The document provides a history of the development of photography from its origins with the camera obscura in the 5th century BC through major innovations and photographers up until the late 1970s. It traces key early developments including Johann Schulze's discovery of the light-sensitive properties of silver in 1725, the first permanent photograph by Joseph Niépce in 1826, the introduction of the daguerreotype process by Louis Daguerre in the 1830s, the calotype process invented by William Henry Fox Talbot in the 1840s, and the wet plate collodion process introduced by Frederick Scott Archer in the 1850s. It highlights the work of early and influential photographers including Mathew Brady, Timothy O'Sullivan
Lecture in KKP002: Imagining the Creative Future - one of a series of 'thought world' or 'paradigm' lectures designed to problematise a contemporary 'creative industries' practice.
Lecture in KKP002: Imagining the Creative Future - one of a series of 'thought world' or 'paradigm' lectures designed to problematise a contemporary 'creative industries' practice.
PHOT 154, History of Photography, Grossmont College, stereograph, ambrotype, carte-de-visite, cliché verre, spirit photography, photography as a fine art, Julia Margaret Cameron, Lady Hawarden, Lewis Carroll, Lewis Carroll's photographs of children, Nadar, Oscar Rejlander, combination printing, Henry Peach Robinson, Victorian era,
PHOT 154, History of Photography, Grossmont College, the photography of movement, Muybridge, Marey, Eakins, futurism, photography and the invention of moving pictures, lumiere brothers, autochrome, Photography and Social Reform, Lewis Hine, Jacob Riis
ANTICHAMAS OU IGNIFUGAÇÃO EM EVENTOS CENOGRAFIA
Das Medidas de Segurança contra Incêndio
Artigo 23 – Constituem medidas de segurança contra incêndio das
edificações e áreas de risco:
I – acesso de viatura na edificação e áreas de risco;
II – separação entre edificações;
III – segurança estrutural nas edificações;
IV – compartimentação horizontal;
V – compartimentação vertical;
VI – controle de materiais de acabamento;
VII – saídas de emergência;
VIII – elevador de emergência;
IX – controle de fumaça;
X – gerenciamento de risco de incêndio;
XI – brigada de incêndio;
XII – iluminação de emergência;
XIII – detecção de incêndio;
XIV – alarme de incêndio;
XV – sinalização de emergência;
XVI – extintores;
XVII – hidrante e mangotinhos;
XVIII – chuveiros automáticos;
XIX – resfriamento;
XX – espuma;
XXI – sistema fixo de gases limpos e dióxido de Carbono (CO2); e
XXII – sistema de proteção contra descargas atmosféricas.
PHOT 154, History of Photography, Grossmont College, stereograph, ambrotype, carte-de-visite, cliché verre, spirit photography, photography as a fine art, Julia Margaret Cameron, Lady Hawarden, Lewis Carroll, Lewis Carroll's photographs of children, Nadar, Oscar Rejlander, combination printing, Henry Peach Robinson, Victorian era,
PHOT 154, History of Photography, Grossmont College, the photography of movement, Muybridge, Marey, Eakins, futurism, photography and the invention of moving pictures, lumiere brothers, autochrome, Photography and Social Reform, Lewis Hine, Jacob Riis
ANTICHAMAS OU IGNIFUGAÇÃO EM EVENTOS CENOGRAFIA
Das Medidas de Segurança contra Incêndio
Artigo 23 – Constituem medidas de segurança contra incêndio das
edificações e áreas de risco:
I – acesso de viatura na edificação e áreas de risco;
II – separação entre edificações;
III – segurança estrutural nas edificações;
IV – compartimentação horizontal;
V – compartimentação vertical;
VI – controle de materiais de acabamento;
VII – saídas de emergência;
VIII – elevador de emergência;
IX – controle de fumaça;
X – gerenciamento de risco de incêndio;
XI – brigada de incêndio;
XII – iluminação de emergência;
XIII – detecção de incêndio;
XIV – alarme de incêndio;
XV – sinalização de emergência;
XVI – extintores;
XVII – hidrante e mangotinhos;
XVIII – chuveiros automáticos;
XIX – resfriamento;
XX – espuma;
XXI – sistema fixo de gases limpos e dióxido de Carbono (CO2); e
XXII – sistema de proteção contra descargas atmosféricas.
Scott Collinson Shared Brief History of Photography PresentationScottCollinson
Checkout this presentation shared by Scott Collinson. In this presentation you found every little information and history of photography with images. Photography is one of the revolutionary invention in media world. Scott Collinson is photographer and love to capture wild and nature in his collection. Don’t forget to follow Scott Collinson on twitter https://twitter.com/ScottCollinson_
Peale, Charles Wilson (left) Rachel Brewer Peale and Ba.docxdanhaley45372
Peale, Charles Wilson: (left) “Rachel Brewer Peale and Baby Eleanor” watercolor on ivory - 1791
(right) “George Washington” watercolor on ivory - 1777
Prior to the invention of photography artists painted portraiture such as the small watercolors on ivory by Charles Wilson Peale - the small size allowed for the wearing as a pendant or even providing as an engagement or wedding gift.
*
Niepce, Joseph Nicephore: “Window at Le Gras,”
heliograph - 1826
Silver plated copper, iodine and mercury; 7-10 minute exposures, one of a kind
The First Photograph is a one-of-a-kind permanent positive-image process, secured upon the surface of a pewter plate in 1826. As such, the process did not provide for a transparent negative or for multiple positive printings on paper as later photographic processes did and continue to do today. Among the special qualities of this heliograph is the very fact that Joseph Nicéphore Niépce could only produce a singular photograph with any exposure he made. Thus, the object on view is the unique original; the creator could make no more duplicates of it.
One hundred and fifty years ago [Summer 1826] Joseph Nicéphore Niépce succeeded in obtaining a camera picture on a polished pewter plate, sensitized with bitumen of Judea. This material has the unusual property of hardening in light (not blackening like silver salts) but its light sensitivity is small. Niépce needed 8-10 h[ours] exposure in sunshine. He named his invention "heliography." After dissolving the unexposed parts of the picture in oil of turpentine and rinsing the plate, there remained, without the need for any other fixing, a permanent bitumen image of the light drawing, the shadows being indicated by the bare pewter plate. To avoid a lateral reversal of the view, Niépce had employed a prism in front of his achromatic lens. He had obtained both components from the Parisian optician [Charles] Chevalier when he purchased his first professional camera in January that year. After using glass, lithographic stone and zinc for previous experiments, he had ordered the pewterplates in May 1826.
*
Daguerre, Louis Jacques Mande (French):
“View of the Boulevard du Temple, Paris, daguerretype - 1838
Creator: Daguerre, Louis-Jacques-Mande, French
Title: View of the Boulevard du Temple, Paris, 1838 [2 views taken on same day]
Date: 1838
Location: (original destroyed)
Material: Daguerreotype
Related Item: Hartt 4: 32-1
Related Item: H&F 4: 15.24
Collection: Art History Survey Collection
Source: Catalogued by: Digital Library Federation Academic Image Cooperative
*
Daguerre, Louis J.M.: “Paris Boulevard, detail” daguerreotype - 1839
Creator: Daguerre, Louis Jacques Mandé, 1787-1851
Title: Paris Boulevard \det. man
Date: 1839
Material: daguerreotype
Subject: Photography--19th C. A.D
Collection: ARTstor Slide Gallery
Source: Data from: University of California, San Diego
*
Easterly, Thomas: (left) “Miriam Bailey (Easterly) with flowers,”
Daguerreotype.
Art and Photography History of Photography .docxwraythallchan
Art and Photography
History of Photography
C. Jabez Hughes �
: photography into three classes
• 1) Mechanical photography
• 2) Art photography
• 3) A photograph that can “instruct, purify and
ennoble.”
• Depiction vs imagination
• Objective description vs moral uplift
• Entertainment vs. Education
(textbook 3.6) Etienne Carjat, Charles Baudelaire, c. 1862. Woodburytype.
Nadar (Gaspard-Félix Tournachon), Portrait of Charles Baudelaire, c. 1863.
3.7. Nadar, Panthéon Nadar, 1854. Lithographic print, George Eastman House,
Rochester, New York.
Nadar, “Revolving” Self-Portrait, c. 1865.
Nadar, pseudonym of
Gaspard-Félix Tournachon,
(1820 - , 1910),
French writer, caricaturist
and photographer.
-best known for his
photographic portraits.
Nadar, Paris from above in 1858.
3.9. Nadar, Theophilie Gautier, 1854-55. Albumen salted paper print, mounted on Bristol
board, Musee d’Orsay, Paris.
*Gautier: proponent of art
for art’s sake and author
of the novel about
Parisian bohemian life,
Mademoiselle de Maupin
(1835)
*the writer’s antagonism
toward the bourgeois.
*Nadar’s photographic
studio became a
fashionable intellectual
salon.
3.10. Nadar, The Sewers of Paris, 1864-65. Modern print from a glass negative.
Nadar, Catacombs, c. 1860.
Nadar, Sarah Bernhardt, c. 1860.
Nadar, Victor Hugo at Deathbed. 1885.
Tableaux Vivants (living pictures)
William Lake Price, An Interior, 1858.
High Art Photography
Tableux vivants
3.12. William Lake Price, Don Quixote in His Study. Early 1850s.
Albumen print from a wet collodion negative. [Miguel de Cervante]
Tableux vivants
High Art Photography
(textbook 3.13) Oscar Rejlander, The Two Ways of Life, 1857.
Combination Albumin print.
High Art Photography
Raphael, School of Athens 1509-1511, Vatican City
Thomas Couture, The Romans of Decadence, 1855.
(see also your textbook for the scale of this painting, page 461.
13.31. Thomas Struth, Musee d’Orsay, Paris, 1989)
3.14. Henry Peach Robinson, Group with
Recumbent Figure (Sketch with cut-out),
1860. Albumen print and pastel collage on
paper. Gernsheim Collection.
Henry Peach Robinson
(1830 – 1901)
Self-portrait, 1895.
Henry Peach Robinson, When Day’s Work is Done, 1877.
A combination print made from six different negatives.
Henry Peach Robinson, Figures in Landscape, early 1890s, Combination albumen print
3.15. Henry Peach Robinson, Fading Away, 1858, Albumen composite print
(Combination Print),
Science Museum, London.
• Robinson, Henry Peach: “Pictorial Effect In Photography:
Being Hints On Composition And Chiaroscuro For
Photographers.” Piper & Carter, 1869
• Robinson, Henry Peach: “The Elements of a Pictorial
Photograph”. Lund, 1896.
• Video: combination printing darkroom techniques.
Julia Margaret Cameron (1815 – 1879)
Henry Hersschel Hay Cameron, Julia Margaret.
Chapter 4 of a university course in media history by Prof. Bill Kovarik, based on the book Revolutions in Communication: Media History from Gutenberg to the Digital Age (Bloomsbury, 2nd ed., 2015).
2137ad - Characters that live in Merindol and are at the center of main storiesluforfor
Kurgan is a russian expatriate that is secretly in love with Sonia Contado. Henry is a british soldier that took refuge in Merindol Colony in 2137ad. He is the lover of Sonia Contado.
2137ad Merindol Colony Interiors where refugee try to build a seemengly norm...luforfor
This are the interiors of the Merindol Colony in 2137ad after the Climate Change Collapse and the Apocalipse Wars. Merindol is a small Colony in the Italian Alps where there are around 4000 humans. The Colony values mainly around meritocracy and selection by effort.
Explore the multifaceted world of Muntadher Saleh, an Iraqi polymath renowned for his expertise in visual art, writing, design, and pharmacy. This SlideShare delves into his innovative contributions across various disciplines, showcasing his unique ability to blend traditional themes with modern aesthetics. Learn about his impactful artworks, thought-provoking literary pieces, and his vision as a Neo-Pop artist dedicated to raising awareness about Iraq's cultural heritage. Discover why Muntadher Saleh is celebrated as "The Last Polymath" and how his multidisciplinary talents continue to inspire and influence.
Hadj Ounis's most notable work is his sculpture titled "Metamorphosis." This piece showcases Ounis's mastery of form and texture, as he seamlessly combines metal and wood to create a dynamic and visually striking composition. The juxtaposition of the two materials creates a sense of tension and harmony, inviting viewers to contemplate the relationship between nature and industry.
3. A room or a small building with no windows. There is one small hole in one wall and it is fitted with a lens. This projected an image from outside onto the opposite wall inside the room! However the image was upside down. WHY? Light travels in a straight line and when some of the rays reflected from a bright subject pass through a small hole in thin material they do not scatter but cross and reform as an upside down image on a flat surface held parallel to the hole. (Is that a run-on sentence????)
4. The earliest mention of this type of device was by the Chinese philosopher Mo-Ti (5th century BC). That’s 2,500 Years Ago! Portable versions developed in the 1660”s
7. In around the year 1725, this German anatomy professor discovered that by leaving a glass bottle filled with chalk , silver chloride , and nitric acid by a window, the sunlight would turn the chemicals on the sunlight exposed side darker (due to the silver chloride) However, he could not figure out how to make the “images” (created by the silver chloride mixture and sunlight) remain permanent.
10. Carl Scheele repeated Johanne Schulze’s experiment in around 1777. He also noted the chemical reaction of light on silver compounds as well as other substances. Unlike Johanne Schulze, Scheele discovered that ammonia would dissolve the silver chloride and leave an image intact.
20. Louis Daguerre exposed silver coated copper plates to iodine , which obtained silver iodide. He then exposed the plates to light for several minutes. He then coated the plate with mercury vapor which was heated to 75°C to adhere the mercury with the silver. He then “fixed” the image in salt water . These Daguerreotypes were the earliest type of photograph that was commercially available to the public. Very popular during the late 1840’s to the early 1850’s. Rarely made after the 1860’s.
21. 1840's Coldwater Hotel Coldwater, Michigan Daguerreotype photo of a hotel located near the Coldwater River and Sauk Trail.
26. William Talbot created a photographic process called a Calotype . He first made an exposure on paper that was treated with silver compounds which produced a negative image . This paper with a negative image was than placed over another sheet of paper that was treated with silver compounds. This “paper sandwich” was then exposed to bright light which produced a positive image on that second sheet of paper. Our first photo assignment in FILM PHOTOGRAPHY will be making Calotypes!
31. In around 1851 Frederick Archer introduced the Collodian wet-plate photographic process. A clean glass plate had to be evenly coated with a substance called collodian. While still damp, the plate had to be dipped into a silver nitrate solution, then inserted into the camera, and then exposed. It was then developed immediately and then allowed to dry.
32. How to take and make photographs by the wet plate Collodian process | Video
37. Civil War Photographer He employed Alexander Gardner , James Gardner , Timothy H. O'Sullivan , William Pywell , George N. Barnard , Thomas C. Roche , and seventeen other men, each of whom was given a traveling darkroom, to go out and photograph the Civil War.
82. In 1914 he opened up his own School of Photography. He photographed simple subjects and tried to focus on mood and romanticism. His main subjects were women and children.
87. One of the earliest female photographers. Around 1900, she spent time at Hampton Institute in Hampton Virginia photographing African Americans while they were learning trades.
126. Photojournalist and Activist on Humanitarian Issues throughout the world. Technological Developments 1929-1933 Industrial Photographer for Fortune Magazine 1930’s Great Depression / Dust Bowl 1930’s Staff Photographer for Life Magazine 1940’s WWII and the liberation of Concentration Camps 1940’s Gandhi’s campaign of nonviolence in India 1950’s African mine workers and apartheid in South Africa
127. Fort Peck Dam Montana 1936 Cover of the First Life Magazine
159. Known as the “Decisive Moment” Photographer “ the simultaneous recognition, in a fraction of a second, of the significance of an event as well as the precise organization of forms which gives that event its proper expression."