott, John C. (1984). Global History of Philosophy: The Period of scholasticism (part one). Motilal Banarsidass Publ. p. 460. ISBN 978-0-89581-678-8. According to Nazir Ahmed if only Ibn-Haitham's fellow-workers and students had been as alert as he, they might even have invented the art of photography since al-Haitham's experiments with convex and concave mirrors and his invention of the "pinhole camera" whereby the inverted image of a candle-flame is projected were among his many successes in experimentation. One might likewise almost claim that he had anticipated much that the nineteenth century Fechner did in experimentation with after-images. <a href="978-0-89581-678-8" target="_blank">978-0-89581-678-8</a> <a href="#fnref:24" class="footnote-back-ref">↩</a></p></li> <li id="fn:25"><p>Davidson, Michael W (13 November 2015). "Albertus Magnus". Molecular Expressions: Science, Optics and You. National High Magnetic Field Laboratory at The Florida State University. Archived from the original on 22 December 2015. <a href="http://micro.magnet.fsu.edu/optics/timeline/people/magnus.html" target="_blank">http://micro.magnet.fsu.edu/optics/timeline/people/magnus.html</a> <a href="#fnref:25" class="footnote-back-ref">↩</a></p></li> <li id="fn:26"><p>Potonniée, Georges (1973). The history of the discovery of photography. Arno Press. p. 50. ISBN 0-405-04929-3 <a href="/wiki/ISBN_(identifier)" target="_blank">/wiki/ISBN_(identifier)</a> <a href="#fnref:26" class="footnote-back-ref">↩</a></p></li> <li id="fn:27"><p>Gernsheim, Helmut (1986). A concise history of photography Archived 29 April 2016 at the Wayback Machine. Courier Dover Publications. pp. 3–4. ISBN 0-486-25128-4 <a href="/wiki/Helmut_Gernsheim" target="_blank">/wiki/Helmut_Gernsheim</a> <a href="#fnref:27" class="footnote-back-ref">↩</a></p></li> <li id="fn:28"><p>Gernsheim, Helmut and Gernsheim, Alison (1955) The history of photography from the earliest use of the camera obscura in the eleventh century up to 1914. Oxford University Press. p. 20. <a href="/wiki/Oxford_University_Press" target="_blank">/wiki/Oxford_University_Press</a> <a href="#fnref:28" class="footnote-back-ref">↩</a></p></li> <li id="fn:29"><p>Susan Watt (2003). Silver. Marshall Cavendish. pp. 21–. ISBN 978-0-7614-1464-3. Retrieved 28 July 2013. ... But the first person to use this property to produce a photographic image was German physicist Johann Heinrich Schulze. In 1727, Schulze made a paste of silver nitrate and chalk, placed the mixture in a glass bottle, and wrapped the bottle in ... <a href="978-0-7614-1464-3" target="_blank">978-0-7614-1464-3</a> <a href="#fnref:29" class="footnote-back-ref">↩</a></p></li> <li id="fn:30"><p>Litchfield, Richard Buckley (1903). Tom Wedgwood, the First Photographer, etc., London, Duckworth and Co. Out of copyright and available free at archive.org. In Appendix A (pp. 217–227), Litchfield evaluates assertions that Schulze's experiments should be called photography and includes a complete English translation (from the original Latin) of Schulze's 1719 account of them as reprinted in 1727. <a href="https://archive.org/details/tomwedgwoodfirst00litcrich" target="_blank">https://archive.org/details/tomwedgwoodfirst00litcrich</a> <a href="#fnref:30" class="footnote-back-ref">↩</a></p></li> <li id="fn:31"><p>Gernsheim, Helmut (1986). A concise history of photography Archived 29 April 2016 at the Wayback Machine. Courier Dover Publications. pp. 3–4. ISBN 0-486-25128-4 <a href="/wiki/Helmut_Gernsheim" target="_blank">/wiki/Helmut_Gernsheim</a> <a href="#fnref:31" class="footnote-back-ref">↩</a></p></li> <li id="fn:32"><p>Werge, John (1 December 1894). "The Oldest Photograph". The Newcastle Weekly Chronicle. p. 10. <a href="https://www.newspapers.com/article/the-newcastle-weekly-chronicle/127710631/" target="_blank">https://www.newspapers.com/article/the-newcastle-weekly-chronicle/127710631/</a> <a href="#fnref:32" class="footnote-back-ref">↩</a></p></li> <li id="fn:33"><p>Litchfield, R. 1903. "Tom Wedgwood, the First Photographer: An Account of His Life." London, Duckworth and Co. See Chapter XIII. Includes the complete text of Humphry Davy's 1802 paper, which is the only known contemporary record of Wedgwood's experiments. (Retrieved 7 May 2013 via archive.org Archived 7 October 2015 at the Wayback Machine). <a href="https://archive.org/details/tomwedgwoodfirst00litcrich" target="_blank">https://archive.org/details/tomwedgwoodfirst00litcrich</a> <a href="#fnref:33" class="footnote-back-ref">↩</a></p></li> <li id="fn:34"><p>"The First Photograph – Heliography". Archived from the original on 6 October 2009. Retrieved 29 September 2009. from Helmut Gernsheim's article, "The 150th Anniversary of Photography," in History of Photography, Vol. I, No. 1, January 1977: ...In 1822, Niépce coated a glass plate... The sunlight passing through... This first permanent example... was destroyed... some years later. <a href="https://web.archive.org/web/20091006135924/http://www.hrc.utexas.edu/exhibitions/permanent/wfp/heliography.html" target="_blank">https://web.archive.org/web/20091006135924/http://www.hrc.utexas.edu/exhibitions/permanent/wfp/heliography.html</a> <a href="#fnref:34" class="footnote-back-ref">↩</a></p></li> <li id="fn:35"><p>Hirsch, Robert (1999). Seizing the light: a history of photography. McGraw-Hill. ISBN 978-0-697-14361-7. Archived from the original on 29 April 2016. Retrieved 13 December 2015. <a href="978-0-697-14361-7" target="_blank">978-0-697-14361-7</a> <a href="#fnref:35" class="footnote-back-ref">↩</a></p></li> <li id="fn:36"><p>"Hercule Florence". Google Arts and Culture (in Brazilian Portuguese). Retrieved 17 April 2024. <a href="https://artsandculture.google.com/partner/instituto-hercule-florence" target="_blank">https://artsandculture.google.com/partner/instituto-hercule-florence</a> <a href="#fnref:36" class="footnote-back-ref">↩</a></p></li> <li id="fn:37"><p>"Hercule Florence". Instituto Moreira Salles (in Brazilian Portuguese). Retrieved 17 April 2024. <a href="https://ims.com.br/titular-colecao/hercule-florence/" target="_blank">https://ims.com.br/titular-colecao/hercule-florence/</a> <a href="#fnref:37" class="footnote-back-ref">↩</a></p></li> <li id="fn:38"><p>"Hercule Florence". Google Arts and Culture (in Brazilian Portuguese). Retrieved 17 April 2024. <a href="https://artsandculture.google.com/partner/instituto-hercule-florence" target="_blank">https://artsandculture.google.com/partner/instituto-hercule-florence</a> <a href="#fnref:38" class="footnote-back-ref">↩</a></p></li> <li id="fn:39"><p>Boris Kossoy (2004). Hercule Florence: El descubrimiento de la fotografía en Brasil. Instituto Nacional de Antropología e Historia. ISBN 968-03-0020-X. Archived from the original on 2 July 2023. Retrieved 4 November 2016. <a href="968-03-0020-X" target="_blank">968-03-0020-X</a> <a href="#fnref:39" class="footnote-back-ref">↩</a></p></li> <li id="fn:40"><p>Chisholm, Hugh, ed. (1911). "Photography" . Encyclopædia Britannica. Vol. 21 (11th ed.). Cambridge University Press. p. 487. <a href="/wiki/Hugh_Chisholm" target="_blank">/wiki/Hugh_Chisholm</a> <a href="#fnref:40" class="footnote-back-ref">↩</a></p></li> <li id="fn:41"><p>Chisholm, Hugh, ed. (1911). "Photography" . Encyclopædia Britannica. Vol. 21 (11th ed.). Cambridge University Press. p. 487. <a href="/wiki/Hugh_Chisholm" target="_blank">/wiki/Hugh_Chisholm</a> <a href="#fnref:41" class="footnote-back-ref">↩</a></p></li> <li id="fn:42"><p>William Henry Fox Talbot (1800–1877) Archived 3 October 2010 at the Wayback Machine. BBC <a href="https://www.bbc.co.uk/history/historic_figures/fox_talbot_william_henry.shtml" target="_blank">https://www.bbc.co.uk/history/historic_figures/fox_talbot_william_henry.shtml</a> <a href="#fnref:42" class="footnote-back-ref">↩</a></p></li> <li id="fn:43"><p>Feldman, Anthony and Ford, Peter (1989) Scientists & inventors. Bloomsbury Books, p. 128, ISBN 1-870630-23-8. <a href="/wiki/ISBN_(identifier)" target="_blank">/wiki/ISBN_(identifier)</a> <a href="#fnref:43" class="footnote-back-ref">↩</a></p></li> <li id="fn:44"><p>Fox Talbot, William Henry and Jammes, André (1973) William H. Fox Talbot, inventor of the negative-positive process, Macmillan, p. 95. <a href="#fnref:44" class="footnote-back-ref">↩</a></p></li> <li id="fn:45"><p>"1837: Die Erfindung der Fotografie in München". www.deutsches-museum.de. 28 May 2024. <a href="https://www.deutsches-museum.de/museum/aktuell/1837-die-erfindung-der-fotografie-in-muenchen" target="_blank">https://www.deutsches-museum.de/museum/aktuell/1837-die-erfindung-der-fotografie-in-muenchen</a> <a href="#fnref:45" class="footnote-back-ref">↩</a></p></li> <li id="fn:46"><p>"Hippolyte Bayard (French, 1801–1887) (Getty Museum)". Archived from the original on 24 October 2013. Retrieved 21 April 2019. <a href="https://web.archive.org/web/20131024055944/http://www.getty.edu/art/gettyguide/artMakerDetails?maker=1876" target="_blank">https://web.archive.org/web/20131024055944/http://www.getty.edu/art/gettyguide/artMakerDetails?maker=1876</a> <a href="#fnref:46" class="footnote-back-ref">↩</a></p></li> <li id="fn:47"><p>History of Kodak, Milestones-chronology: 1878–1929 Archived 10 February 2012 at the Wayback Machine. kodak.com <a href="http://www.kodak.com/global/en/corp/historyOfKodak/1878.jhtml" target="_blank">http://www.kodak.com/global/en/corp/historyOfKodak/1878.jhtml</a> <a href="#fnref:47" class="footnote-back-ref">↩</a></p></li> <li id="fn:48"><p>Peres, Michael R. (2008). The Concise Focal Encyclopedia of Photography: from the first photo on paper to the digital revolution. Burlington, MA: Focal Press/Elsevier. p. 75. ISBN 978-0-240-80998-4. <a href="978-0-240-80998-4" target="_blank">978-0-240-80998-4</a> <a href="#fnref:48" class="footnote-back-ref">↩</a></p></li> <li id="fn:49"><p>"H&D curve of film vs digital" (Forum Discussion). Digital Photography Review. 19 April 2004. Archived from the original on 23 September 2015. <a href="http://www.dpreview.com/forums/post/8473695" target="_blank">http://www.dpreview.com/forums/post/8473695</a> <a href="#fnref:49" class="footnote-back-ref">↩</a></p></li> <li id="fn:50"><p>Jacobson, Ralph E. (2000). The Focal Manual of Photography: photographic and digital imaging (9th ed.). Boston, MA: Focal Press. ISBN 978-0-240-51574-8. <a href="978-0-240-51574-8" target="_blank">978-0-240-51574-8</a> <a href="#fnref:50" class="footnote-back-ref">↩</a></p></li> <li id="fn:51"><p>"Black & White Photography". PSA Journal. 77 (12): 38–40. 2011. <a href="#fnref:51" class="footnote-back-ref">↩</a></p></li> <li id="fn:52"><p>"1861: James Clerk Maxwell's greatest year". King's College London. 3 January 2017. Archived from the original on 4 January 2017. Retrieved 3 January 2017. <a href="https://www.kcl.ac.uk/newsevents/news/newsrecords/2011/04Apr/JamesClerkMaxwell.aspx" target="_blank">https://www.kcl.ac.uk/newsevents/news/newsrecords/2011/04Apr/JamesClerkMaxwell.aspx</a> <a href="#fnref:52" class="footnote-back-ref">↩</a></p></li> <li id="fn:53"><p>"From Charles Mackintosh's waterproof to Dolly the sheep: 43 innovations Scotland has given the world". The independent. 2 January 2016. Archived from the original on 2 October 2017. Retrieved 2 December 2017. <a href="https://www.independent.co.uk/news/uk/home-news/charles-mackintosh-chemist-waterproof-google-doodle-scotland-inventions-innovation-bicycles-a7499911.html" target="_blank">https://www.independent.co.uk/news/uk/home-news/charles-mackintosh-chemist-waterproof-google-doodle-scotland-inventions-innovation-bicycles-a7499911.html</a> <a href="#fnref:53" class="footnote-back-ref">↩</a></p></li> <li id="fn:54"><p>"1861: James Clerk Maxwell's greatest year". King's College London. 3 January 2017. Archived from the original on 4 January 2017. Retrieved 3 January 2017. <a href="https://www.kcl.ac.uk/newsevents/news/newsrecords/2011/04Apr/JamesClerkMaxwell.aspx" target="_blank">https://www.kcl.ac.uk/newsevents/news/newsrecords/2011/04Apr/JamesClerkMaxwell.aspx</a> <a href="#fnref:54" class="footnote-back-ref">↩</a></p></li> <li id="fn:55"><p>"From Charles Mackintosh's waterproof to Dolly the sheep: 43 innovations Scotland has given the world". The independent. 2 January 2016. Archived from the original on 2 October 2017. Retrieved 2 December 2017. <a href="https://www.independent.co.uk/news/uk/home-news/charles-mackintosh-chemist-waterproof-google-doodle-scotland-inventions-innovation-bicycles-a7499911.html" target="_blank">https://www.independent.co.uk/news/uk/home-news/charles-mackintosh-chemist-waterproof-google-doodle-scotland-inventions-innovation-bicycles-a7499911.html</a> <a href="#fnref:55" class="footnote-back-ref">↩</a></p></li> <li id="fn:56"><p>"Research & Development". fujifilm.com. Retrieved 13 January 2022. <a href="https://www.fujifilm.com/innovation/achievements/ds-1p/" target="_blank">https://www.fujifilm.com/innovation/achievements/ds-1p/</a> <a href="#fnref:56" class="footnote-back-ref">↩</a></p></li> <li id="fn:57"><p>Schewe, Jeff (2012). The Digital Negative: Raw Image Processing In Lightroom, Camera Raw, and Photoshop. Berkeley, CA: Peachpit Press, ISBN 0-321-83957-9, p. 72 <a href="/wiki/Lightroom" target="_blank">/wiki/Lightroom</a> <a href="#fnref:57" class="footnote-back-ref">↩</a></p></li> <li id="fn:58"><p>"Glossary: Digital Photography Review". Dpreview.com. Archived from the original on 18 January 2013. Retrieved 24 June 2013. <a href="https://web.archive.org/web/20130118033153/http://www.dpreview.com/learn/?%2Fglossary%2F" target="_blank">https://web.archive.org/web/20130118033153/http://www.dpreview.com/learn/?%2Fglossary%2F</a> <a href="#fnref:58" class="footnote-back-ref">↩</a></p></li> <li id="fn:59"><p>Anderson, Joseph; Anderson, Barbara (Spring 1993). "The Myth of Persistence of Vision Revisited". Journal of Film and Video. 45 (1): 3–12. Archived from the original on 24 November 2009. <a href="https://web.archive.org/web/20091124182503/http://www.uca.edu/org/ccsmi/ccsmi/classicwork/Myth%20Revisited.htm" target="_blank">https://web.archive.org/web/20091124182503/http://www.uca.edu/org/ccsmi/ccsmi/classicwork/Myth%20Revisited.htm</a> <a href="#fnref:59" class="footnote-back-ref">↩</a></p></li> <li id="fn:60"><p>Belisle, Brooke (2013). "The Dimensional Image: Overlaps In Stereoscopic, Cinematic, And Digital Depth". Film Criticism. 37/38 (3/1): 117–37. <a href="https://www.academia.edu/4450652" target="_blank">https://www.academia.edu/4450652</a> <a href="#fnref:60" class="footnote-back-ref">↩</a></p></li> <li id="fn:61"><p>Zand, Tristan (8 April 2017). "An introduction to Dualphotography". Dual.Photo. Medium.com. Archived from the original on 16 April 2017. Retrieved 15 April 2017. <a href="https://medium.com/dualphoto/an-introduction-to-dualphotography-b17f02049bbf" target="_blank">https://medium.com/dualphoto/an-introduction-to-dualphotography-b17f02049bbf</a> <a href="#fnref:61" class="footnote-back-ref">↩</a></p></li> <li id="fn:62"><p>Twede, David. Introduction to Full-Spectrum and Infrared photography. surrealcolor.110mb.com <a href="https://web.archive.org/web/20120215235949/http://surrealcolor.110mb.com/IR_explained_web/IR_explained.htm#CamColor" target="_blank">https://web.archive.org/web/20120215235949/http://surrealcolor.110mb.com/IR_explained_web/IR_explained.htm#CamColor</a> <a href="#fnref:62" class="footnote-back-ref">↩</a></p></li> <li id="fn:63"><p>Lackey, Tamara (12 May 2016). "Incorporating Layering Composition Into Your Photography". 42 West. Archived from the original on 14 September 2021. Retrieved 14 September 2021. <a href="https://web.archive.org/web/20210914064915/https://www.adorama.com/alc/incorporating-layering-composition-into-your-photography/" target="_blank">https://web.archive.org/web/20210914064915/https://www.adorama.com/alc/incorporating-layering-composition-into-your-photography/</a> <a href="#fnref:63" class="footnote-back-ref">↩</a></p></li> <li id="fn:64"><p>Goldby, Dylan (20 January 2019). "Using layers to enhance your photography". Fujilove Magazine. Retrieved 14 September 2021. <a href="https://fujilove.com/using-layers-to-enhance-your-photography/" target="_blank">https://fujilove.com/using-layers-to-enhance-your-photography/</a> <a href="#fnref:64" class="footnote-back-ref">↩</a></p></li> <li id="fn:65"><p>"How to use layering in photography for exceptional photos". Parker Photographic. 1 December 2020. Retrieved 14 September 2021. <a href="https://parkerphotographic.com/how-to-use-layering-in-photography/" target="_blank">https://parkerphotographic.com/how-to-use-layering-in-photography/</a> <a href="#fnref:65" class="footnote-back-ref">↩</a></p></li> <li id="fn:66"><p>Ng, Ren (July 2006) Digital Light Field Photography. PhD Thesis, Stanford University <a href="/wiki/Ren_Ng" target="_blank">/wiki/Ren_Ng</a> <a href="#fnref:66" class="footnote-back-ref">↩</a></p></li> <li id="fn:67"><p>Peterson, C.A. (2011). "Home Portraiture". History of Photography. 35 (4): 374–87. doi:10.1080/03087298.2011.606727. S2CID 216590139. <a href="/wiki/Doi_(identifier)" target="_blank">/wiki/Doi_(identifier)</a> <a href="#fnref:67" class="footnote-back-ref">↩</a></p></li> <li id="fn:68"><p>Oloruntimilehin, Israel (17 September 2018). "How To Take Good Pictures With Your Phone". List Dorm. Archived from the original on 16 October 2018. <a href="https://www.listdorm.com/2018/09/how-to-take-good-pictures-with-your.html?m=1" target="_blank">https://www.listdorm.com/2018/09/how-to-take-good-pictures-with-your.html?m=1</a> <a href="#fnref:68" class="footnote-back-ref">↩</a></p></li> <li id="fn:69"><p>Clive Bell. "Art Archived 3 August 2004 at the Wayback Machine", 1914. Retrieved 2 September 2006. <a href="/wiki/Clive_Bell" target="_blank">/wiki/Clive_Bell</a> <a href="#fnref:69" class="footnote-back-ref">↩</a></p></li> <li id="fn:70"><p>Schonauer, David (7 March 2007). "The first $3M photograph". PopPhoto. Archived from the original on 18 March 2007. <a href="https://www.popphoto.com/photos/2008/12/first-3m-photograph" target="_blank">https://www.popphoto.com/photos/2008/12/first-3m-photograph</a> <a href="#fnref:70" class="footnote-back-ref">↩</a></p></li> <li id="fn:71"><p>Cordier, Pierre (1982). "Chemigram: A New Approach to Lensless Photography". Leonardo. 15 (4): 262–268. doi:10.2307/1574733. ISSN 0024-094X. JSTOR 1574733. S2CID 55177590. <a href="https://www.jstor.org/stable/1574733" target="_blank">https://www.jstor.org/stable/1574733</a> <a href="#fnref:71" class="footnote-back-ref">↩</a></p></li> <li id="fn:72"><p>Hannes Schmidt: Comments on the chemograms by Josef H. Neumann. Exhibition in the "Fotografik Studio Galerie von Prof. Pan Walther". in: Photo-Presse. Heft 22, 1976, S. 6. <a href="#fnref:72" class="footnote-back-ref">↩</a></p></li> <li id="fn:73"><p>Rohde, R.R. (2000). Crime Photography. PSA Journal, 66(3), 15. <a href="#fnref:73" class="footnote-back-ref">↩</a></p></li> <li id="fn:74"><p>Ronalds, B.F. (2016). Sir Francis Ronalds: Father of the Electric Telegraph. London: Imperial College Press. ISBN 978-1-78326-917-4. <a href="978-1-78326-917-4" target="_blank">978-1-78326-917-4</a> <a href="#fnref:74" class="footnote-back-ref">↩</a></p></li> <li id="fn:75"><p>Ronalds, B.F. (2016). "The Beginnings of Continuous Scientific Recording using Photography: Sir Francis Ronalds' Contribution". European Society for the History of Photography. Archived from the original on 13 June 2016. Retrieved 2 June 2016. <a href="http://www.eshph.org/blog/2016/04/19/1642/" target="_blank">http://www.eshph.org/blog/2016/04/19/1642/</a> <a href="#fnref:75" class="footnote-back-ref">↩</a></p></li> <li id="fn:76"><p>Brooke (1853). "Photographic self-registering magnetic and meteorological apparatus: Invented by Mr. Brooke of Keppel-Street, London". The Illustrated Magazine of Art. 1 (5): 308–11. doi:10.2307/20537989. JSTOR 20537989. Archived from the original on 29 April 2016. Retrieved 13 December 2015. <a href="https://books.google.com/books?id=DhfnAAAAMAAJ&pg=PA309" target="_blank">https://books.google.com/books?id=DhfnAAAAMAAJ&pg=PA309</a> <a href="#fnref:76" class="footnote-back-ref">↩</a></p></li> <li id="fn:77"><p>Upadhyay, J.; Chakera, J.A.; Navathe, C.P.; Naik, P.A.; Joshi, A.S.; Gupta, P.D. (2006). "Development of single frame X-ray framing camera for pulsed plasma experiments". Sādhanā. 31 (5): 613. CiteSeerX 10.1.1.570.172. doi:10.1007/BF02715917. S2CID 123558773. <a href="/wiki/CiteSeerX_(identifier)" target="_blank">/wiki/CiteSeerX_(identifier)</a> <a href="#fnref:77" class="footnote-back-ref">↩</a></p></li> <li id="fn:78"><p>Blitzer, Herbert L.; Stein-Ferguson, Karen; Huang, Jeffrey (2008). Understanding forensic digital imaging. Academic Press. pp. 8–9. ISBN 978-0-12-370451-1. Archived from the original on 29 April 2016. Retrieved 13 December 2015. <a href="978-0-12-370451-1" target="_blank">978-0-12-370451-1</a> <a href="#fnref:78" class="footnote-back-ref">↩</a></p></li> <li id="fn:79"><p>Glenday, Craig (2013). Guinness World Records 2014. Guinness World Records Limited. p. 192. ISBN 978-1-908843-15-9. <a href="978-1-908843-15-9" target="_blank">978-1-908843-15-9</a> <a href="#fnref:79" class="footnote-back-ref">↩</a></p></li> <li id="fn:80"><p>"Wildlife photography". BBC. Retrieved 14 June 2020. <a href="https://www.bbc.co.uk/news/topics/cvd436l9g99t/wildlife-photography/" target="_blank">https://www.bbc.co.uk/news/topics/cvd436l9g99t/wildlife-photography/</a> <a href="#fnref:80" class="footnote-back-ref">↩</a></p></li> <li id="fn:81"><p>Bissell, K.L. (2000). "A Return to 'Mr. Gates': Photography and Objectivity". Newspaper Research Journal. 21 (3): 81–93. doi:10.1177/073953290002100307. S2CID 140920402. <a href="/wiki/Doi_(identifier)" target="_blank">/wiki/Doi_(identifier)</a> <a href="#fnref:81" class="footnote-back-ref">↩</a></p></li> <li id="fn:82"><p>Sontag, S. (1977) On Photography, Penguin, London, pp. 3–24, ISBN 0-312-42009-9. <a href="/wiki/On_Photography" target="_blank">/wiki/On_Photography</a> <a href="#fnref:82" class="footnote-back-ref">↩</a></p></li> <li id="fn:83"><p>Sontag, S. (1977) On Photography, Penguin, London, pp. 3–24, ISBN 0-312-42009-9. <a href="/wiki/On_Photography" target="_blank">/wiki/On_Photography</a> <a href="#fnref:83" class="footnote-back-ref">↩</a></p></li> <li id="fn:84"><p>Sontag, S. (1977) On Photography, Penguin, London, pp. 3–24, ISBN 0-312-42009-9. <a href="/wiki/On_Photography" target="_blank">/wiki/On_Photography</a> <a href="#fnref:84" class="footnote-back-ref">↩</a></p></li> <li id="fn:85"><p>Levinson, P. (1997) The Soft Edge: a Natural History and Future of the Information Revolution, Routledge, London and New York, pp. 37–48, ISBN 0-415-15785-4. <a href="/wiki/ISBN_(identifier)" target="_blank">/wiki/ISBN_(identifier)</a> <a href="#fnref:85" class="footnote-back-ref">↩</a></p></li> <li id="fn:86"><p>Sontag, S. (1977) On Photography, Penguin, London, pp. 3–24, ISBN 0-312-42009-9. <a href="/wiki/On_Photography" target="_blank">/wiki/On_Photography</a> <a href="#fnref:86" class="footnote-back-ref">↩</a></p></li> <li id="fn:87"><p>Urry, John (2002). The tourist gaze (2nd ed.). London: Sage. ISBN 978-0-7619-7347-8. <a href="978-0-7619-7347-8" target="_blank">978-0-7619-7347-8</a> <a href="#fnref:87" class="footnote-back-ref">↩</a></p></li> <li id="fn:88"><p>Gillespie, Alex. "Tourist Photography and the Reverse Gaze". <a href="https://lse.academia.edu/AlexGillespie/Papers/89836/Tourist_photography_and_the_reverse_gaze" target="_blank">https://lse.academia.edu/AlexGillespie/Papers/89836/Tourist_photography_and_the_reverse_gaze</a> <a href="#fnref:88" class="footnote-back-ref">↩</a></p></li> <li id="fn:89"><p>"You Have Every Right to Photograph That Cop". American Civil Liberties Union. Archived from the original on 25 February 2016. Retrieved 18 February 2016. <a href="https://www.aclu.org/news/you-have-every-right-photograph-cop?redirect=free-speech/you-have-every-right-photograph-cop" target="_blank">https://www.aclu.org/news/you-have-every-right-photograph-cop?redirect=free-speech/you-have-every-right-photograph-cop</a> <a href="#fnref:89" class="footnote-back-ref">↩</a></p></li> <li id="fn:90"><p>"Jail for photographing police?". British Journal of Photography. 28 January 2009. Archived from the original on 27 March 2010. <a href="https://web.archive.org/web/20100327183624/http://www.bjp-online.com/public/showPage.html?page=836675" target="_blank">https://web.archive.org/web/20100327183624/http://www.bjp-online.com/public/showPage.html?page=836675</a> <a href="#fnref:90" class="footnote-back-ref">↩</a></p></li> </ol>