Examine individual changes

'{{redirect|Photographic|the image obtained|Photograph|other uses|Photography (disambiguation)}} {{Short description|Art, science and practice of creating durable images by recording light or other electromagnetic radiation}} {{Use dmy dates|date=June 2018}} {{Infobox tool | name = Photography | image = Large format camera lens.jpg | image size = 250px | caption = Lens and mounting of a large-format camera | other_name = Science or art of creating durable images | classification = | types = Recording light or other electromagnetic radiation | used_with = | inventor = [[Thomas Wedgwood (photographer)|Thomas Wedgwood]] (1800) | manufacturer = | model = | related = Stereoscopic, Full-spectrum, Light field, Electrophotography, Photograms, Scanner }} '''Photography''' is the art, application and practice of creating durable [[image]]s by recording light or other [[electromagnetic radiation]], either electronically by means of an [[image sensor]], or chemically by means of a light-sensitive material such as [[photographic film]]. It is employed in many fields of science, manufacturing (e.g., [[photolithography]]), and business, as well as its more direct uses for art, film and video production, recreational purposes, hobby, and mass communication.<ref>{{Cite book | title = The Focal Dictionary of Photographic Technologies | last = Spencer | first = D A | year = 1973 | publisher = Focal Press | isbn = 978-0-13-322719-2 | page = 454 }}</ref> Typically, a [[Lens (optics)|lens]] is used to [[focus (optics)|focus]] the light reflected or emitted from objects into a [[real image]] on the light-sensitive surface inside a camera during a timed [[Exposure (photography)|exposure]]. With an electronic image sensor, this produces an [[Charge-coupled device|electrical charge]] at each [[pixel]], which is [[Image processing|electronically processed]] and stored in a [[Image file formats|digital image file]] for subsequent display or processing. The result with [[photographic emulsion]] is an invisible [[latent image]], which is later chemically [[Photographic developer|"developed"]] into a visible image, either [[Negative (photography)|negative]] or [[Positive (photography)|positive]] depending on the purpose of the photographic material and the method of [[photographic processing|processing]]. A negative image on film is traditionally used to photographically create a positive image on a paper base, known as a [[Photographic print|print]], either by using an [[enlarger]] or by [[contact print]]ing. == Etymology == The word "photography" was created from the Greek roots φωτός (''phōtos''), genitive of φῶς (''phōs''), "light"<ref>[http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.04.0057%3Aentry%3Dfa%2Fos φάος] {{Webarchive|url=https://web.archive.org/web/20130525100137/http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.04.0057%3Aentry%3Dfa%2Fos |date=25 May 2013}}, Henry George Liddell, Robert Scott, ''A Greek-English Lexicon'', on Perseus</ref> and γραφή (''graphé'') "representation by means of lines" or "drawing",<ref>[http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.04.0057%3Aentry%3Dgrafh%2F γραφή] {{Webarchive|url=https://web.archive.org/web/20130525061320/http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.04.0057%3Aentry%3Dgrafh%2F |date=25 May 2013}}, Henry George Liddell, Robert Scott, ''A Greek-English Lexicon'', on Perseus</ref> together meaning "drawing with light".<ref>{{OEtymD|photograph}}</ref> Several people may have coined the same new term from these roots independently. [[Hercules Florence]], a French painter and inventor living in Campinas, [[Brazil]], used the French form of the word, ''photographie'', in private notes which a Brazilian historian believes were written in 1834.<ref>{{cite book | title = Hercule Florence: El descubrimiento de la fotografía en Brasil | author = Boris Kossoy | publisher = Instituto Nacional de Antropología e Historia | isbn = 978-968-03-0020-4 | year = 2004 | url = https://books.google.com/books?id=wCoQAAAACAAJ | access-date = 13 December 2015 | archive-url = https://web.archive.org/web/20160428232804/https://books.google.com/books?id=wCoQAAAACAAJ | archive-date = 28 April 2016 | url-status = live }}</ref> This claim is widely reported but is not yet largely recognized internationally. The first use of the word by the Franco-Brazilian inventor became widely known after the research of Boris Kossoy in 1980.<ref>{{cite book | title = Hercule Florence: a descoberta isolada da fotografia no Brasil | author = Boris Kossoy | publisher = São Paulo: Duas Cidades | year = 1980 | url = https://books.google.com/books/about/Hercule_Florence.html?id=7k_pK4m0D8gC&source=kp_book_description&redir_esc=y }}</ref> The German newspaper ''Vossische Zeitung'' of 25 February 1839 contained an article entitled ''Photographie'', discussing several priority claims – especially [[Henry Fox Talbot]]'s – regarding Daguerre's claim of invention.<ref>{{cite web | accessdate = 2019-06-25 | title = Photophys.com: The Science of Photography: Appreciation through Understanding | url = https://photophys.com/photophys/entry/who-first-used-the-word | website = photophys.com | archive-url = https://web.archive.org/web/20170118165646/http://photophys.com/photophys/entry/who-first-used-the-word | archive-date = 18 January 2017 | url-status = live }}</ref> The article is the earliest known occurrence of the word in public print.<ref>{{cite book | last1 = Mathur | first1 = P, K & S | title = Developments and Changes in Science Based Technologies | publisher = Partridge Publishing | date = 6 Mar 2014 | page = 50 | url = https://books.google.com.au/books?id=2mCEAwAAQBAJ&pg=PA50#v=onepage&q&f=false | accessdate = 25 June 2019 }}</ref> It was signed "J.M.", believed to have been Berlin astronomer [[Johann von Maedler]].<ref name="Eder">{{Cite book | last = Eder | first = J.M. | title = History of Photography, 4th. edition | trans-title = Geschichte der Photographie | year = 1945 | origyear = 1932 | publisher = Dover Publications, Inc. | location = New York | pages = 258–59 | isbn = 978-0-486-23586-8 }}</ref> The astronomer Sir [[John Herschel]] is also credited with coining the word, independent of Talbot, in 1839.<ref>{{Cite web | url = http://www.getty.edu/art/collection/artists/1881/sir-john-frederick-william-herschel-british-1792-1871/ | title = Sir John Frederick William Herschel (British, 1792–1871) (Getty Museum) | website = The J. Paul Getty in Los Angeles | language = en | access-date = 2019-06-20 | archive-url = https://web.archive.org/web/20181001010705/http://www.getty.edu/art/collection/artists/1881/sir-john-frederick-william-herschel-british-1792-1871/ | archive-date = 1 October 2018 | url-status = live }}</ref> The inventors [[Nicéphore Niépce]], Henry Fox Talbot and [[Louis Daguerre]] 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).<ref name="Eder" /> == History == {{Main|History of photography|Timeline of photography technology}} {{See also|History of the camera}} === Precursor technologies === [[File:Camera obscura box.jpg|thumb|A camera obscura used for drawing]] Photography is the result of combining several technical discoveries, relating to seeing an image and capturing the image. The discovery of the [[camera obscura]] ("dark chamber" in [[Latin]]) that provides an image of a scene dates back to [[History of Science and Technology in China|ancient China]]. Greek mathematicians [[Aristotle]] and [[Euclid]] independently described a camera obscura in the 5th and 4th centuries BCE.<ref>Campbell, Jan (2005) ''[https://books.google.com/books?id=lOEqvkmSxhsC&pg=PA114 Film and cinema spectatorship: melodrama and mimesis] {{Webarchive|url=https://web.archive.org/web/20160429011743/https://books.google.com/books?id=lOEqvkmSxhsC&pg=PA114 |date=29 April 2016}}''. Polity. p. 114. {{ISBN|0-7456-2930-X}}</ref><ref name="Krebs">{{Cite book | title = Groundbreaking Scientific Experiments, Inventions, and Discoveries of the Middle Ages and the Renaissance | author = Krebs, Robert E. | publisher = Greenwood Publishing Group | year = 2004 | isbn = 978-0-313-32433-8 | url = https://books.google.com/?id=MTXdplfiz-cC&pg=PA20 | page = 20 }}</ref> In the 6th century CE, Byzantine mathematician [[Anthemius of Tralles]] used a type of camera obscura in his experiments.<ref>[[Alistair Cameron Crombie|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}}</ref> The [[Physics in the medieval Islamic world|Arab physicist]] [[Ibn al-Haytham]] (Alhazen) (965–1040) also invented a camera obscura as well as the first true [[pinhole camera]].<ref name="Krebs" /><ref>{{Cite journal | author1 = Wade, Nicholas J. | author2 = Finger, Stanley | year = 2001 | title = The eye as an optical instrument: from camera obscura to Helmholtz's perspective | journal = Perception | volume = 30 | issue = 10 | pages = 1157–77 | doi = 10.1068/p3210 | pmid = 11721819 }}</ref><ref name="Plott">{{cite book | url = https://books.google.com/books?id=ErMRGiNcxJIC&pg=PA460 | title = Global History of Philosophy: The Period of scholasticism (part one) | last = Plott | first = John C. | year = 1984 | isbn = 978-0-89581-678-8 | page = 460 | quote = 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. }}</ref> The invention of the camera has been traced back to the work of Ibn al-Haytham.<ref name="Belbachir">{{cite book | last1 = Belbachir | first1 = Ahmed Nabil | title = Smart Cameras | date = 2009 | publisher = Springer Science & Business Media | isbn = 978-1-4419-0953-4 | url = https://books.google.com/books?id=it5W3f7yqAgC&pg=PR5 | quote = 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 }}</ref> While the effects of a single light passing through a pinhole had been described earlier,<ref name="Belbachir" /> Ibn al-Haytham gave the first correct analysis of the camera obscura,<ref>{{Citation | last = Wade | first = Nicholas J. | title = The eye as an optical instrument: from camera obscura to Helmholtz's perspective | date = 2001 | last2 = Finger | first2 = Stanley | journal = Perception | volume = 30 | issue = 10 | pages = 1157–1177 | doi = 10.1068/p3210 | pmid = 11721819 | quote = The principles of the camera obscura first began to be correctly analysed in the eleventh century, when they were outlined by Ibn al-Haytham. }}</ref> including the first geometrical and quantitative descriptions of the phenomenon,<ref>{{cite book |url = https://monoskop.org/images/7/70/Needham_Joseph_Science_and_Civilisation_in_China_Vol_4-1_Physics_and_Physical_Technology_Physics.pdf |title = Science and Civilization in China, vol. IV, part 1: Physics and Physical Technology |last = Needham |first = Joseph |access-date = 5 September 2016 |archive-url = 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 |archive-date = 3 July 2017 |url-status = dead |page = 98 |quote = 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. }}</ref> 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.<ref>{{cite web | title = Who Invented Camera Obscura? | url = http://www.photographyhistoryfacts.com/photography-development-history/camera-obscura-history/ | website = Photography History Facts | quote = 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. }}</ref> He also first understood the relationship between the [[Focus (optics)|focal point]] and the pinhole,<ref>{{cite book |url = https://monoskop.org/images/7/70/Needham_Joseph_Science_and_Civilisation_in_China_Vol_4-1_Physics_and_Physical_Technology_Physics.pdf |title = Science and Civilization in China, vol. IV, part 1: Physics and Physical Technology |last = Needham |first = Joseph |access-date = 5 September 2016 |archive-url = 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 |archive-date = 3 July 2017 |url-status = dead |page = 99 |quote = 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. }}</ref> and performed early experiments with [[afterimage]]s, laying the foundations for the invention of photography in the 19th century.<ref name="Plott" /> [[Leonardo da Vinci]] mentions natural camera obscura 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. [[Renaissance]] painters used the camera obscura which, in fact, gives the optical rendering in color that dominates Western Art. It is a box with a hole in it which allows light to go through and create an image onto the piece of paper. The birth of photography was then concerned with inventing means to capture and keep the image produced by the camera obscura. [[Albertus Magnus]] (1193–1280) discovered [[silver nitrate]],<ref>{{cite web | last = Davidson | first = Michael W | publisher = National High Magnetic Field Laboratory at The Florida State University | website = Molecular Expressions: Science, Optics and You | title = Albertus Magnus | date = 13 November 2015 | url = http://micro.magnet.fsu.edu/optics/timeline/people/magnus.html | accessdate = | url-status = live | archiveurl = https://web.archive.org/web/20151222121436/http://micro.magnet.fsu.edu/optics/timeline/people/magnus.html | archivedate = 22 December 2015 | df = }}</ref> and [[Georg Fabricius]] (1516–1571) discovered [[silver chloride]],<ref>Potonniée, Georges (1973). ''The history of the discovery of photography''. Arno Press. p. 50. {{ISBN|0-405-04929-3}}</ref> and the techniques described in [[Ibn al-Haytham]]'s [[Book of Optics]] are capable of producing primitive photographs using medieval materials.<ref>{{cite journal | author = Allen, Nicholas P.L. | year = 1994 | title = A reappraisal of late thirteenth-century responses to the Shroud of Lirey-Chambéry-Turin: encolpia of the Eucharist, vera eikon or supreme relic? | journal = The Southern African Journal of Medieval and Renaissance Studies | volume = 4 | issue = 1 | pages = 62–94 }}</ref><ref>Allen, Nicholas P.L. [https://web.archive.org/web/20070810183016/http://www.unisa.ac.za/Default.asp?Cmd=ViewContent&ContentID=7268 "Verification of the Nature and Causes of the Photo-negative Images on the Shroud of Lirey-Chambéry-Turin"]. unisa.ac.za</ref> [[Daniele Barbaro]] described a [[Diaphragm (optics)|diaphragm]] in 1566.<ref name="Gernsheim">[[Helmut Gernsheim|Gernsheim, Helmut]] (1986). ''[https://books.google.com/books?id=GDSRJQ3BZ5EC&pg=PA3 A concise history of photography] {{Webarchive|url=https://web.archive.org/web/20160429080916/https://books.google.com/books?id=GDSRJQ3BZ5EC&pg=PA3 |date=29 April 2016}}''. Courier Dover Publications. pp. 3–4. {{ISBN|0-486-25128-4}}</ref> [[Wilhelm Homberg]] described how light darkened some chemicals (photochemical effect) in 1694.<ref>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.</ref> The fiction book ''[[Giphantie]]'', published in 1760, by French author [[Tiphaigne de la Roche]], described what can be interpreted as photography.<ref name="Gernsheim" /> Around the year 1800, [[United Kingdom of Great Britain and Ireland|British]] inventor [[Thomas Wedgwood (photographer)|Thomas Wedgwood]] made the first known attempt to capture the image in a camera obscura by means of a light-sensitive substance. He used paper or white leather treated with [[silver nitrate]]. 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.<ref>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 [https://archive.org/details/tomwedgwoodfirst00litcrich via archive.org] {{Webarchive|url=https://web.archive.org/web/20151007125801/https://archive.org/details/tomwedgwoodfirst00litcrich |date=7 October 2015}}).</ref> === Invention === [[File:Nicéphore Niépce Oldest Photograph 1825.jpg|thumb|left|upright=1.1|Earliest known surviving heliographic engraving, 1825, printed from a metal plate made by [[Nicéphore Niépce]].<ref name="UTexas">{{cite web |title = The First Photograph – Heliography |url = http://www.hrc.utexas.edu/exhibitions/permanent/wfp/heliography.html |quote = 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. |accessdate = 29 September 2009 |archive-url = https://web.archive.org/web/20091006135924/http://www.hrc.utexas.edu/exhibitions/permanent/wfp/heliography.html |archive-date = 6 October 2009 |url-status = dead }}</ref> The plate was exposed under an ordinary engraving and copied it by photographic means. This was a step towards the first permanent photograph taken with a camera.]] The first permanent [[photoetching]] was an image produced in 1822 by the French inventor [[Nicéphore Niépce]], but it was destroyed in a later attempt to make prints from it.<ref name="UTexas" /> Niépce was successful again in 1825. In 1826 or 1827, he made the ''[[View from the Window at Le Gras]]'', the earliest surviving photograph from nature (i.e., of the image of a real-world scene, as formed in a [[camera obscura]] by a [[lens (optics)|lens]]).<ref>{{cite book | author = Hirsch, Robert | title = Seizing the light: a history of photography | url = https://books.google.com/books?id=vftTAAAAMAAJ | year = 1999 | publisher = McGraw-Hill | isbn = 978-0-697-14361-7 | access-date = 13 December 2015 | archive-url = https://web.archive.org/web/20160429023604/https://books.google.com/books?id=vftTAAAAMAAJ | archive-date = 29 April 2016 | url-status = live }}</ref> [[File:View_from_the_Window_at_Le_Gras_colorized_2020_new.png|thumb|396x396px|''[[View from the Window at Le Gras]]'', 1826 or 1827, the earliest surviving camera photograph. Original plate (left) & [[Film colorization|colorized]] reoriented enhancement (right).]] Because Niépce's camera photographs required an extremely long [[exposure (photography)|exposure]] (at least eight hours and probably several days), he sought to greatly improve his [[Bitumen of Judea|bitumen]] process or replace it with one that was more practical. In partnership with [[Louis Daguerre]], 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. Niépce died in 1833 and Daguerre then redirected the experiments toward the light-sensitive [[silver halide]]s, 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 [[daguerreotype]] process. The essential elements—a silver-plated surface sensitized by [[iodine]] vapor, developed by [[Mercury (element)|mercury]] vapor, and "fixed" with hot saturated [[sodium chloride|salt]] 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 [[Robert Cornelius]] is credited with taking the earliest surviving photographic self-portrait. [[File:Latticed window at lacock abbey 1835.jpg|thumb|upright|left|A latticed window in [[Lacock Abbey]], England, photographed by [[William Fox Talbot]] in 1835. Shown here in positive form, this may be the oldest extant photographic negative made in a camera.]] In Brazil, [[Hercules Florence]] had apparently started working out a silver-salt-based paper process in 1832, later naming it ''Photographie''. Meanwhile, a [[United Kingdom of Great Britain and Ireland|British]] inventor, [[William Fox Talbot]], had succeeded in making crude but reasonably light-fast silver images on paper as early as 1834 but had kept his work secret. After reading about Daguerre's invention in January 1839, Talbot published his hitherto secret method and set about improving on it. At first, like other pre-daguerreotype processes, Talbot's paper-based photography typically required hours-long exposures in the camera, but in 1840 he created the [[calotype]] process, which used the [[photographic processing|chemical development]] of a [[latent image]] 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 [[negative (photography)|negative]] 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.<ref>[https://www.bbc.co.uk/history/historic_figures/fox_talbot_william_henry.shtml William Henry Fox Talbot (1800–1877)] {{Webarchive|url=https://web.archive.org/web/20101003154557/http://www.bbc.co.uk/history/historic_figures/fox_talbot_william_henry.shtml |date=3 October 2010}}. [[BBC]]</ref> Talbot's famous tiny paper negative of the Oriel window in [[Lacock Abbey]], one of a number of camera photographs he made in the summer of 1835, may be the oldest camera negative in existence.<ref>Feldman, Anthony and Ford, Peter (1989) ''Scientists & inventors''. Bloomsbury Books, p. 128, {{ISBN|1-870630-23-8}}.</ref><ref>Fox Talbot, William Henry and Jammes, André (1973) ''William H. Fox Talbot, inventor of the negative-positive process'', Macmillan, p. 95.</ref> In France, [[Hippolyte Bayard]] invented his own process for producing direct positive paper prints and claimed to have invented photography earlier than Daguerre or Talbot.<ref>{{Cite web | url = http://www.getty.edu/art/gettyguide/artMakerDetails?maker=1876 | title = Hippolyte Bayard (French, 1801–1887) (Getty Museum) | access-date = 21 April 2019 | archive-url = https://web.archive.org/web/20131024055944/http://www.getty.edu/art/gettyguide/artMakerDetails?maker=1876 | archive-date = 24 October 2013 | url-status = dead }}</ref> British chemist [[John Herschel]] made many contributions to the new field. He invented the [[cyanotype]] process, later familiar as the "blueprint". He was the first to use the terms "photography", "negative" and "positive". He had discovered in 1819 that [[sodium thiosulphate]] 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 [[glass negative]] in late 1839. <!--[[File:Daguerreotype tintype photographer model studio table brady stand cast iron portrait photos.jpg|right|thumb|Mid-19th-century "Brady stand" photo model's armrest table, meant to keep portrait models still during long exposure times (studio equipment nicknamed after the famed US photographer, [[Mathew Brady]]).]] – remove, not mentioned in body--> In the March 1851 issue of ''The Chemist'', [[Frederick Scott Archer]] published his wet plate [[collodion process]]. 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 [[Ambrotype]] (a positive image on glass), the [[Ferrotype]] or Tintype (a positive image on metal) and the glass negative, which was used to make positive prints on [[albumen]] or salted paper. Many advances in [[Photographic plate|photographic glass plates]] and printing were made during the rest of the 19th century. In 1891, [[Gabriel Lippmann]] introduced a process for making natural-color photographs based on the optical phenomenon of the [[Interference (wave propagation)|interference]] of light waves. His scientifically elegant and important but ultimately impractical invention earned him the Nobel Prize in Physics in 1908. 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 [[astrophotography]], continued into the 1990s, and in the niche field of laser [[holography]], it has persisted into the 2010s. === Film === {{Main|Photographic film}} [[File:undeveloped film.png|thumb|upright=1.6|right|Undeveloped Arista black-and-white film, [[Film speed|ISO]] 125/22°]] [[Hurter and Driffield]] began pioneering work on the [[sensitometry|light sensitivity]] of photographic emulsions in 1876. Their work enabled the first quantitative measure of film speed to be devised. The first flexible photographic roll film was marketed by [[Eastman Kodak|George Eastman]], founder of [[Kodak]] 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.<!--am leaving this date untouched, but it is a matter of some controversy--> It was made from highly flammable [[nitrocellulose#Film|nitrocellulose]] known as nitrate film. Although [[cellulose acetate]] or "[[safety film]]" had been introduced by Kodak in 1908,<ref>[http://www.kodak.com/global/en/corp/historyOfKodak/1878.jhtml History of Kodak, Milestones-chronology: 1878–1929] {{Webarchive|url=https://web.archive.org/web/20120210123011/http://www.kodak.com/global/en/corp/historyOfKodak/1878.jhtml |date=10 February 2012}}. kodak.com</ref> 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 [[X-ray]] films until 1933, and although safety film was always used for 16&nbsp;mm and 8&nbsp;mm home movies, nitrate film remained standard for theatrical 35&nbsp;mm motion pictures until it was finally discontinued in 1951. Films remained the dominant form of photography until the early 21st century when advances in digital photography drew consumers to digital formats.<ref>{{cite book | last = Peres | first = Michael R. | title = The Concise Focal Encyclopedia of Photography: from the first photo on paper to the digital revolution | date = 2008 | publisher = Focal Press/Elsevier | location = Burlington, MA | isbn = 978-0-240-80998-4 | page = 75 }}</ref> 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)<ref>{{cite web | url = http://www.dpreview.com/forums/post/8473695 | title = H&D curve of film vs digital | accessdate = | date = 19 April 2004 | website = Digital Photography Review | format = Forum Discussion | archive-url = https://web.archive.org/web/20150923223829/http://www.dpreview.com/forums/post/8473695 | archive-date = 23 September 2015 | url-status = live }}</ref> (2) resolution and (3) continuity of tone.<ref>{{cite book | last1 = Jacobson | first1 = Ralph E. | title = The Focal Manual of Photography: photographic and digital imaging | date = 2000 | publisher = Focal Press | location = Boston, MA | isbn = 978-0-240-51574-8 | edition = 9th | url-access = registration | url = https://archive.org/details/digitalvideocame00pete }}</ref> === Black-and-white === {{Main|Monochrome photography}} [[File:Dark room.jpg|thumb|A photographic [[darkroom]] with [[safelight]]]] Originally, all photography was monochrome, or ''[[black-and-white]]''. Even after color film was readily available, black-and-white photography continued to dominate for decades, due to its lower cost, chemical stability, and its "classic" photographic look. The tones and contrast between light and dark areas define black-and-white photography.<ref>{{cite journal | title = Black & White Photography | journal = PSA Journal | volume = 77 | issue = 12 | year = 2011 | pages = 38–40 }}</ref> It is important to note that monochromatic pictures are not necessarily composed of pure blacks, whites, and intermediate shades of gray but can involve shades of one particular [[hue]] depending on the process. The [[cyanotype]] process, for example, produces an image composed of blue tones. The [[albumen print]] process first used more than {{rounddown|{{age|format=raw|1847|1|1}}|-1}} years ago, produces brownish tones. Many photographers 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 digital cameras have an option to shoot in monochrome, and almost all image editing software can combine or selectively discard [[RGB color model|RGB]] color channels to produce a monochrome image from one shot in color. === Color === {{Main|Color photography}} [[File:Tartan Ribbon.jpg|thumb|The first [[color photograph]] made by the three-color method suggested by [[James Clerk Maxwell]] in 1855, taken in 1861 by [[Thomas Sutton (photographer)|Thomas Sutton]]. The subject is a colored, [[tartan]] patterned ribbon.]] [[Color photography]] 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. The first permanent color photograph was taken in 1861 using the three-color-separation principle first published by Scottish physicist [[James Clerk Maxwell]] in 1855.<ref name="King's College">{{cite news | title = 1861: James Clerk Maxwell's greatest year | url = https://www.kcl.ac.uk/newsevents/news/newsrecords/2011/04Apr/JamesClerkMaxwell.aspx | publisher = King's College London | date = 3 January 2017 | access-date = 3 January 2017 | archive-url = https://web.archive.org/web/20170104000418/https://www.kcl.ac.uk/newsevents/news/newsrecords/2011/04Apr/JamesClerkMaxwell.aspx | archive-date = 4 January 2017 | url-status = live }}</ref><ref name="Maxwell">{{cite news | title = From Charles Mackintosh's waterproof to Dolly the sheep: 43 innovations Scotland has given the world | url = https://www.independent.co.uk/news/uk/home-news/charles-mackintosh-chemist-waterproof-google-doodle-scotland-inventions-innovation-bicycles-a7499911.html | publisher = The independent | date = 2 January 2016 | access-date = 2 December 2017 | archive-url = https://web.archive.org/web/20171002171029/https://www.independent.co.uk/news/uk/home-news/charles-mackintosh-chemist-waterproof-google-doodle-scotland-inventions-innovation-bicycles-a7499911.html | archive-date = 2 October 2017 | url-status = live }}</ref> 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 [[filter (photography)|filters]].<ref name="King's College" /><ref name="Maxwell" /> This provides the photographer with the three basic channels required to recreate a color image. Transparent prints of the images could be projected through similar color filters and superimposed on the projection screen, an [[additive color|additive method]] of color reproduction. A color print on paper could be produced by superimposing [[carbon print]]s of the three images made in their [[complementary color]]s, a [[subtractive color|subtractive method]] of color reproduction pioneered by [[Louis Ducos du Hauron]] in the late 1860s. [[File:Colonel William Willoughby Verner, Sanger Shepherd process, by Sarah Acland 1903.png|thumb|left|Color photography was possible long before [[Kodachrome]], as this 1903 portrait by [[Sarah Angelina Acland]] demonstrates, but in its earliest years, the need for special equipment, long exposures, and complicated printing processes made it extremely rare.]] Russian photographer [[Sergei Mikhailovich Prokudin-Gorskii]] made extensive use of this color separation technique, employing a special camera which successively exposed the three color-filtered images on different parts of an oblong [[photographic plate|plate]]. Because his exposures were not simultaneous, unsteady subjects exhibited color "fringes" or, if rapidly moving through the scene, appeared as brightly colored ghosts in the resulting projected or printed images. 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 [[Hermann W. Vogel|Hermann Vogel]] in 1873 suddenly made it possible to add sensitivity to green, yellow and even red. Improved color sensitizers and ongoing improvements in the overall sensitivity of [[Photographic emulsion|emulsions]] steadily reduced the once-prohibitive long exposure times required for color, bringing it ever closer to commercial viability. [[Autochrome]], the first commercially successful color process, was introduced by the [[Auguste and Louis Lumière|Lumière brothers]] in 1907. Autochrome [[photographic plate|plates]] incorporated a [[mosaic]] color filter layer made of dyed grains of [[potato starch]], which allowed the three color components to be recorded as adjacent microscopic image fragments. After an Autochrome plate was [[reversal film|reversal processed]] to produce a positive [[reversal film|transparency]], the starch grains served to illuminate each fragment with the correct color and the tiny colored points blended together in the eye, synthesizing the color of the subject by the [[additive color|additive method]]. Autochrome plates were one of several varieties of additive color screen plates and films marketed between the 1890s and the 1950s. [[Kodachrome]], the first modern "integral tripack" (or "monopack") color film, was introduced by [[Kodak]] in 1935. It captured the three color components in a multi-layer [[Photographic emulsion|emulsion]]. One layer was sensitized to record the red-dominated part of the [[visible spectrum|spectrum]], another layer recorded only the green part and a third recorded only the blue. Without special [[film processing]], the result would simply be three superimposed black-and-white images, but [[complementary color|complementary]] cyan, magenta, and yellow dye images were created in those layers by adding [[color coupler]]s during a complex processing procedure. [[Agfa-Gevaert|Agfa's]] similarly structured [[Agfacolor]] Neu was introduced in 1936. Unlike Kodachrome, the color couplers in Agfacolor Neu were incorporated into the emulsion layers during manufacture, which greatly simplified the processing. Currently, available color films still employ a multi-layer emulsion and the same principles, most closely resembling Agfa's product. [[Instant film|Instant color film]], used in a special camera which yielded a unique finished color print only a minute or two after the exposure, was introduced by [[Polaroid Corporation|Polaroid]] in 1963. Color photography may form images as positive transparencies, which can be used in a [[slide projector]], or as color negatives intended for use in creating positive color enlargements on specially coated paper. The latter is now the most common form of film (non-digital) color photography owing to the introduction of automated 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". === Digital === {{Main|Digital photography}} {{See also|Digital camera}} [[File:Early digital!.jpg|thumb|201x201px|Kodak DCS 100, based on a [[Nikon F3]] body with Digital Storage Unit]] In 1981, [[Sony]] unveiled the first consumer camera to use a [[charge-coupled device]] for imaging, eliminating the need for film: the [[Sony Mavica]]. While the Mavica saved images to disk, the images were displayed on television, and the camera was not fully digital. The first digital camera to both record and save images in a digital format was the Fujix DS-1P created by Fujfilm in 1988.<ref>https://www.fujifilm.com/innovation/achievements/ds-1p/</ref> https://www.fujifilm.com/innovation/achievements/ds-1p/ In 1991, Kodak unveiled the [[DCS 100]], the first commercially available digital single lens reflex camera. Although its high cost precluded uses other than [[photojournalism]] and professional photography, commercial [[digital photography]] was born. Digital imaging uses an electronic [[image sensor]] to record the image as a set of electronic data rather than as chemical changes on film.<ref>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</ref> An important difference between digital and chemical photography is that chemical photography resists [[photo manipulation]] because it involves [[photographic film|film]] and [[photographic paper]], while digital imaging is a highly manipulative medium. This difference allows for a degree of image post-processing that is comparatively difficult in film-based photography and permits different communicative potentials and applications. [[File:Smartphone photography.jpg|thumb|left|Photography on a smartphone]] Digital photography dominates the 21st century. More than 99% of photographs taken around the world are through digital cameras, increasingly through smartphones. === Synthesis === Synthesis photography is part of [[computer-generated imagery]] (CGI) where the shooting process is modeled on real photography. The CGI, creating digital copies of real universe, requires a visual representation process of these universes. Synthesis photography is the application of [[Analog photography|analog]] and [[digital photography]] in digital space. With the characteristics of the real photography but not being constrained by the physical limits of real world, synthesis photography allows artists to move into areas beyond the grasp of real photography.<ref>{{cite conference | url = http://www.zhongart.com/marcol/premier/photoA_files/synthesis%20photography%20and%20architecture.html | title = Synthesis photography and architecture | last1 = Paux | first1 = Marc-Olivier | date = 1 February 2011 | conference = [[Imagina]] | location = Monaco | url-status = dead | archiveurl = https://web.archive.org/web/20150402092825/http://www.zhongart.com/marcol/premier/photoA_files/synthesis%20photography%20and%20architecture.html | archivedate = 2 April 2015 | df = dmy-all }}</ref> == Techniques == [[File:San Francisco brutalism.jpg|thumb|Angles such as vertical, horizontal, or as pictured here diagonal are considered important photographic techniques]] A large variety of photographic techniques and media are used in the process of capturing images for photography. These include the camera; stereoscopy; dualphotography; full-spectrum, ultraviolet and infrared media; light field photography; and other imaging techniques. === Cameras === {{Main|Camera}} The camera is the image-forming device, and a [[photographic plate]], [[photographic film]] or a [[silicon]] electronic [[image sensor]] is the capture medium. The respective recording medium can be the plate or film itself, or a digital magnetic or electronic memory.<ref>{{cite web | url = http://www.dpreview.com/learn/?/glossary/ | title = Glossary: Digital Photography Review | publisher = Dpreview.com | accessdate = 24 June 2013 | archive-url = https://web.archive.org/web/20130118033153/http://www.dpreview.com/learn/?%2Fglossary%2F | archive-date = 18 January 2013 | url-status = dead }}</ref> Photographers control the camera and lens to "expose" the light recording material to the required amount of light to form a "[[latent image]]" (on plate or film) or [[RAW file]] (in digital cameras) which, after appropriate processing, is converted to a usable image. [[Digital photography|Digital cameras]] use an electronic image sensor based on light-sensitive electronics such as [[charge-coupled device]] (CCD) or [[complementary metal-oxide-semiconductor]] (CMOS) technology. The resulting digital image is stored electronically, but can be reproduced on a paper. The camera (or '[[camera obscura]]') is a dark room or chamber from which, as far as possible, all light is excluded except the light that forms the image. 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 [[Process camera]]). As soon as photographic materials became "fast" (sensitive) enough for taking [[Candid photography|candid]] or surreptitious pictures, small "detective" cameras were made, some actually disguised as a book or handbag or pocket watch (the ''Ticka'' camera) or even worn hidden behind an [[Ascot tie|Ascot]] necktie with a tie pin that was really the lens. The [[movie camera]] is a type of photographic camera which 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.<ref>{{cite journal | url = http://www.uca.edu/org/ccsmi/ccsmi/classicwork/Myth%20Revisited.htm | author1 = Anderson, Joseph | author2 = Anderson, Barbara | title = The Myth of Persistence of Vision Revisited | journal = Journal of Film and Video | volume = 45 | issue = 1 | date = Spring 1993 | pages = 3–12 | url-status = dead | archiveurl = https://web.archive.org/web/20091124182503/http://www.uca.edu/org/ccsmi/ccsmi/classicwork/Myth%20Revisited.htm | archivedate = 24 November 2009 }}</ref> === Stereoscopic === {{Main|Stereoscopy}} 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.<ref>{{cite journal | author = Belisle, Brooke | url = https://www.academia.edu/4450652 | title = The Dimensional Image: Overlaps In Stereoscopic, Cinematic, And Digital Depth | journal = Film Criticism | volume = 37/38 | issue = 3/1 | pages = 117–37 | year = 2013 }}</ref> 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). === Dualphotography === {{Main|Dualphotography}} [[File:1485016840 IMG 7518.JPG larger.jpg|thumb|An example of a dualphoto using a smartphone based app]] 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.<ref>{{cite news | title = An introduction to Dualphotography | first = Tristan | last = Zand | url = https://medium.com/dualphoto/an-introduction-to-dualphotography-b17f02049bbf | publisher = Medium.com | work = Dual.Photo | date = 8 April 2017 | access-date = 15 April 2017 | archive-url = https://web.archive.org/web/20170416044530/https://medium.com/dualphoto/an-introduction-to-dualphotography-b17f02049bbf | archive-date = 16 April 2017 | url-status = live }}</ref> === Full-spectrum, ultraviolet and infrared === {{Main|Full spectrum photography}} [[File:Saturn's Rings in Ultraviolet Light.png|thumb|This image of the [[rings of Saturn]] is an example of the application of [[ultraviolet photography]] in [[ultraviolet astronomy|astronomy]]]] [[Ultraviolet photography|Ultraviolet]] and [[infrared photography|infrared]] films have been available for many decades and employed in a variety of photographic avenues since the 1960s. New technological trends in digital photography have opened a new direction in [[full spectrum photography]], where careful filtering choices across the ultraviolet, visible and infrared lead to new artistic visions. Modified digital cameras can detect some ultraviolet, all of the visible and much of the near infrared spectrum, as most digital imaging sensors are sensitive from about 350&nbsp;nm to 1000&nbsp;nm. An off-the-shelf digital camera contains an infrared [[hot mirror]] filter that blocks most of the infrared and a bit of the ultraviolet that would otherwise be detected by the sensor, narrowing the accepted range from about 400&nbsp;nm to 700&nbsp;nm.<ref>Twede, David. [https://web.archive.org/web/20120215235949/http://surrealcolor.110mb.com/IR_explained_web/IR_explained.htm#CamColor Introduction to Full-Spectrum and Infrared photography]. surrealcolor.110mb.com</ref> Replacing a hot mirror or infrared blocking filter with an infrared pass or a wide spectrally transmitting filter allows the camera to detect the wider spectrum light at greater sensitivity. Without the hot-mirror, the red, green and blue (or cyan, yellow and magenta) colored micro-filters placed over the sensor elements pass varying amounts of ultraviolet (blue window) and infrared (primarily red and somewhat lesser the green and blue micro-filters). Uses of full spectrum photography are for [[fine art photography]], [[Remote sensing#Geodetic|geology]], [[History of forensic photography|forensics]] and law enforcement. === Light field === {{See also|Light-field camera}} 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 ''after'' the photograph has been captured.<ref>[[Ren Ng|Ng, Ren]] (July 2006) [https://web.archive.org/web/20120916121457/http://www.lytro.com/renng-thesis.pdf Digital Light Field Photography]. PhD Thesis, Stanford University</ref> As explained by [[Michael Faraday]] in 1846, the "[[light field]]" 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. These additional vector attributes can be captured optically through the use of microlenses 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. [[File:Müürlooga (Arabidopsis thaliana) lehekarv (trihhoom) 311 0804.JPG|thumb|Devices other than cameras can be used to record images. [[Trichome]] of ''[[Arabidopsis thaliana]]'' seen via [[scanning electron microscope]]. Note that image has been [[Image editing|edited]] by adding colors to clarify structure or to add an aesthetic effect. Heiti Paves from [[Tallinn University of Technology]].]] === Other === Besides the camera, other methods of forming images with light are available. For instance, a [[photocopy]] or [[xerography]] machine forms permanent images but uses the transfer of static [[Electric charge|electrical charges]] rather than photographic medium, hence the term [[electrophotography]]. [[Photogram]]s are images produced by the shadows of objects cast on the photographic paper, without the use of a camera. Objects can also be placed directly on the glass of an [[image scanner]] to produce digital pictures. == Types of photography == ===Amateur=== <!-- "Amateur photography" redirects here. --> An amateur photographer is one who practices photography as a [[hobby]]/[[Passion (emotion)|passion]] and not necessarily for profit. The quality of some amateur work is comparable to that of many professionals and may be highly specialized or [[Eclecticism in art|eclectic]] in choice of subjects. Amateur photography is often pre-eminent in photographic subjects which have little prospect of commercial use or reward. Example of Amteur Creative Photography:[[https://oyebesmartest.com/s/photography-shoot-ideas]]. Amateur photography grew during the late 19th century due to the popularization of the hand-held camera.<ref>{{Cite journal | doi = 10.1080/03087298.2011.606727 | title = Home Portraiture | journal = History of Photography | volume = 35 | issue = 4 | pages = 374–87 | year = 2011 | last1 = Peterson | first1 = C.A. }}</ref> Nowadays it has spread widely through social media and is carried out throughout different platforms and equipment, switching to the use of cell phone. Good pictures can now be taken with a cell phone which is a key tool for making photography more accessible to everyone. <ref>{{Cite web | url = https://www.listdorm.com/2018/09/how-to-take-good-pictures-with-your.html?m=1 | title = How To Take Good Pictures With Your Phone | last = Oloruntimilehin | first = Israel | date = 17 September 2018 | website = List Dorm | archive-url = https://web.archive.org/web/20181016203256/https://www.listdorm.com/2018/09/how-to-take-good-pictures-with-your.html?m=1 | archive-date = 16 October 2018 | url-status = live | access-date = }}</ref> === Commercial === {{Prose|section|date=January 2019}} Commercial photography is probably best defined as any photography for which the photographer is paid for [[image]]s rather than [[works of art]]. In this light, money could be paid for the subject of the photograph or the photograph itself. Wholesale, retail, and professional uses of photography would fall under this definition. The commercial photographic world could include: * Advertising photography: photographs made to illustrate and usually sell a service or product. These images, such as [[packshot]]s, are generally done with an [[advertising agency]], [[design firm]] or with an in-house corporate design team. * Fashion and glamour photography usually incorporates [[photographic model|models]] and is a form of advertising photography. [[Fashion photography]], like the work featured in ''[[Harper's Bazaar]]'', emphasizes clothes and other products; glamour emphasizes the model and body form. Glamour photography is popular in advertising and [[men's magazine]]s. Models in [[glamour photography]] sometimes work [[Nude photography|nude]]. * [[360 product photography]] 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. * [[Concert photography]] 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. * [[Crime scene photography]] consists of photographing scenes of crime such as robberies and murders. A black and white camera or an [[infrared camera]] may be used to capture specific details. * [[Still life photography]] usually depicts inanimate subject matter, typically commonplace objects which may be either natural or man-made. Still life is a broader category for food and some natural photography and can be used for advertising purposes. * 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 [[High-dynamic-range imaging]] photography. [[File:Cheese and Tomatoes.jpg|thumb|right|Example of a studio-made food photograph.]] * [[Food photography]] can be used for editorial, packaging or advertising use. Food photography is similar to still life photography but requires some special skills. * [[Photojournalism]] can be considered a subset of editorial photography. Photographs made in this context are accepted as a documentation of a news story. * [[Paparazzi]] is a form of photojournalism in which the photographer captures candid images of athletes, celebrities, politicians, and other prominent people. * [[Portrait photography|Portrait]] and [[wedding photography]]: photographs made and sold directly to the end user of the images. * [[Landscape photography]] depicts locations. * [[Wildlife photography]] demonstrates the life of animals. === Art === [[File:Alfred Stieglitz - The Steerage - Google Art Project.jpg|thumb|right|Classic [[Alfred Stieglitz]] photograph, ''[[The Steerage]]'' shows unique aesthetic of black-and-white photos.]] During the 20th century, both [[fine art photography]] and [[documentary photography]] became accepted by the [[English language|English-speaking]] art world and the [[art gallery|gallery]] system. In the United States, a handful of photographers, including [[Alfred Stieglitz]], [[Edward Steichen]], [[John Szarkowski]], [[F. Holland Day]], and [[Edward Weston]], spent their lives advocating for photography as a fine art. At first, fine art photographers tried to imitate painting styles. This movement is called [[Pictorialism]], often using [[soft focus]] for a dreamy, 'romantic' look. In reaction to that, Weston, [[Ansel Adams]], and others formed the [[Group f/64]] to advocate '[[straight photography]]', the photograph as a (sharply focused) thing in itself and not an imitation of something else. The [[aesthetics]] of photography is a matter that continues to be discussed regularly, especially in artistic circles. Many artists argued that photography was the mechanical reproduction of an image. If photography is authentically art, then photography in the context of art would need redefinition, such as determining what component of a photograph makes it [[beauty|beautiful]] to the viewer. The controversy began with the earliest images "written with light"; [[Nicéphore Niépce]], [[Louis Daguerre]], and others among the very earliest photographers were met with acclaim, but some questioned if their work met the definitions and purposes of art. [[Clive Bell]] in his classic essay ''Art'' states that only "significant form" can distinguish art from what is not art. {{quote|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&nbsp;– significant form. In each, lines and colors combined in a particular way, certain forms and relations of forms, stir our aesthetic emotions.<ref>[[Clive Bell]]. "[http://www.csulb.edu/~jvancamp/361r13.html Art] {{Webarchive|url=https://web.archive.org/web/20040803053644/http://www.csulb.edu/~jvancamp/361r13.html |date=3 August 2004}}", 1914. Retrieved 2 September 2006.</ref>}} On 7 February 2007, Sotheby's London sold the 2001 photograph ''[[99 Cent II Diptychon]]'' for an unprecedented $3,346,456 to an anonymous bidder, making it the most expensive at the time.<ref>{{cite web | archiveurl = https://web.archive.org/web/20070318090710/http://www.popphoto.com/photographynewswire/3911/the-first-3m-photograph.html | title = The first $3M photograph | url = https://www.popphoto.com/photos/2008/12/first-3m-photograph | date = 7 March 2007 | work = PopPhoto | url-status = live | archivedate = 18 March 2007 | first = David | last = Schonauer }}</ref> [[Conceptual photography]] turns a concept or idea into a photograph. Even though what is depicted in the photographs are real objects, the subject is strictly abstract. === Photojournalism === {{Main|Photojournalism}} Photojournalism 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., documentary photography, social documentary photography, [[street photography]] or [[celebrity photography]]) 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. === Science and forensics === [[File:Wootton bridge.jpg|thumb|[[Wootton bridge collapse]] in 1861]] 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 ([[Solar eclipse#Photography|eclipses]] for example), small creatures and plants when the camera was attached to the eyepiece of microscopes (in [[Micrograph|photomicroscopy]]) and for [[macro photography]] of larger specimens. The camera also proved useful in recording [[crime scene]]s and the scenes of accidents, such as the [[Wootton bridge collapse]] in 1861. The methods used in analysing photographs for use in legal cases are collectively known as [[forensic photography]]. Crime scene photos are taken from three vantage point. The vantage points are overview, mid-range, and close-up.<ref>Rohde, R.R. (2000). Crime Photography. PSA Journal, 66(3), 15.</ref> In 1845 [[Francis Ronalds]], the Honorary Director of the [[Kew Observatory]], 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 [[atmospheric pressure]], temperature, [[humidity]], [[atmospheric electricity]], and the three components of [[Earth's magnetic field|geomagnetic forces]]. The cameras were supplied to numerous observatories around the world and some remained in use until well into the 20th century.<ref>{{Cite book | title = Sir Francis Ronalds: Father of the Electric Telegraph | last = Ronalds | first = B.F. | publisher = Imperial College Press | year = 2016 | isbn = 978-1-78326-917-4 | location = London | pages = }}</ref><ref>{{Cite journal | last = Ronalds | first = B.F. | year = 2016 | title = The Beginnings of Continuous Scientific Recording using Photography: Sir Francis Ronalds' Contribution | url = http://www.eshph.org/blog/2016/04/19/1642/ | journal = European Society for the History of Photography | access-date = 2 June 2016 | archive-url = https://web.archive.org/web/20160613031339/http://www.eshph.org/blog/2016/04/19/1642/ | archive-date = 13 June 2016 | url-status = live }}</ref> [[Charles Brooke (surgeon)|Charles Brooke]] a little later developed similar instruments for the [[Royal Observatory, Greenwich|Greenwich Observatory]].<ref>{{cite journal | journal = The Illustrated Magazine of Art | title = Photographic self-registering magnetic and meteorological apparatus: Invented by Mr. Brooke of Keppel-Street, London | volume = 1 | issue = 5 | pages = 308–11 | year = 1853 | url = https://books.google.com/books?id=DhfnAAAAMAAJ&pg=PA309 | doi = 10.2307/20537989 | jstor = 20537989 | last1 = Brooke | access-date = 13 December 2015 | archive-url = https://web.archive.org/web/20160429055213/https://books.google.com/books?id=DhfnAAAAMAAJ&pg=PA309 | archive-date = 29 April 2016 | url-status = live }}</ref> Science uses image technology that has derived from the design of the Pin Hole camera. X-Ray machines are similar in design to Pin Hole cameras with high-grade filters and laser radiation.<ref>{{Cite journal | doi = 10.1007/BF02715917 | title = Development of single frame X-ray framing camera for pulsed plasma experiments | journal = Sadhana | volume = 31 | issue = 5 | pages = 613 | year = 2006 | last1 = Upadhyay | first1 = J. | last2 = Chakera | first2 = J.A. | last3 = Navathe | first3 = C.P. | last4 = Naik | first4 = P.A. | last5 = Joshi | first5 = A.S. | last6 = Gupta | first6 = P.D. | citeseerx = 10.1.1.570.172 }}</ref> Photography has become universal in recording events and data in science and engineering, and at [[crime scene]]s or accident scenes. The method has been much extended by using other wavelengths, such as [[infrared photography]] and [[ultraviolet photography]], as well as [[spectroscopy]]. Those methods were first used in the [[Victorian era]] and improved much further since that time.<ref>{{cite book | title = Understanding forensic digital imaging | author1 = Blitzer, Herbert L. | author2 = Stein-Ferguson, Karen | author3 = Huang, Jeffrey | publisher = Academic Press | year = 2008 | isbn = 978-0-12-370451-1 | pages = 8–9 | url = https://books.google.com/books?id=a0nmdTmHMrIC&pg=PA8 | access-date = 13 December 2015 | archive-url = https://web.archive.org/web/20160429132518/https://books.google.com/books?id=a0nmdTmHMrIC&pg=PA8 | archive-date = 29 April 2016 | url-status = live }}</ref> 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.<ref>{{Cite book | title = Guinness Book of Records 2014 | last = Glenday | first = Craig | year = 2013 | isbn = 978-1-908843-15-9 | location = | page = [https://archive.org/details/guinnessworldrec0000unse_r3e7/page/192 192] | quote = | via = | url = https://archive.org/details/guinnessworldrec0000unse_r3e7/page/192 }}</ref> === Wildlife Photography === {{main|Wildlife photography}} 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.<ref>{{cite web |title=Wildlife photography|url=https://www.bbc.co.uk/news/topics/cvd436l9g99t/wildlife-photography/ |website=BBC |accessdate=14 June 2020}}</ref> == Social and cultural implications == [[File:Aktikompositsioon 19 (J. Künnap).jpg|thumb|Photography may be used both to [[Documentary photography|capture reality]] and to produce a [[work of art]]. While [[photo manipulation]] was often frowned upon at first, it was eventually used to great extent to produce artistic effects. ''Nude composition 19'' from 1988 by [[Jaan Künnap]].]] [[File:Musée de l'Elysée 3.jpg|thumb|The [[Musée de l'Élysée]], founded in 1985 in [[Lausanne]], was the first photography museum in Europe.]] There are many ongoing questions about different aspects of photography. In her ''[[On Photography]]'' (1977), [[Susan Sontag]] dismisses the objectivity of photography. This is a highly debated subject within the photographic community.<ref>{{cite journal | last = Bissell | first = K.L. | date = 2000 | title = A Return to 'Mr. Gates': Photography and Objectivity | journal = Newspaper Research Journal | doi = 10.1177/073953290002100307 | volume = 21 | issue = 3 | pages = 81–93 }}</ref> 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."<ref name="Sontag">Sontag, S. (1977) ''[[On Photography]]'', Penguin, London, pp. 3–24, {{ISBN|0-312-42009-9}}.</ref> Photographers decide what to take a photo of, what elements to exclude and what angle to frame the photo, and these factors may reflect a particular socio-historical context. Along these lines, it can be argued that photography is a subjective form of representation. Modern photography has raised a number of concerns on its effect on society. In [[Alfred Hitchcock]]'s ''[[Rear Window]]'' (1954), the camera is presented as promoting voyeurism. 'Although the camera is an observation station, the act of photographing is more than passive observing'.<ref name="Sontag" /> <blockquote> 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.<ref name="Sontag" /> </blockquote> Digital imaging has raised ethical concerns because of the ease of manipulating digital photographs in post-processing. Many photojournalists have declared they will not [[cropping|crop]] their pictures or are forbidden from combining elements of multiple photos to make "[[photomontage]]s", passing them as "real" photographs. Today's technology has made [[image editing]] relatively simple for even the novice photographer. However, recent changes of in-camera processing allow digital fingerprinting of photos to detect tampering for purposes of [[forensic photography]]. Photography is one of the new media forms that changes perception and changes the structure of society.<ref>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}}.</ref> Further unease has been caused around cameras in regards to desensitization. Fears that disturbing or explicit images are widely accessible to children and society at large have been raised. Particularly, photos of war and pornography are causing a stir. Sontag is concerned that "to photograph is to turn people into objects that can be symbolically possessed." Desensitization discussion goes hand in hand with debates about censored images. Sontag writes of her concern that the ability to censor pictures means the photographer has the ability to construct reality.<ref name="Sontag" /> One of the practices through which photography constitutes society is tourism. Tourism and photography combine to create a "tourist gaze"<ref>{{Cite book | title = The tourist gaze | edition = 2nd | author = Urry, John | publisher = Sage | year = 2002 | isbn = 978-0-7619-7347-8 | url = https://books.google.com/?id=bhhtg1sz0YAC&printsec=frontcover | location = London }}</ref> in which local inhabitants are positioned and defined by the camera lens. However, it has also been argued that there exists a "reverse gaze"<ref>{{Cite journal | url = https://lse.academia.edu/AlexGillespie/Papers/89836/Tourist_photography_and_the_reverse_gaze | title = Tourist Photography and the Reverse Gaze | author = Gillespie, Alex }}</ref> through which indigenous photographees can position the tourist photographer as a shallow consumer of images. Additionally, photography has been the topic of [[Songs about photography|many songs]] in popular culture. == Law == {{Main|Photography and the law}} Photography is both restricted as well as protected by the law in many jurisdictions. Protection of photographs is typically achieved through the granting of [[copyright]] or moral rights to the photographer. In the United States, photography is protected as a [[First Amendment to the United States Constitution|First Amendment right]] and anyone is free to photograph anything seen in public spaces as long as it is in plain view.<ref>{{Cite web | title = You Have Every Right to Photograph That Cop | url = https://www.aclu.org/news/you-have-every-right-photograph-cop?redirect=free-speech/you-have-every-right-photograph-cop | website = American Civil Liberties Union | access-date = 18 February 2016 | archive-url = https://web.archive.org/web/20160225024330/https://www.aclu.org/news/you-have-every-right-photograph-cop?redirect=free-speech%2Fyou-have-every-right-photograph-cop | archive-date = 25 February 2016 | url-status = live }}</ref> 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.<ref>{{cite journal | url = http://www.bjp-online.com/public/showPage.html?page=836675 | title = Jail for photographing police? | journal = British Journal of Photography | date = 28 January 2009 | url-status = dead | archiveurl = https://web.archive.org/web/20100327183624/http://www.bjp-online.com/public/showPage.html?page=836675 | archivedate = 27 March 2010 }}</ref> 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.<ref>{{Cite web | title = Event Photography | url = https://orlandosydney.com/ | website = Orlando Sydney | access-date = 18 February 2016 | archive-url = https://web.archive.org/web/20160225024330/https://orlandosydney.com/ | archive-date = 25 February 2016 | url-status = live }}</ref> == See also == * [[Outline of photography]] * [[Science of photography]] * [[List of photographers]] * [[List of photography awards]] * [[Astrophotography]] * [[Image editing]] * [[Minilab|Photolab and minilab]] * [[Visual arts]] == References == {{reflist}} == Further reading == === Introduction === * Barrett, T 2012, Criticizing Photographs: an introduction to understanding images, 5th edn, McGraw-Hill, New York. * Bate, D. (2009), Photography: The Key Concepts, Bloomsbury, New York. * Berger, J. (Dyer, G. ed.), (2013), Understanding a Photograph, Penguin Classics, London. * Bright, S 2011, Art Photography Now, Thames & Hudson, London. * Cotton, C. (2015), The Photograph as Contemporary Art, 3rd edn, Thames & Hudson, New York. * Heiferman, M. (2013), Photography Changes Everything, Aperture Foundation, US. * Shore, S. (2015), The Nature of Photographs, 2nd ed. Phaidon, New York. * Wells, L. (2004), ''Photography. A Critical Introduction'' [Paperback], 3rd ed. Routledge, London. {{ISBN|0-415-30704-X}} === History === * ''A New History of Photography'', ed. by Michel Frizot, Köln : Könemann, 1998 * Franz-Xaver Schlegel, ''Das Leben der toten Dinge – Studien zur modernen Sachfotografie in den USA 1914–1935'', 2 Bände, Stuttgart/Germany: Art in Life 1999, {{ISBN|3-00-004407-8}}. === Reference works === * {{Cite book | author = Tom Ang | title = Dictionary of Photography and Digital Imaging: The Essential Reference for the Modern Photographer | year = 2002 | publisher = Watson-Guptill | isbn = 978-0-8174-3789-3 | url = https://books.google.com/?id=fu3akyrFZEMC&pg=PP1&dq=intitle:Dictionary+intitle:of+intitle:Photography+intitle:and+intitle:Digital+intitle:Imaging+inauthor:ang | authorlink = Tom Ang }} * Hans-Michael Koetzle: ''Das Lexikon der Fotografen: 1900 bis heute'', Munich: Knaur 2002, 512 p., {{ISBN|3-426-66479-8}} * John Hannavy (ed.): ''Encyclopedia of Nineteenth-Century Photography'', 1736 p., New York: Routledge 2005 {{ISBN|978-0-415-97235-2}} * Lynne Warren (Hrsg.): ''Encyclopedia of Twentieth-Century Photography'', 1719 p., New York: Routledge, 2006 * ''The Oxford Companion to the Photograph'', ed. by Robin Lenman, Oxford University Press 2005 * "The Focal Encyclopedia of Photography", Richard Zakia, Leslie Stroebel, Focal Press 1993, {{ISBN|0-240-51417-3}} * {{Cite book | title = Basic Photographic Materials and Processes | last = Stroebel | first = Leslie | publisher = Focal Press | others = et al | year = 2000 | isbn = 978-0-240-80405-7 | location = Boston | pages = }} === Other books === * ''Photography and The Art of Seeing'' by [[Freeman Patterson]], Key Porter Books 1989, {{ISBN|1-55013-099-4}}. * ''The Art of Photography:'' An Approach to Personal Expression by Bruce Barnbaum, Rocky Nook 2010, {{ISBN|1-933952-68-7}}. * ''Image Clarity: High Resolution Photography'' by John B. Williams, Focal Press 1990, {{ISBN|0-240-80033-8}}. == External links == {{Sister project links|Photography}} <!---------------------------------------------------------------------------------------------- Please do not add links to photo galleries and photographer communities here, nor any site selling photography related items. Wikipedia is not a link farm. If in doubt, discuss a proposed link on the talk page before adding it here. ------------------------------------------------------------------------------------------------> * [http://all-art.org/history658_photography1.html World History of Photography] From The History of Art. * [http://www.floridamemory.com/photographiccollection/photo_exhibits/photographic-processes/ Daguerreotype to Digital: A Brief History of the Photographic Process] From the State Library & Archives of Florida. {{Photography}} {{Branches of the visual arts}} {{Portal bar|Photography}} {{Authority control}} [[Category:Photography| ]] [[Category:French inventions]] [[Category:Optics]] [[Category:Audiovisual introductions in 1822]]'