PHOTOGRAPHY.

Popular Digital Photography Books

2009-04-30T09:16:00.001-07:00

Hey check out some great books on this list with a good range of topics being covered on photography.

For Beginners

2009-04-29T03:48:00.000-07:00

Digital photography is a fun task for virtually everyone. You no longer have to be a professional photographer to get the best images available. Getting instant access to your photos is a whole lot better than waiting for them to be printed from film. Since there are so many digital cameras on the consumer market, choosing the best one for you may be confusing. With a little help, you'll learn how to choose the best camera for a beginner.

Some basic instructions you need to follow first :-

Step1
Decide your spending budget for a brand-new digital camera. This will help to guide you towards the perfect digital camera for your needs. Spending a large amount of money is not a necessity when purchasing a digital camera. There are plenty of budget cameras that are more than capable of taking care of your necessities. If you are not going to use your digital camera on a regular basis, then don't buy one that has an overwhelming amount of features. Sticking to the basics will keep the price lower.

Step2
Consider the size and weight of your digital camera. If you decide to snap images everywhere you travel, then choose a digital camera that is portable enough. You don't want to carry something that is oversized and bulky when traveling to multiple destinations. Having a digital camera with a longer battery life and high megapixels will also help you choose the best digital camera for your beginning stages. Despite these important features, look at the overall rating of the digital camera you are thinking of purchasing.

Step3
Calculate the camera accessories. Some digital cameras have a very low initial pricing, but it soon increases when it comes to upgrading the camera lens and other components. Before purchasing the first digital camera you come across, investigate everything. Compare pricing for the memory, batteries, charger, and the lens. This will help you to figure out if this is the best digital camera for you. Without doing your research first, you will be very disappointed with your new purchase.

Step4
Ask about the return policy. This should be the first question asked when thinking about buying a digital camera. No one wants to get stuck with a device you cannot use. If you purchase your digital camera at a discounted price, it can sometimes mean that this is a final priced item with no returns. Check all paperwork and store signs before making a final decision. Take a few test shots while you are at the store locations to find out about some of the digital camera's features.

Think Its Enough, Ummmmmm............ Not Yet, The Deal Is Not Over,

Check This Out

HOW TO CHOOSE THE BEST CAMERA FOR YOU?

How to Choose the Best Camera?

2009-04-29T03:37:00.000-07:00

With so many camera models to choose from, at a bewildering range of prices, where do you start? Well, the way I choose any new toy these days is to start at the end. What do you want it to do? Err . . . take pictures. Yes but what kind of pictures and what are you going to do with them? The other burning question is how much are you prepared to learn? And, of course, how much are you prepared to pay?

As you are reading this and have actually made it to paragraph two, I think we can assume that you are prepared to learn at least a little. So what do you want to do? Do you want something that you can keep in your pocket at all times so you can snap the kids? Do you want a camera that will allow you to take pictures in any lighting conditions from any distance (with the right gadget screwed on the front of course)? Is this going to be a hobby or just some quick snaps?

So to avoid ur best choice turning worst later, click on the following :-

The Learning Curve

2009-04-29T03:36:00.000-07:00

I haven't seen any cameras on sale in recent years that do not have a fully automatic 'point and shoot' mode, most will automatically switch on the flash for you when it is needed so you may wonder why we need all the other manual and semi automatic modes and an instruction book to make your head spin.

The answer is that, although the camera can produce good exposures most of the time, there are times when, to get the results we want, we have to apply a little know-how and select more appropriate settings than the camera would automatically choose.

Before choosing a camera with lots of knobs and dials it is a good idea to consider whether you are ever going to bother to learn what they are all for. I've been around cameras for many years now, and I'm still learning what all the settings on my latest camera actually do. I never bother to learn how to do something until I need to. So there are certain obscure settings that I have yet to find a use for. Of course it would be nice if we could choose just the buttons we need and have each camera custom made for us but in the real world all we can do is choose the level of control based on how much we think we might want to get involved. Generally speaking an SLR will have more knobs, dials and menus than a compact camera which will give you more control over your pictures but will have a much steeper learning curve.

SLR or Compact?

2009-04-29T03:30:00.000-07:00

All the cameras on the market can be categorised into a few simple groups. The most important two groups are fixed lens and interchangeable lens. The fixed lens cameras, so called Compact Cameras, tend, with a few exceptions, to be smaller, lighter and more pocketable, therefore you are more likely to have it with you when you need it. Well that's the theory anyway but I think we can say that you are more likely to be bothered to take it with you on that outing to the beach or the zoo.
However even with today's zoom lenses, which are pretty wonderful, you will often find that you are too far away or too close to get the picture you want so you need to be able to change the lens for a longer telephoto or a wider angle. The other major advantage of these single lens reflex (SLR) cameras is that you are actually looking through the lens instead of a separate viewfinder so what you see is what you get, although this is less of an issue now that we can review our photos on the screen of the digital camera. The down side of these SLR cameras is that you very soon end up with quite a heavy bag of gadgets and are less likely to carry it everywhere with you. However much I yearn for a compact camera for it's handyness I know I would be frustrated by it's shortcomings so for me the choice is SLR every time.

Digital or Film?

Do they still make film cameras? Oh yes they do and I wouldn't mind betting that they continue to do so for many years and I wouldn't mind betting that at some time in the future there will be a retro backlash and a large number of 'serious' photographers will return to the darkroom. Some will probably claim that they have never used digital at all, ever.
You might think from the remarks above that I am a diehard supporter of film. Nothing could be further from the truth actually, I am now fully converted to digital and loving it. I am going to make the pros and cons a separate discussion that will be posted soon but, for now, I'll just say that I am completely sold on digital and do not feel that I have lost anything significant by changing.

Which brand?

2009-04-29T03:11:00.000-07:00

This, of course, is the big question that you really want an answer to and you know that nobody is going to give you one. If you ask anyone who already has a camera most will support the brand of the camera they have unless they have had some trouble with it, even then people are very forgiving. I think the reason for this is that people think that, if they have made the wrong choice it is because they have somehow failed, and they are not going to admit their failure.

Back in the 1980s I had a camera shop in England and at the time a lot of people, who already owned an SLR, were buying compact cameras 'for the wife'. They would ask me which brand was the best and, if I didn't already know, I would discreetly try to find out which brand of SLR they owned, then I would recommend the same brand of compact camera.

Trying to sell them another brand was like telling them they had made a wrong choice when buying their old camera and was likely to lose me a sale. So I'd better have a really good reason for not recommending the Canon, Olympus, Nikon, Pentax or whatever and I didn't have one. All of the well known brands produce similar cameras at similar prices and, by and large, you get what you pay for.

I will stick my neck out a little bit here and say that in my humble opinion the manufacturers who make the best film cameras the Japanese Nikon, Canon, Olympus, Pentax, Minolta and the German Contax and Leica seem to make the best digital cameras.

I would not be too happy to put my trust in brands whose traditional expertise is in other fields when there are such good cameras available from the traditional sources. I will probably get a lot of hate mail from people who have bought Sony cameras or Hewlett Packard and are perfectly happy with them.

If I wanted a printer Hewlett Packard would be top of my list and I am a huge fan of Sony video and TV equipment but my first choice for a digital SLR would be one of the names mentioned above.

How Many Pixels?

2009-04-29T03:01:00.000-07:00

Until recently the quality of digital cameras was measured by how many pixels they boasted. Now we have cameras that can produce tens of millions and it has ceased to be the only test of quality. In the real world the number of pixels you need depends on how big you want to print your pictures. If you mainly want postcard size or A5 then I would consider 6 million pixels to be perfectly adequate. Even at A4 size I would be hard pushed to tell the difference between my 6.5 million pixel camera and my 10 million pixel camera. Don't forget though that your cropping in the camera may not always be perfect so you may be enlarging only a portion of the image and so only using a portion of the available pixels.

Although an adequate number of pixels is important, the quality of your picture will be greatly affected by the quality of the lens. When Canon updated the EOS 350D (digital rebel) with 8 million pixels to the EOS 400D with 10 million pixels, the general consensus amongst reviewers seemed to be that the money you needed to spend on an upgrade would be better spent on a better quality lens. So the answer to the pixel question is that we seem to have now reached a point where enough is enough.

There is also a school of thought that we have reached the limit of the number of photo sensors that we can fit on a chip and that a greater number will cause the indivdual cells to be too small compared to the space in between them. Usually though, when someone says something like that, the following week the boffins announce a breakthrough which makes it all nonsense.
You may have seen adverts for cameras, costing many thousands, that have 16 or 20 million pixels. These have sensors that are twice the size of those in the consumer cameras, hence the price. To me, the resolution of a 8 or 10 million pixel camera with a decent lens seems good enough for most purposes and on a par with the quality I used to get from a 35mm film camera.
In the past I have spent a lot of time and money in the pursuit of ultimate quality, I have owned a 5x4inch plate camera, a Hassleblad and two Mamiya medium format cameras, every major brand of 35mm camera and in the end, I would be hard pushed to tell you which photo on the wall was taken with which camera. A fellow photographer once observed that photographers tend to smell pictures rather than look at them, by which he meant that they were more interested in the graininess and sharpness of the image than the actual content of the image itself.

New Enormous and Pretty fast Zoom of Sigma

2009-04-21T13:02:00.000-07:00

Pre-PMA 2008: As part of Sigma's bumper lens launch, it has announced what might be the ultimate wildlife lens. Sigma claims the APO 200-500 f.2.8 is the world's first lens to offer an f/2.8 aperture at 500mm focal length. It comes with an "attachment" to give users a handy 400-1000mm f/5.6 option. The lens (which is cosmetically reminiscent of a piece of military hardware) weighs nearly 16kg and uses a dedicated Li-ion battery to provide power for focusing and zooming. It will be available in Sigma, Canon and Nikon mounts.

The Sigma Corporation is please to announce the new APO 200-500mm F2.8/400-1000mm F5.6 EX DG

Lens.

The world’s first ultra telephoto zoom lens that offers a fast aperture of F2.8 at the 500mm focal length.
The dedicated “Attachment” ensures autofocusing at the 1000mm focal length.
SLD and three ELD glass elements provide high image quality from the maximum large aperture
Supplied with ø72mm filter holder at the rear

This lens is the world’s first ultra telephoto zoom lens that offers a fast aperture of F2.8 at the 500mm focal length and F5.6 at the 1000mm. It covers widely used focal lengths from 200mm to 500mm and as a large aperture of F2.8 throughout the entire zoom range. This lens can be used to create amazing image expression with various types of photography such as astrophotography, portraits, wildlife, sports. SLD (Special Low Dispersion) glass and three ELD (Extraordinary Low Dispersion) glass elements provide excellent correction for all type of aberrations.

The super multi-layer lens coating reduces flare and ghosting and provides high image quality from the extremely large aperture. The lens hood, designed exclusively for this lens, blocks out extraneous light. A 72mm filter can be inserted at the rear of the lens, and a circular polarizing filter can be used in situ thanks to the ingenious internal rotation mechanism. The dedicated Li-ion battery BP-21 is used to power the zooming and AF operation. This battery is built in the lens barrel. For the convenience of the photographer, focusing distances and focal lengths can be viewed on the lens`s built-in LCD panel.

source: coolestgadgets

Polaroid Pogo - The Handy Printer

2009-03-25T06:53:00.000-07:00

The Polaroid PoGo™ products let you share digital photos instantly whether you are on vacation or just hanging out with your friends. Print and share your memories in less than 60 seconds with 2x3-inch, peel-off, sticky-backed photos. Bring Polaroid magic to your cell phone or digital camera with the Instant Mobile Printer or snap and print with the Instant Digital Camera. Mobile and easy-to-use, Polaroid PoGo™ digital instant products provide a new, innovative way to share digital photos instantly.

With Camera Phone

The Polaroid PoGo™ Digital Instant Mobile Photo Printer is the easiest way to print photos from a camera phone. Wirelessly transfer images from a Bluetooth-enabled camera phone to the Mobile Printer and print instantly. Using the built-in OBEX (object exchange profile) Bluetooth in the phone and the printer, connecting and printing becomes instant.

With Digital Camera

Instantly printing images from a digital camera is as easy as connecting the USB cable to the PictBridge-enabled camera and printer. Once connected, follow the PictBridge screen on the camera display. Simply select what image to send to the printer and within 60 seconds, the print is ready to be shared.

Source
http://progadgetgeek.blogspot.com/

Photographs

2009-03-18T12:44:00.000-07:00

List of most expensive photographs

1. Andreas Gursky, 99 Cent II Diptychon (2001), $3,346,456, February, 2007, Sotheby's London auction.

2. Edward Steichen, The Pond-Moonlight (1904), $2,928,000, February 2006, Sotheby's New York auction.

3. Richard Prince, Untitled (Cowboy) (1989), $1,248,000, November 2005, Christie's New York auction.

4. Joseph-Philibert Girault de Prangey, 113.Athènes, T[emple] de J[upiter] olympien pris de l'est (1842) $922,488, 2003, auction.

5. Gustave Le Gray, The Great Wave, Sete (1857) $838,000, 1999.

6. Robert Mapplethorpe, Andy Warhol (1987) $643,200, 2006.

7. Ansel Adams, Moonrise, Hernandez, New Mexico (1948) $609,600, Sotheby's New York auction, 2006.

8. Andreas Gursky, Untitled 5 (1997) $559,724, 6 February 2002.

9. Gustave Le Gray, Tree (1855), $513,150, 1999.

10. Diane Arbus, Identical Twins, Roselle, New Jersey, 1967 (1967) $478,400, 27 April 2004

Photography

2008-03-08T02:35:00.002-08:00

Photography is the process of recording pictures by means of capturing light on a light-sensitive medium, such as a film or electronic sensor. Lightsilver halide based chemical or electronic medium during a timed exposure, usually through a photographic lens in a device known as a camera that also stores the resulting information chemically or electronically. Photography has many uses for both business and pleasure. It is often the basis of advertising and in fashion print. Photography can also be viewed as a commercial and artistic endeavor.

The word "photography" comes from the French photographie which is based on the Greek wordsphos ("light"), and γραφίς graphis ("stylus", "paintbrush") or γραφή graphê ("representation by means of lines" or "drawing"), together meaning "drawing with light." Traditionally, the product of photography has been called a photograph, commonly shortened to photo.

Photographic cameras

2008-03-08T02:35:00.001-08:00

The camera or camera obscura is the image-forming device, and photographic film or a siliconimage sensor is the sensing medium. The respective recording medium can be the film itself, or a digital electronic or magnetic memory. electronic

Photographers control the camera and lens to "expose" the light recording material (such as film) to the required amount of light to form a "latent image" (on film) or "raw file" (in digital cameras) which, after appropriate processing, is converted to a usable image. Modern digital cameras replace film with an electronic image sensor based on light-sensitive electronics such as charge-coupled device (CCD) or complementary metal-oxide-semiconductor (CMOS) technology. The resulting digital image is stored electronically, but can be reproduced on paper or film.

The controls usually include but are not limited to the following:

* Focus of the lens
* Aperture of the lens – adjustment of the iris, measured as f-number, which controls the amount of light entering the lens. Aperture also has an effect on focus and depth of field, namely, the smaller the opening [aperture], the less light but the greater the depth of field--that is, the greater the range within which objects appear to be sharply focused.
* Shutter speed – adjustment of the speed (often expressed either as fractions of seconds or as an angle, with mechanical shutters) of the shutter to control the amount of time during which the imaging medium is exposed to light for each exposure. Shutter speed may be used to control the amount of light striking the image plane; 'faster' shutter speeds (that is, those of shorter duration) decrease both the amount of light and the amount of image blurring from subject motion or camera motion.
* White balance – on digital cameras, electronic compensation for the color temperaturefilm stock. In addition to using white balance to register natural coloration of the image, photographers may employ white balance to aesthetic end, for example white balancing to a blue object in order to obtain a warm color temperature. associated with a given set of lighting conditions, ensuring that white light is registered as such on the imaging chip and therefore that the colors in the frame will appear natural. On mechanical, film-based cameras, this function is served by the operator's choice of
* Metering – measurement of exposure at a midtone so that highlights and shadows are exposed according to the photographer's wishes. Many modern cameras feature this ability, though it is traditionally accomplished with the use of a separate light metering device.
* ISO speed – traditionally used to set the film speed of the selected film on film cameras, ISO speeds are employed on modern digital cameras as an indication of the system's gain from light to numerical output and to control the automatic exposure system. A correct combination of ISO speed, aperture, and shutter speed leads to an image that is neither too dark nor too light.
* Auto-focus point – on some cameras, the selection of a point in the imaging frame upon which the auto-focus system will attempt to focus. Many Single-lens reflex cameras (SLR) feature multiple auto-focus points in the viewfinder.

Many other elements of the imaging device itself may have a pronounced effect on the quality and/or aesthetic effect of a given photograph; among them are:

* Focal length and type of lens (telephoto, macro, wide angle, fisheye, or zoom)
* Filters or scrims placed between the subject and the light recording material, either in front of or behind the lens
* Inherent sensitivity of the medium to light intensity and color/wavelengths.
* The nature of the light recording material, for example its resolution as measured in pixels or grains of silver halide.

Controlling the photographic exposure and rendering

2008-03-08T02:34:00.001-08:00

Camera controls are inter-related, the total amount of light reaching the film plane (the "exposure") changes with the duration of exposure, aperture of the lens, and focal length of the lens (which changes as the lens is zoomed). Changing any of these controls alters the exposure. Many cameras may be set to adjust most or all of these controls automatically. This automatic functionality is useful in many situations, and in most situations to occasional photographers.

The duration of an exposure is referred to as shutter speed, often even in cameras that don't have a physical shutter, and is typically measured in fractions of a second. Aperture is expressed by an f-number or f-stop (derived from focal ratio), which is proportional to the ratio of the focal length to the diameter of the aperture. If the f-number is decreased by a factor of \sqrt 2, the aperture diameter is increased by the same factor, and its area is increased by a factor of 2. The f-stops that might be found on a typical lens include 2.8, 4, 5.6, 8, 11, 16, 22, 32, where going up "one stop" (using lower f-stop numbers) doubles the amount of light reaching the film, and stopping down one stop halves the amount of light.

Exposures can be achieved through various combinations of shutter speed and aperture. For example, f/8 at 8 ms (=1/125th of a second) and f/5.6 at 4 ms (=1/250th of a second) yield the same amount of light. The chosen combination has an impact on the final result. In addition to the subject or camera movement that might vary depending on the shutter speed, the aperture (and focal length of the lens) determine the depth of field, which refers to the range of distances from the lens that will be in focus. For example, using a long lens and a large aperture (f/2.8, for example), a subject's eyes might be in sharp focus, but not the tip of the nose. With a smaller aperture (f/22), or a shorter lens, both the subject's eyes and nose can be in focus. With very small apertures, such as pinholes, a wide range of distance can be brought into focus.

Image capture is only part of the image forming process. Regardless of material, some process must be employed to render the latent image captured by the camera into the final photographic work. This process consists of two steps, development, and printing.

During the printing process, modifications can be made to the print by several controls. Many of these controls are similar to controls during image capture, while some are exclusive to the printing process. Most controls have equivalent digital concepts, but some create different effects. For example, dodging and burning controls are different between digital and film processes. Other printing modifications include:

* Chemicals and process used during film development
* Duration of exposure — equivalent to shutter speed
* Printing aperture — equivalent to aperture, but has no effect on depth of field
* Contrast
* Dodging — reduces exposure of certain print areas, resulting in lighter areas
* Burning — increases exposure of certain areas, resulting in darker areas
* Paper quality — glossy, matte, etc
* Paper size

Uses of photography

2008-03-08T02:33:00.001-08:00

Photography gained the interest of many scientists and artists from its inception. Scientists have used photography to record and study movements, such as Eadweard Muybridge's study of human and animal locomotion in 1887. Artists are equally interested by these aspects but also try to explore avenues other than the photo-mechanical representation of reality, such as the pictorialist movement. Military, police, and security forces use photography for surveillance, recognition and data storage. Photography is used to preserve memories of favorite times, to capture special moments, to tell stories, to send messages, and as a source of entertainment.

Commercial advertising relies heavily on photography and has contributed greatly to its development.

Photography, like other graphic testimonies, can be used for a variety of purposes. The following are some of the most common uses.

The photograph by VIVERO, C. 212, D. 4. shows how these small picture frames were used like the old cameos, carried regularly in a bag or on the clothes.

History of photography

2008-03-08T02:29:00.000-08:00

Photography is the result of combining several technical discoveries. Long before the first photographs were made, Ibn al-Haytham (Alhazen) (965–1040) invented the camera obscurapinhole camera, Albertus Magnus (1193–1280) discovered silver nitrate, and Georges Fabricius (1516–1571) discovered silver chloride. Daniel Barbaro described a diaphragm in 1568. Wilhelm Homberg described how light darkened some chemicals (photochemical effect) in 1694. The fiction book Giphantie (by the French Thiphaigne de La Roche, 1729-1774) described what can be interpreted as photography.

Photography as a usable process goes back to the 1820s with the development of chemical photography. The first permanent photograph was an image produced in 1826 by the FrenchNicéphore Niépce. However, the picture took eight hours to expose, so he went about trying to find a new process. Working in conjunction with Louis Daguerre, they experimented with silver compounds based on a Johann Heinrich Schultz discovery in 1724 that a silver and chalk mixture darkens when exposed to light. Niépce died in 1833, but Daguerre continued the work, eventually culminating with the development of the daguerreotype in 1839. inventor

Meanwhile, Hercules Florence had already created a very similar process in 1832, naming it Photographie, and William Fox Talbot had earlier discovered another means to fix a silver process image but had kept it secret. After reading about Daguerre's invention, Talbot refined his process so that it might be fast enough to take photographs of people. By 1840, Talbot had invented the calotype process, which creates negative images. John Herschel made many contributions to the new methods. He invented the cyanotype process, now familiar as the "blueprint". He was the first to use the terms "photography", "negative" and "positive". He discovered sodium thiosulphate solution to be a solvent of silver halides in 1819, and informed Talbot and Daguerre of his discovery in 1839 that it could be used to "fix" pictures and make them permanent. He made the first glass negative in late 1839.

In March of 1851, Frederick Scott Archer published his findings in "The Chemist" on the wet plate collodion process. This became the most widely used process between 1852 and the late 1880s when the dry plate was introduced. There are three subsets to the Collodion process; the Ambrotype (positive image on glass), the Ferrotype or Tintype (positive image on metal) and the negative which was printed on Albumen or Salt paper.

Many advances in photographic glass plates and printing were made in through the nineteenth century. In 1884, George Eastman developed the technology of film to replace photographic plates, leading to the technology used by film cameras today.

Nicéphore Niépce's earliest surviving photograph, c. 1826. This image required an eight-hour exposure, which resulted in sunlight being visible on both sides of the buildings.

Timeline

ancient times: Camera obscuras used to form images on walls in darkened rooms; image formation via a pinhole
16th century: Brightness and clarity of camera obscuras improved by enlarging the hole inserting a telescope lens
17th century: Camera obscuras in frequent use by artists and made portable in the form of sedan chairs
1727: Professor J. Schulze mixes chalk, nitric acid, and silver in a flask; notices darkening on side of flask exposed to sunlight. Accidental creation of the first photo-sensitive compound.
1800: Thomas Wedgwood makes "sun pictures" by placing opaque objects on leather treated with silver nitrate; resulting images deteriorated rapidly, however, if displayed under light stronger than from candles.
1816: Nicéphore Niépce combines the camera obscura with photosensitive paper
1826: Niépce creates a permanent image
1834: Henry Fox Talbot creates permanent (negative) images using paper soaked in silver chloride and fixed with a salt solution. Talbot created positive images by contact printing onto another sheet of paper.
1837: Louis Daguerre creates images on silver-plated copper, coated with silver iodide and "developed" with warmed mercury; Daguerre is awarded a state pension by the French government in exchange for publication of methods and the rights by other French citizens to use the Daguerreotype process.
1841: Talbot patents his process under the name "calotype".
1851: Frederick Scott Archer, a sculptor in London, improves photographic resolution by spreading a mixture of collodion (nitrated cotton dissolved in ether and alcoohol) and chemicals on sheets of glass. Wet plate collodion photography was much cheaper than daguerreotypes, the negative/positive process permitted unlimited reproductions, and the process was published but not patented.
1853: Nadar (Felix Toumachon) opens his portrait studio in Paris
1854: Adolphe Disderi develops carte-de-visite photography in Paris, leading to worldwide boom in portrait studios for the next decade.
1855: Beginning of stereoscopic era
1855-57: Direct positive images on glass (ambrotypes) and metal (tintypes or ferrotypes) popular in the US.
1861: Scottish physicist James Clerk-Maxwell demonstrates a color photography system involving three black and white photographs, each taken through a red, green, or blue filter. The photos were turned into lantern slides and projected in registration with the same color filters. This is the "color separation" method.
1861-65: Mathew Brady and staff (mostly staff) covers the American Civil War, exposing 7000 negatives
1868: Ducas de Hauron publishes a book proposing a variety of methods for color photography.
1870: Center of period in which the US Congress sent photographers out to the West. The most famous images were taken by William Jackson and Tim O'Sullivan.
1871: Richard Leach Maddox, an English doctor, proposes the use of an emulsion of gelatin and silver bromide on a glass plate, the "dry plate" process.
1877: Eadweard Muybridge, born in England as Edward Muggridge, settles "do a horse's four hooves ever leave the ground at once" bet among rich San Franciscans by time-sequenced photography of Leland Stanford's horse.
1878: Dry plates being manufactured commercially.
1880: George Eastman, age 24, sets up Eastman Dry Plate Company in Rochester, New York. First half-tone photograph appears in a daily newspaper, the New York Graphic.
1888: First Kodak camera, containing a 20-foot roll of paper, enough for 100 2.5-inch diameter circular pictures.
1889: Improved Kodak camera with roll of film instead of paper
1890: Jacob Riis publishes How the Other Half Lives, images of tenament life in New york City
1900: Kodak Brownie box roll-film camera introduced.
1902: Alfred Stieglitz organizes "Photo Secessionist" show in New York City
1906: Availability of panchromatic black and white film and therefore high quality color separation color photography. J.P. Morgan finances Edward Curtis to document the traditional culture of the North American Indian.
1907: First commercial color film, the Autochrome plates, manufactured by Lumiere brothers in France
1909: Lewis Hine hired by US National Child Labor Committee to photograph children working mills.
1914: Oscar Barnack, employed by German microscope manufacturer Leitz, develops camera using the modern 24x36mm frame and sprocketed 35mm movie film.
1917: Nippon Kogaku K.K., which will eventually become Nikon, established in Tokyo.
1921: Man Ray begins making photograms ("rayographs") by placing objects on photographic paper and exposing the shadow cast by a distant light bulb; Eugegrave;ne Atget, aged 64, assigned to photograph the brothels of Paris
1924: Leitz markets a derivative of Barnack's camera commercially as the "Leica", the first high quality 35mm camera.
1925: André Kertész moves from his native Hungary to Paris, where he begins an 11-year project photographing street life
1928: Albert Renger-Patzsch publishes The World is Beautiful, close-ups emphasizing the form of natural and man-made objects; Rollei introduces the Rolleiflex twin-lens reflex producing a 6x6 cm image on rollfilm.; Karl Blossfeldt publishes Art Forms in Nature
1931: Development of strobe photography by Harold ("Doc") Edgerton at MIT
1932: Inception of Technicolor for movies, where three black and white negatives were made in the same camera under different filters; Ansel Adams, Imogen Cunningham, Willard Van Dyke, Edward Weston, et al, form Group f/64 dedicated to "straight photographic thought and production".; Henri Cartier-Bresson buys a Leica and begins a 60-year career photographing people; On March 14, George Eastman, aged 77, writes suicide note--"My work is done. Why wait?"--and shoots himself.
1933: Brassaï publishes Paris de nuit
1934: Fuji Photo Film founded. By 1938, Fuji is making cameras and lenses in addition to film.
1935: Farm Security Administration hires Roy Stryker to run a historical section. Stryker would hire Walker Evans, Dorothea Lange, Arthur Rothstein, et al. to photograph rural hardships over the next six years. Roman Vishniac begins his project of the soon-to-be-killed-by-their-neighbors Jews of Central and Eastern Europe.
1936: Development of Kodachrome, the first color multi-layered color film; development of Exakta, pioneering 35mm single-lens reflex (SLR) camera
World War II:

Development of multi-layer color negative films
Margaret Bourke-White, Robert Capa, Carl Mydans, and W. Eugene Smith cover the war for LIFE magazine.

1947: Henri Cartier-Bresson, Robert Capa, and David Seymour start the photographer-owned Magnum picture agency
1948: Hasselblad in Sweden offers its first medium-format SLR for commercial sale; Pentax in Japan introduces the automatic diaphragm; Polaroid sells instant black and white film
1949: East German Zeiss develops the Contax S, first SLR with an unreversed image in a pentaprism viewfinder
1955: Edward Steichen curates Family of Man exhibit at New York's Museum of Modern Art
1959: Nikon F introduced.
1960: Garry Winogrand begins photographing women on the streets of New York City.
1963: First color instant film developed by Polaroid; Instamatic released by Kodak; first purpose-built underwater introduced, the Nikonos
1970: William Wegman begins photographing his Weimaraner, Man Ray.
1972: 110-format cameras introduced by Kodak with a 13x17mm frame
1973: C-41 color negative process introduced, replacing C-22
1975: Nicholas Nixon takes his first annual photograph of his wife and her sisters: "The Brown Sisters"; Steve Sasson at Kodak builds the first working CCD-based digital still camera
1976: First solo show of color photographs at the Museum of Modern Art, William Eggleston's Guide
1977: Cindy Sherman begins work on Untitled Film Stills, completed in 1980; Jan Groover begins exploring kitchen utensils
1978: Hiroshi Sugimoto begins work on seascapes.
1980: Elsa Dorfman begins making portraits with the 20x24" Polaroid.
1982: Sony demonstrates Mavica "still video" camera
1983: Kodak introduces disk camera, using an 8x11mm frame (the same as in the Minox spy camera)
1985: Minolta markets the world's first autofocus SLR system (called "Maxxum" in the US); In the American West by Richard Avedon
1988: Sally Mann begins publishing nude photos of her children
1987: The popular Canon EOS system introduced, with new all-electronic lens mount
1990: Adobe Photoshop released.
1991: Kodak DCS-100, first digital SLR, a modified Nikon F3
1992: Kodak introduces PhotoCD
1993: Founding of photo.net (this Web site), an early Internet online community; Sebastiao Salgado publishes Workers; Mary Ellen Mark publishes book documenting life in an Indian circus.
1995: Material World, by Peter Menzel published.
1997: Rob Silvers publishes Photomosaics
1999: Nikon D1 SLR, 2.74 megapixel for $6000, first ground-up DSLR design by a leading manufacturer.
2000: Camera phone introduced in Japan by Sharp/J-Phone
2001: Polaroid goes bankrupt
2003: Four-Thirds standard for compact digital SLRs introduced with the Olympus E-1; Canon Digital Rebel introduced for less than $1000
2004: Kodak ceases production of film cameras
2005: Canon EOS 5D, first consumer-priced full-frame digital SLR, with a 24x36mm CMOS sensor for $3000; Portraits by Rineke Dijkstra.

Photography Types:-

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There's a wide world of different kinds of photography to be found on the Web. Photographic work can be divided into dozens of categories, many with lots of sub-categories. The following list describes some common types of photography.

Aerial		From a plane, helicopter, balloon or other airborne device.
Adventure, Action		Adventure sports, daring feats, etc.
Amateur		Any type of photography practiced by non-professionals.
Animal, Pet		Pets and their relationships with humans. Note that the human content is often as important as the animal.
Architecture, Real Estate		The art of making property appear attractive. Often involves panoramic photography.
Artistic		Photography in which creative composition is the goal.
Astrophotography		Space photography, through a telescope.
Aura		A controversial type of photography which some claim can photograph a person's aura.
Black & White		Not simply photography without colour, black and white photography explores shapes, tones and textures. Shadows and highlights become much more important.
Camera Phone		"Convenience" photography using a mobile phone's built-in camera. While not the best quality, camera phones have opened a new world of spontaneous, on-the-spot photo opportunities.
Commercial		Product shots, advertising, etc.
Digiscoping		Photography through a telescope or binoculars.
Documentary		Journalism, Events, Historical, Political, etc.
Event		Concerts, Parties, Festivals, etc.
Forensic		Police and legal photography.
Infrared		Photography in which the recording medium is sensitive to infrared light rather than the normal visible light spectrum.
Large Format		For use on posters, billboards, etc.
Kirlian		A type of contact print photography in which an object touching a photographic plate is connected to a high voltage source, creating an aura-like image. Often confused with aura photography.
Macro		The art of photographing very small and/or close-up objects.
Medical		Specialized photography for clinical purposes, i.e. to help reveal and diagnose illness.
Microscopic		Any technique for photographing objects too small to be visible to humans.
Modeling		Photographing objects to be converted into 3D models.
Nature		Landscapes, animals, plants, sea, etc.
Night		Any technique used to capture images at night. Often includes infrared photography.
Panoramic		Views of wide areas, up to complete 360° panoramas.
Paranormal		Ghosts, unexplained phenomena, etc.
People		Candid, Family, Fashion, Glamour, Passports & Visas, Portrait, Pregnancy, School, Sports, Wedding
Pinhole		Uses the most basic type of camera possible — a box with a tiny hole to let light in.
Scenic		Landscape, Cityscape
Satellite		Views of Earth from orbit.
Scientific		Any specialized photography used for scientific endeavour, e.g. electron microscopy photographs, medical photography, astrophotography, etc.
Sports		The specialized art of shooting people engaged in sports, games and adventure activities.
Stereoscopic (3-D)		Involves taking two photos simultaneously to simulate 3-D vision.
Stock		Photographs taken for distribution to other people, for use in their projects. These photos tend to be quite generic, e.g. people working, landscapes, places, etc.
Travel		Photography to showcase locations, illustrate travel literature, etc.
Ultraviolet		Photography in which the recording medium is sensitive to ultraviolet light rather than the normal visible light spectrum.
Underwater		Any type of photography taken under water with a water-tight camera housing.
Urban, Industrial		Emphasizing urban environments.
Time-lapse		Photographs with a very long exposure, used to illustrate something happening over time. A popular example is a street at night with car lights blurred into long lines.

Fine art photography

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Fine art photography refers to photographs that are created to fulfill the creative vision of the artist. Fine art photography stands in contrast to photojournalism and commercial photography. Photojournalism is to promote an editorial point of view. Commecial photography's main focus being to sell a product or service.

'The final creative reason for a fine art photograph is the photograph itself. It is not a means to another end except perhaps to please those besides the photographer who beholds it.'

Fine art photography can be used to promote something. They are created most importantly to be true to the artist’s vision of beauty. We can see this by looking at Ansel Adams' work of Yosemite and Yellowstone. He is one of the least disputed fine art photographers of the 20th century. These images were done while he was trying to raise public awareness of these two locations and to have them protected. They were not created in order to raise awareness of anything. They were done simply to be true to the vision of the artist.

Fashion photography

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Fashion photography is a genre of photography devoted to displaying clothing and other fashion items. Fashion photography is most often conducted for advertisements or fashionmagazines such as Vogue, Vanity Fair, or Allure. Over time, fashion photography has developed its own aesthetic in which the clothes and fashions are enhanced by exotic locations and story lines.It is also a form of advertisements for fashion related publcations and events.

Portrait photography

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Portrait photography is the art of visually presenting a person or persons in an appealing and presentable manner.

Portrait as a very long history and has been around since the invention of photography..

This category differs from studio photography or photojournalism, which may include people, because its sole purpose is to capture the likeness of a person or a small group of people, typically in a flattering manner. Like other types of portraiture, the focus of photograph is the person's face, although the entire body and the background may be included. Many people enjoy having professionally made family portraits to hang in their homes, or special portraits to commemorate certain events, such as graduations or weddings.

Architectural Photography

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Architectural Photography captures the elements and exteriors of buildings and other architectural installations.

Traditionally, professional architecture photographers prefer to use medium or large-format cameras to create their works. This often results in high quality output, which a 35mm camera cannot match.

Cityscape Photography

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As the name imply, Cityscape Photography captures the elements of urban dwelling and city environment.

Traditionally, if the shot is taken in the day and under bright sunlight condition, cityscape parameters prefers fast shutter speed and relatively high F-stop value. This results in longer depth of fields or sharper details throughout.

On the other hand, cityscapes taken in the night are usually long exposure shots taken with the help of a tripod for stability.

Nature photography

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Photography taken with the emphasis on nature, wildlife, flora and fauna.

Nature Photography is the genre of photography pertaining to the capturing of natural and wildlife scenes.

Advertising Photography

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Photos generally done by advertising and design agencies or in-house design team that illustrate a service or product.

Advertising photography is only one of the many disciplines of professional photography. In major markets, New York, Chicago, Los Angles, San Francisco etc., the advertising photographer is truly a specialist. In small markets this type of photography is done by what is called ‘commercial’ photographers who do other types of assignments as well. Most of the photographers who are receiving those profitable advertising assignments have developed a reputation as a creative photographer over long years of training and experience. Advertising photography is not a discipline for the novice.

Aerial Photography

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Aerial photography is the taking of photographs of the ground from an elevated position. The term usually refers to images in which the camera is not supported by a ground-based structure. Cameras may be hand held or mounted, and photographs may be taken by a photographer, triggered remotely or triggered automatically. Platforms for aerial photography include fixed-wing aircraft, helicopters, balloons, blimps and dirigibles, rockets, kites, poles and parachutes.

Landscape Photography

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Photographic interpretations of the land and its beauty.

Landscape Photography is the genre of photography pertaining to the capturing of sceneries. More often than not , people and animals are seldom shown in a landscape photo. If they do, they are relatively small in terms of scale on the photo.

There are three styles of landscape photography, namely representational, impressionistic and abstract.

Underwater photography

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Photographs taken while underwater. It is usually done while scuba diving, snorkeling or swimming. Needs special equipment.

Underwater photography is often a very challenging form of photography which demands a lot from the photographer. It requires highly specialized equipment and techniques and therefore is not within the reach of most photographers

To take underwater scenes, one either gets a amphibious/waterproof camera or enclose the conventional digital or traditional camera into a watertight underwater housing.

Macro photography

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Photography where the image is taken close up.

Macro or close up photography usually has limited sharpness other than the main point of focus. That means the depth-of-field (DOF) will be very shallow. The surrounding will usually be very blurring or soft. However, we can take advantage of this to give the subject a stronger focus.

Macro photography often requires macro lens or lense with macro mode. Many macro lens are often optimised for best performance at a magnification scale of 1:1. Some lens can even have higher magnifications than at.

Food Photography

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Taking of food in an attractive and appetizing manner.

Food photography is often a type of close up photography. It is usually taken in a appealing and aesthetic manner to entice and make the food like appetizing and delicious. It is thus often used in restuarant and recipe menus.

Just by looking at the photo above, makes me hungry : )

When taking Food Photography, it is advisable to use a tripod to minimize movement. Set parameters for shallow Depth of field will place more focus on the food, by blurring out the surrounding.

Night photography

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Photographs taken outdoors between twilight and dusk.

Night photography is one area where you can forget about multi matrix, spot, honeycombs any other metering system!

Why? Because the only good light meter for night photography is your eye and experience. Because we are no longer dealing with daylight, a metered reading can only be used as a "starting point". There are a few factors in night photography that make camera meters unreliable.An important factor in night photography is how the lighting is portrayed in the scene. When portraying rows of street lighting for example, the direct light source itself is being photographed, therefore the lighting being exposed is very bright. An image of a floodlit building on the other hand is an image exposed by reflected

light. This naturally is much weaker and would need a much longer exposure.

In many cases the two examples would be portrayed in the same image, this would lead to extreme contrasts and very difficult exposure metering problems. In a case like this it is always best to expose for the reflected light and ignore any lighting that is portrayed in the image. Doing this will no doubt lead to overexposure of the light fixtures, but this can look quite acceptable in the image.

Fine Art Nude Photography

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Taking photos of unclothed persons for the purpose of artistic expression.

Wedding photography

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Wedding photography is a major commercial endeavor that supports the bulk of the efforts for many photography studios or independent photographers.

Black-and-white photography

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"Casting Winds" - this black & white displays the classic monochrome look, as well as the use of simulated optical filtering (wratten #25) to enhance or diminish the rendering of certain light wavelengths.

All photography was originally monochrome, or black-and-white. Even after color film was readily available, black-and-white photography continued to dominate for decades, due to its lower cost and its "classic" photographic look. It is important to note that some monochromatic pictures are not always pure blacks and whites but contain other hues depending on the process. The Cyanotype process produces an image of blue and white for example. Many photographers continue to produce some monochrome images. Some full color digital images are processed using a variety of techniques to create black and whites, and some cameras have even been produced to exclusively shoot monochrome which was called the Monochrome Photography.

Color photography

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Early color photograph taken by Prokudin-Gorskii (1915)

Color photography was explored beginning in the mid 1800s. Early experiments in color could not fix the photograph and prevent the color from fading. The first permanent color photo was taken in 1861 by the physicist James Clerk Maxwell.

One of the early methods of taking color photos was to use three cameras. Each camera would have a color filter in front of the lens. This technique provides the photographer with the three basic channels required to recreate a color image in a darkroom or processing plant. Russian photographer Sergei Mikhailovich Prokudin-Gorskii developed another technique, with three color plates taken in quick succession.

Practical application of the technique was held back by the very limited color response of early film; however, in the early 1900s, following the work of photo-chemists such as H. W. Vogel, emulsions with adequate sensitivity to green and red light at last became available.

The first color plate, Autochrome, invented by the French Lumière brothers, reached the market in 1907. It was based on a 'screen-plate' filter made of dyed dots of potato starch, and was the only color film on the market until German Agfa introduced the similar Agfacolor in 1932. In 1935, American Kodak introduced the first modern ('integrated tri-pack') color film, Kodachrome, based on three colored emulsions. This was followed in 1936 by Agfa's Agfacolor Neue. Unlike the Kodachrome tri-pack process the color couplers in Agfacolor Neue were integral with the emulsion layers, which greatly simplified the film processing. Most modern color films, except Kodachrome, are based on the Agfacolor Neue technology. Instant color film Polaroid in 1963. was introduced by

Color photography may form images as a positive transparency, intended for use in a slide projector or as color negatives, intended for use in creating positive color enlargements on specially coated paper. The latter is now the most common form of film (non-digital) color photography owing to the introduction of automated photoprinting equipment.

Digital photography

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Traditional photography burdened photographers working at remote locations without easy access to processing facilities, and competition from television pressured photographers to deliver images to newspapers with greater speed. Photo journalists at remote locations often carried miniature photo labs and a means of transmitting images through telephone lines. In 1981, Sony unveiled the first consumer camera to use a charge-coupled device for imaging, eliminating the need for film: the Sony Mavica. While the Mavica saved images to disk, the images were displayed on television, and the camera was not fully digital. In 1990, Kodak unveiled the DCS 100, the first commercially available digital camera. Although its high cost precluded uses other than photojournalism and professional photography, commercial digital photography was born.

Digital imaging uses an electronic image sensor to record the image as a set of electronic data rather than as chemical changes on film. The primary difference between digital and chemical photography is that analog photography resists manipulation because it involves film, optics and photographic paper, while digital imaging is a highly manipulative medium. This difference allows for a degree of image post-processing that is comparatively difficult in film-based photography and permits different communicative potentials and applications.

Digital point-and-shoot cameras have become widespread consumer products, outselling film cameras, and including new features such as video and audio recording. Kodak announced in January 2004 that it would no longer sell reloadable 35 mm cameras in western Europe, Canada United States after the end of that year. This was interpreted as a sign of the end of film photography. However, Kodak was at that time a minor player in the reloadable film cameras market. In January 2006, Nikon followed suit and announced that they will stop the production of all but two models of their film cameras: the low-end Nikon FM10, and the high-end Nikon F6. On May 25, 2006, Canon announced they will stop developing new film SLR cameras.

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

According to the U.S. survey results, more than two-thirds (68 percent) of professional photographers prefer the results of film to those of digital for certain applications including:

film’s superiority in capturing more information on medium and large format films (48 percent);
creating a traditional photographic look (48 percent);
capturing shadow and highlighting details (45 percent);
the wide exposure latitude of film (42 percent); and
archival storage (38 percent)

Because photography is popularly synonymous with truth ("The camera doesn't lie."), digital imaging has raised many ethical concerns. Many photojournalists have declared they will not crop their pictures, or are forbidden from combining elements of multiple photos to make "illustrations," passing them as real photographs. Many courts will not accept digital images as evidence because of their inherently manipulative nature. Today's technology has made picture editing relatively easy for even the novice photographer.

Commercial photography

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Manual shu tter control and exposure settings can achieve unusual results.

The commercial photographic world can be broken down to:

Advertising photography: photographs made to illustrate and usually sell a service or product. These images are generally done with an advertising agency, design firm or with an in-house corporate design team.
Fashion and glamour photography: This type of photography usually incorporates models. Fashion photography emphasizes the clothes or product, glamour emphasizes the model. Glamour photography is popular in advertising and in men's magazines. Models in glamour photography may be nude, but this is not always the case.
Crime Scene Photography: This type of photography consists of photographing scenes of crime such as robberies and murders. A black and white camera or an infrared camera may be used to capture specific details.
Still life photography usually depicts inanimate subject matter, typically commonplace objects which may be either natural or man-made.
Food photography can be used for editorial, packaging or advertising use. Food photography is similar to still life photography, but requires some special skills.
Editorial photography: photographs made to illustrate a story or idea within the context of a magazine. These are usually assigned by the magazine.
Photojournalism: this can be considered a subset of editorial photography. Photographs made in this context are accepted as a documentation of a news story.
Portrait and wedding photography: photographs made and sold directly to the end user of the images.
Fine art photography: photographs made to fulfill a vision, and reproduced to be sold directly to the customer.
Landscape photography: photographs of different locations made to be sold to tourists as postcards
Wildlife photography that demonstrates life of the animals.
Pornography: explicit depiction of sexual subject matter, especially with the sole intention of sexually exciting the viewer using a variety of media including photography. See History of erotic photography.
Photo sharing: publishing or transfer of a user's digital photos online.

The market for photographic services demonstrates the aphorism "one picture is worth a thousand words," which has an interesting basis in the history of photography. Magazines and newspapers, companies putting up Web sites, advertising agencies and other groups pay for photography.

Many people take photographs for self-fulfillment or for commercial purposes. Organizations with a budget and a need for photography have several options: they can assign a member of the organization or hire someone to shoot exactly what they want, run a public competition, or obtain rights to stock photographs either through traditional stock giants, such as Getty Images, Corbis, or through smaller microstock agencies, such as Fotolia.

Photography as an art form

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

During the twentieth century, both fine art photography and documentary photography became accepted by the English-speaki ng art world and the gallery system. In the United States, a handful of photographers, including Alfred Stieglitz, Edward Steichen, John Szarkowski, 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 f/64 Group to advocate 'straight photography', the photograph as a (sharply focused) thing in itself and not an imitation of something else.

The aesthetics of photography is a matter that continues to be discussed regularly, especially in artistic circles. Many artists argued that photography was the mechanical reproduction of an image. If photography is authentically art, then photography in the context of art would need redefinition, such as determining what component of a photograph makes it beautiful to the viewer. The controversy began with the earliest images "written with light"; Nicéphore Niépce, Louis Daguerre, and others among the very earliest photographers were met with acclaim, but some questioned if their work met the definitions and purposes of art.

Clive Bell in his classic essay Art states that only "significant form" can distinguish art from what is not art.

"There must be some one quality without which a work of art cannot exist; possessing which, in the least degree, no work is altogether worthless. What is this quality? What quality is shared by all objects that provoke our aesthetic emotions? What quality is common to Sta. Sophia and the windows at Chartres, Mexican sculpture, a Persian bowl, Chinese carpets, Giotto's frescoes at Padua, and the masterpieces of Poussin, Piero della Francesca, and Cezanne? Only one answer seems possible - significant form. In each, lines and colors combined in a particular way, certain forms and relations of forms, stir our aesthetic emotions."

Technical photography

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The camera has a long and distinguished history as a means of recording phenomena from the first use by Daguerre and Fox-Talbot, such as astronomical events (eclipses for example) and small creatures when the camera was attached to the eyepiece of microscopes (in photomicroscopy). The camera also proved useful in recording crime scenes and the scenes of accidents, one of the first uses being at the scene of the Tay Rail Bridge disaster of 1879. The set of accident photographs was used in the subsequent court of inquiry so that witnesses could identify pieces of the wreckage, and the technique is now commonplace in courts of law.

Other photographic image forming techniques

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Besides the camera, other methods of forming images with light are available. For instance, a photocopy or xerography machine forms permanent images but uses the transfer of static electrical charges rather than photographic film, hence the term electrophotography. Photograms image scanner to produce digital pictures. 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.

Concepts and principles

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Angle of view
Aperture
Color temperature
Depth of field
Depth of focus
Digital versus film photography
Double exposure
Exposure
F-number
Film format
Film speed
Perspective distortion
Photographic printing
Photographic processes
Pinhole camera
Red-eye effect
Rule of thirds
Science of photography
Shutter speed
Zone System

Angle of view

In photography, angle of view describes the angular extent of a given scene that is imaged by a camera. It parallels, and may be used interchangeably with, the more general visual term field of view.

It is important to distinguish the angle of view from the angle of coverage, which describes the angle of projection by the lens onto the focal plane. For most cameras, it may be assumed that the image circle produced by the lens is large enough to cover the film or sensor completely.[1] If the angle of view exceeds the angle of coverage, however, then vignetting will be present in the resulting photograph. For an example of this, see below.

Aperture

In optics, an aperture is a hole or an opening through which light is admitted. More specifically, the aperture of an optical system is the opening that determines the cone angle of a bundle of rays that come to a focus in the image plane. The aperture determines how collimated the admitted rays are, which is of great importance for the appearance at the image plane. If the admitted rays also pass through a lens, highly collimated rays (narrow aperture) will result in sharpness at the image plane, while uncollimated rays (wide aperture) will result in sharpness for rays with the right focal length only. This means that a wide aperture results in an image that is sharp around what the lens is focusing on and blurred otherwise. The aperture also determines how many of the incoming rays are actually admitted and thus how much light that reaches the image plane (the narrower the aperture, the darker the image).

An optical system typically has many openings, or structures that limit the ray bundles (ray bundles are also known as pencils of light). These structures may be the edge of a lens or mirror, or a ring or other fixture that holds an optical element in place, or may be a special element such as a diaphragm placed in the optical path to limit the light admitted by the system. In general, these structures are called stops, and the aperture stop is the stop that determines the ray cone angle, or equivalently the brightness, at an image point.

In some contexts, especially in photography and astronomy, aperture refers to the diameter of the aperture stop rather than the physical stop or the opening itself. For example, in a telescope the aperture stop is typically the edges of the objective lens or mirror (or of the mount that holds it). One then speaks of a telescope as having, for example, a 100 centimeter aperture. Note that the aperture stop is not necessarily the smallest stop in the system. Magnification and demagnification by lenses and other elements can cause a relatively large stop to be the aperture stop for the system.

Sometimes stops and diaphragms are called apertures, even when they are not the aperture stop of the system.

The word aperture is also used in other contexts to indicate a system which blocks off light outside a certain region. In astronomy for example, a photometric aperture around a star usually corresponds to a circular window around the image of a star within which the light intensity is summed.

Colour Temperature

Color temperature is a characteristic of visible light that has important applications in lighting, photography, videography, publishing, and other fields. The color temperature of a light source is determined by comparing its chromaticity with that of an ideal black-body radiator. The temperature (usually measured in kelvins (K)) at which the heated black-body radiator matches the color of the light source is that source's color temperature; for a black body source, it is directly related to Planck's law and Wien's displacement law.

Counterintuitively, higher color temperatures (5000 K or more) are "cool" (green–blue) colors, and lower color temperatures (2700–3000 K) "warm" (yellow–red) colors. Cool-colored light is considered better for visual tasks.[citation needed] Warm-colored light is preferred for living spaces because it is considered more flattering to skin tones and clothing.[citation needed] Color temperatures in the 2700–3600 K range are recommended for most general indoor and task lighting.

Depth of Field

n optics, particularly as it relates to film and photography, the depth of field (DOF) is the portion of a scene that appears sharp in the image. Although a lens can precisely focus at only one distance, the decrease in sharpness is gradual on either side of the focused distance, so that within the DOF, the unsharpness is imperceptible under normal viewing conditions.

For some images, such as landscapes, a large DOF may be appropriate, while for others, such as portraits, a small DOF may be more effective.

The DOF is determined by the subject distance (that is, the distance to the plane that is perfectly in focus), the lens focal length, and the lens f-number (relative aperture). Except at close-up distances, DOF is approximately determined by the subject magnification and the lens f-number. For a given f-number, increasing the magnification, either by moving closer to the subject or using a lens of greater focal length, decreases the DOF; decreasing magnification increases DOF. For a given subject magnification, increasing the f-number (decreasing the aperture diameter) increases the DOF; decreasing f-number decreases DOF.

When focus is set to the hyperfocal distance, the DOF extends from half the hyperfocal distance to infinity, and is the largest DOF possible for a given f-number.

The advent of digital technology in photography has provided additional means of controlling the extent of image sharpness; some methods allow DOF that would be impossible with traditional techniques, and some allow the DOF to be determined after the image is made.

Depth of focus

Depth of focus is a lens optics concept that measures the tolerance of placement of the image plane (the film plane in a camera) in relation to the lens. In a camera, depth of focus indicates the tolerance of the film's displacement within the camera, and is therefore sometimes referred to as "lens-to-film tolerance."

Digital Versus Film Photography

Digital versus film photography is a topic sometimes debated by photographers. Both digital and film, have advantages and drawbacks [1][2] and the different natures of these two technologies make the question of which is "better" meaningless without the qualifier "...for what purpose?" Strictly speaking, neither technology is better or worse. With that caveat in mind, this article attempts to compare some of the characteristics of both types of photography.

Double Exposure

In photography, a multiple exposure is an exposure in which the sensitivity to light is reduced and then increased at least once during the total exposure time.

Exposure

In photography, exposure is the total amount of light allowed to fall on the photographic medium (photographic film or image sensor) during the process of taking a photograph. Exposure is measured in lux seconds, and can be computed from exposure value (EV) and scene luminance over a specified area.

In photographic jargon, an exposure generally refers to a single shutter cycle. For example: a long exposure refers to a single, protracted shutter cycle to capture enough low-intensity light, whereas a multiple exposure involves a series of relatively brief shutter cycles; effectively layering a series of photographs in one image. For the same film speed, the accumulated photometric exposure (H) should be similar in both cases.

F-Number

In optics, the f-number (sometimes called focal ratio, f-ratio, or relative aperture) of an optical system expresses the diameter of the entrance pupil in terms of the focal length of the lens; in simpler terms, the f-number is the focal length divided by the "effective" aperture diameter. It is a dimensionless number that is a quantitative measure of lens speed, an important concept in photography.

Film Format

A film format is a technical definition of a set of standard characteristics regarding image capture on photographic film, for either stills or movies. It can also apply to projected film, either slides or movies. The primary characteristic of a film format is its size and shape.

In the case of motion picture film, the format may also include audio parameters (though often not). Other characteristics usually include the film gauge, pulldown method, lens anamorphosis (or lack thereof), and film gate or projector aperture dimensions, all of which need to be defined for photography as well as projection, as they may differ.

Film Speed

Film speed is the measure of a photographic film's sensitivity to light. Film with lower sensitivity (lower ISO/ASA speed) requires a longer exposure and is thus called a slow film, while stock with higher sensitivity (higher ISO/ASA speed) can shoot the same scene with a shorter exposure and is called a fast film.

Perspective Distortion

In photography and cinematography, perspective distortion describes one of two phenomena – the appearance of a part of the subject as abnormally large, relative to the rest of the scene, or an apparent lack of distance between objects in the foreground and those behind them.

Photographic Printing

Photographic printing is the process of producing a final image on paper for viewing, using chemically sensitized paper. The paper is exposed to a photographic negative, a positive transparency (or slide), or a digital image file projected using an enlarger or digital exposure unit such as a LightJet printer. Alternatively, the negative or transparency may be placed atop the paper and directly exposed, creating a contact print.

Photographic Processes

List of photographic processes

Color

* Chromogenic positive (Ektachrome)
E-4 process
E-6 process

* Chromogenic negative
C-41 process
RA-4 process

* Dye destruction
Cibachrome
Ilfochrome

* Kodachrome
K-12 process
K-14 process

* Dye transfer print

* Agfacolor

* Carbon print, 1862

* Lippmann process, 1891

* Autochrome Lumière, 1903

* Dufaycolor

* Anthotype

* Autochrome Lumière

Black and White (Monochrome)

A

* Abration tone
* Acetate film
* Albertype
* Albumen print, 1850
* Algraphy
* Ambrotype
* amphitype
* amylotype
* Anaglyph
* anthrakotype
* Archertype
* argentotype
* argyrotype
* Aristo paper
* aristotype
* aristo
* artotype
* atrephograph
* atrograph
* Aurotype
* Autotype

B

* Baryta coated paper
* Bayard process
* Bichromate process
* Bichromated gelatin
* Bichromated gum arabic
* Bichromatic albumen
* Bitumen of Judea
* Breyertype
* Bromoil Process, 1907
* burneum

C

* Calotype, 1841
* cameo
* Carbon print, 1855
* Carbro Print
* Carbro
* Casein pigment
* catalysotype
* Catalisotype
* Catatype
* Cellulose diacetate negative
* Cellulose nitrate negative
* Cellulose triacetate negative
* Ceroleine
* chalkotype
* Charbon Velour
* chromatype
* Chripotype
* Chrysotype, 1842
* Chrystollotype
* Cliché-verre
* Collodion paper
* Collodion process, 1851
* Collotype, 1870
* Color paper
* Contact print
* Contact sheet
* Contretype
* Copper Photogravure
* crystoleum
* Crystal photo 1850
* Cyanotype, 1842

D

* Daguerreotype, 1839
* Dallastype
* diaphanotype
* diazotype
* Dry collodion negative
* Dry collodion process
* Dry plate
* Dye coupler process
* Dye destruction process
* Dye diffusion transfer process
* Dye transfer print

E

* Eburneum
* ectograph
* ectographe
* electrotype
* energiatype
* Enamel photograph
* enamaline

F

* Feertype
* ferrotype
* Ferroprussiate paper
* fluorotype

G

* Gaslight paper
* Gaudinotype
* Gelatino-Bromide emulsions, 1875
* Gelatin-silver process
* Gem tintype
* Ghost photograph
* Gum Bichromate Print
* gum bichromate
* Gum Dichromate
* gum printing = *Photoglyphic
* Gum over platinum

H

* hallotype
* heliography
* Heliotype
* hellenotype
* Hillotype
* Hyalotype -1850
* Hydrotype

I

* Intermediate negative
* Internegative
* Iron salt process
* Ivorytype -1855

J

* Jews pith

K

* kallitype

L

* Lambertype
* Leggotype
* LeGray
* Levytype
* linograph
* linotype

M

* Mariotype
* Meisenbach process
* Melainotype
* melanograph
* metotype
N

* Negative

O

* Oil printing process
* opalotype
* ozobrome
* ozotype
* Ozobrom process
* ozotype
* Ozotype process

P

* Palladiotype, 1914
* Palladium Print
* Palladium processing
* Palladiotype
* pannotype
* Paper Negatives
* Paynetype
* Photocollography
* Photoglyphic
* Photogram
* Photogravure
* Photolithography
* Photosculpture
* Phototype
* Physautotype
* Pinatype process
* Platinotype, 1873
* Playertype
* Plumbeotype

S

* Salt print
* Salted paper
* Self-toning paper
* Sepia
* Sepia paper
* Shellac
* Siderotype
* Silver bromide
* Silver chloride collodion
* Simpsontype
* sphereotype
* Stanhope
* stannotype
* Sun printing

T

* Talbotype
* Tintype or Ferrotype
* tithnotype
* transferotype

U

* uranium print
V

* Van Dyke
* Vescicular film

W

* Wash-off Relief
* Waxed paper
* Wet collodion process
* Wet collodion plate
* Wet plate process
* Woodburytype
* Wothlytype

Pin Hole Camera

A pinhole camera is a very simple camera with no lens and a single very small aperture. Simply explained, it is a light-proof box with a small hole in one side. Light from a scene passes through this single point and projects an inverted image on the opposite side of the box. Cameras using small apertures, and the human eye in bright light both act like a pinhole camera.

The smaller the hole, the sharper the image, but the dimmer the projected image. Optimally, the size of the aperture should be 1/100 or less of the distance between it and the screen.

A pinhole camera's shutter is usually manually operated because of the lengthy exposure times, and consists of a flap of some light-proof material to cover and uncover the pinhole. Typical exposures range from 5 seconds to hours and sometimes days.

A common use of the pinhole camera is to capture the movement of the sun over a long period of time. This type of photography is called Solargraphy.

The image may be projected onto a translucent screen for real-time viewing (popular for observing solar eclipses; see also camera obscura), or can expose film or a charge coupled device (CCD). Pinhole cameras with CCDs are often used for surveillance because they are difficult to detect.

Red-Eye effect

The red-eye effect in photography is the common appearance of red pupils in color photographs of eyes. It occurs when using a photographic flash very close to the camera lens (as with most compact cameras), in ambient low light. Red-eye effect appears in the eyes of humans and animals that have no tapetum lucidum, hence no eyeshine,[citation needed] and rarely in animals that have a tapetum lucidum. The red-eye effect is a photographic effect, not seen in nature.

Rule of Thirds

The rule of thirds is a compositional rule of thumb in visual arts such as painting, photography and design. The rule states that an image should be imagined as divided into nine equal parts by two equally-spaced horizontal lines and two equally-spaced vertical lines, and that important compositional elements should be placed along these lines or their intersections. Proponents of the technique claim that aligning a subject with these points creates more tension, energy and interest in the composition than simply centering the subject would.

The photograph to the right demonstrates the application of the rule of thirds. The horizon sits at the horizontal line dividing the lower third of the photo from the upper two-thirds. The tree sits at the intersection of two lines, sometimes called a power point. Points of interest in the photo don't have to actually touch one of these lines to take advantage of the rule of thirds. For example, the brightest part of the sky near the horizon where the sun recently set does not fall directly on one of the lines, but does fall near the intersection of two of the lines, close enough to take advantage of the rule.

Science of photography

Science of photography refers to the use of science, such as chemistry and physics, in all aspects of photography. This applies to the camera, its lenses, physical operation of the camera, electronic camera internals, and the process of developing film in order to take and develop pictures properly.

Shutter Speed

In photography, shutter speed is a common term used to discuss exposure time, the effective length of time a shutter is open; the total exposure is proportional to this exposure time, or duration of light reaching the film or image sensor.

Zone System

The Zone System is a photographic technique for determining optimal film exposure and development, formulated by Ansel Adams and Fred Archer in 1941. The Zone System provides photographers with a systematic method of precisely defining the relationship between the way they visualize the photographic subject and the final results. Although it originated with black and white sheet film, the Zone System is also applicable to roll film, both black and white and color, negative and reversal, and to digital photography.

Photography forms

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Architectural photography
Candid photography
Cloudscape photography
Documentary photography
Erotic photography
Fashion photography
Fine art photography
Fire photography
Forensic photography
Food photography
Glamour photography
Head shot (Headshot Photography)
Landscape art
Macro photography
Miksang (contemplative photography)
Nature photography
Photojournalism
Portrait photography
Sports photography
Still life photography
Stock photography
Street photography
Travel photography
Underwater photography
Vernacular photography
VR photography
Wildlife photography

Photography techniques

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Aerial Photography
Astrophotography
Bokeh
Contre-jour
Cross processing
Cyanotype
Digiscoping
Film developing
Harris Shutter
Infrared photography
Kite aerial photography
Lead room
Light painting
Lith-Print
Macro photography
Monochrome Photography
Motion blur
Night photography
Panoramic photography
Photogram
Photographic mosaic
Photographic print toning
Push printing
Push processing
Rephotography
Rollout photography
Sabatier Effect
Stereoscopy
Sun printing
Ultraviolet photography
Tilted plane focus
Time-lapse
Zoom burst

Photographers

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List of photographers

A

Rolf Aamot (art)
Slim Aarons (doc)
Hans Aarsman
Abbas
Berenice Abbott (doc, pict, port)
Karimeh Abbud
Sam Abell
Laurence Aberhart
William de Wiveleslie Abney
George W. Ackerman (doc)
Ansel Adams (art, doc, land, pict)
Bryan Adams (port)
Eddie Adams (doc, land, war)
Robert Adams (art)
Alfred Shea Addis
Gustavo Aguerre (art)
Tadasuke Akiyama (doc)
Mushfiqul Alam (adv, art, doc)
Cris Alexander
Fratelli Alinari
Timothy Allen (doc, ethno, port)
Darogha Ubbas Alli
Jane Fulton Alt (art)
Lola Álvarez Bravo
Manuel Álvarez Bravo (abs, art, doc)
Stephen Alvarez
Christian von Alvensleben
Takashi Amano (land, und)
Mohamed Amin
Taco Anema
George Edward Anderson
Tom Ang
Dieter Appelt (port)
Nobuyoshi Araki (art)
Taku Aramasa (fash, doc)
Allan Arbus
Amy Arbus
Diane Arbus (art, doc, fash, int, port)
Doon Arbus
Malcolm Arbuthnot (pict, port)
Fred Archer
Roy Arden
Taiji Arita
Eve Arnold (art, fash, port)
Hippolyte Arnoux
Bill Aron
Yann Arthus-Bertrand
Anthony Asael
Eugène Atget
Anna Atkins
Bill Atkinson (dig, land)
Alan Aubry (arch, art, doc, int, land)
Richard Avedon (art, fash, port)
Jerry Avenaim (art, fash, port)

B

Alioune Bâ
Chapman Baehler (doc, adv, fash, port)
David Bailey (fash, port)
Reg Balch
John Baldessari (abs, art)
Edouard Baldus
Lewis Baltz (art)
Subhankar Banerjee
Micha Bar-Am (doc)
Olivo Barbieri
Nigel Barker (fash)
Tina Barney (art, port)
George Barris
Uta Barth (abs, art)
Pablo Bartholomew (doc, art, ethno)
Pinky Bass (abs, art, doc, land, port)
Alexander Bassano
Manfred Baumann
Jean Baudrillard
Hippolyte Bayard
Peter Hill Beard
Richard Beard
Antonio Beato
Felice Beato
Cecil Beaton (art, doc, fash, port)
Ingeborg de Beausacq
Jorge Bechara (doc)
Bernd and Hilla Becher (art, doc, int, land)
Lukas Beck (art, doc, port)
Francis Bedford
Manzur Alam Beg (art)
Lawrence Beitler
Charles Belden
Hans Bellmer (art, doc, port)
E. J. Bellocq (doc, port)
Fernando Bengoechea (int)
Harry Benson
Roloff Beny
Berry Berenson
Henning von Berg (art, port)
Herbert Bowyer Berkeley (land)
Ruth Bernhard (art, int, port)
Peter Bialobrzeski
James Bidgood
Izis Bidermanas
Edward Bierstadt (port, land)
Richard Billingham (art, doc)
Jack Birns
Werner Bischof
Auguste-Rosalie Bisson
Andreas Bitesnich (fash)
J. R. Black
Louis Désiré Blanquart-Evrard
Daniel Blaufuks
Karl Blossfeldt (art, sci)
Erwin Blumenfeld
A. Aubrey Bodine
Henze Boekhout
Francisco Boix
Skip Bolen (jazz, music, celeb, doc, stills)
Félix Bonfils
Phil Borges
Edouard Boubat (art)
Jack E. Boucher (doc)
Alexandra Boulat
Jacques Bourboulon
Margaret Bourke-White (doc, int, land, port)
Guy Bourdin (fash)
Samuel Bourne
Jane Bown
Alex Boyd (land, art)
Mathew Brady (land, port, war)
Brian Brake
Bill Brandt (art, doc)
Brassaï
Manuel Álvarez Bravo
Marilyn Bridges
Anne Brigman
Zana Briski (doc)
Mike Brodie
Alexey Brodovich
Giacomo Brogi
Hamish Brown (port)
Dan Budnik (doc, port)
Jan Bułhak
Wynn Bullock (art)
Max Burchartz
Wilhelm J. Burger
Victor Burgin
Christopher Burkett
René Burri
Larry Burrows (war)
Harry Burton (doc)
Edward Burtynsky (land)
Jean-Marc Bustamante (art)

C

Geneviève Cadieux
Pogus Caesar (doc, art)
Bernard Cahier (spt)
Claude Cahun
Harry Callahan (art, doc, int, land, port)
Sophie Calle
Julia Margaret Cameron (art, doc, int, land, port)
Loren Cameron (art, doc, port)
Cornell Capa (doc)
Robert Capa (doc, war)
Paul Caponigro (art, land)
Ilario Carposio
Ricardo Carrasco
Lewis Carroll (art, port)
Keith Carter (art, doc, land, port)
Kevin Carter
Henri Cartier-Bresson (art, doc, port)
Kyle Cassidy
Hugh Cecil
Chaiya
Dean Chamberlain
Martín Chambi
Jean Chamoux (doc, port, fash, war)
Polly Chandler (art, port)
Dickey Chapelle (doc, war)
Chien-Chi Chang
Allan Chappelow
Jean-Philippe Charbonnier (port, doc)
Sarah Charlesworth (abs, art)
Désiré Charnay
Hong Cheong
Tong Cheong
Teisuke Chiba (doc)
William Christenberry
Hugo Cifuentes
Elio Ciol
Larry Clark (art, doc, fash, port)
Bob Carlos Clarke (art)
William Clarridge
Antoine Claudet
William Claxton (adv, fash, port)
Charles Clegg
Alvin Langdon Coburn (pict)
Ioan Mihai Cochinescu (art, doc)
Daniel Colegrove (doc, adv, port)
Neville Coleman (und, land)
Henry Collen
Lois Conner
Linda Connor
Florin Constantinescu (art, doc, int, land, port)
Anton Corbijn
Paul de Cordon (art, fash)
Peter Cornelius (art)
Joe Cornish
Paul Couvrette (art, doc, int, land, port)
Jeff Cowen
Gregory Crewdson (abs, art, doc, land)
Ted Croner
Karel Cudlín (doc)
Imogen Cunningham (doc, int, land, port)
Asahel Curtis (doc)
Edward S. Curtis (doc, land)

D

Louis-Jacques-Mandé Daguerre (land, port)
Louise Dahl-Wolfe (art, doc, port)
Bruce Davidson (land, port)
Daniel Davis Jr.
George Davison
F. Holland Day (pict)
Lala Deen Dayal
John Deakin (port, art)
Loomis Dean
Roy DeCarava
Edgar de Evia (art, adv, doc, fash, food, int)
Reza Deghati (doc, war)
Manoocher Deghati (doc,war)
Terry Deglau (doc, port)
Luc Delahaye (doc)
Jack Delano (doc)
Patrick Demarchelier
Autumn de Wilde (port)
Hugh Welch Diamond
Philip-Lorca diCorcia (art, doc, int, land, port)
Rineke Dijkstra
Christophe Dillinger (art, land, port)
André-Adolphe-Eugène Disdéri
Mark Divo art
Zbigniew Dłubak
Julie Doiron
Robert Doisneau (doc, land, port)
Peter Dombrovskis
Ken Domon (arch, art, doc)
Don Donaghy
Terence Donovan (fash, doc)
Sergio Dorantes
W. & D. Downey (port)
Richard Drew
František Drtikol
Maxime Du Camp
David Douglas Duncan
Ken Duncan
Jeff Dunas
Max Dupain
Jean Louis Marie Eugène Durieu
Dutton & Michaels (photographic studio)

E

Ekrem Yigit
Charles C. Ebbets
Harold Eugene Edgerton (sci)
Hugh Edwards
John Paul Edwards (pict)
Isidore Jacques Eggermont
William Eggleston (art, doc, land)
Ei-Q (art)
Alfred Eisenstaedt (land)
Arthur Elliott (arch)
Ed van der Elsken
Peter Henry Emerson
T. Enami
Clay Enos
Mitch Epstein (doc, port)
Elliott Erwitt (art, doc, int, port)
Dulah Marie Evans ( drawing,land)
Walker Evans (doc, port)

F

Bruno Fabien (art)
Ingrid Falk (art)
Adolfo Farsari
Antoine Fauchery
Bernard Faucon (art)
Chris Faust
James Fee (art, war)
Andreas Feininger
Mark Feldstein
Roger Fenton (war)
Fernando Fernández Navarrete
Marc Ferrez
Franz Fiedler
Michel Figuet
George Fiske
Frode Fjerdingstad (art)
Hércules Florence
Adam Foley
Fernand Fonssagrives (art, fash)
Franco Fontana (art)
Joan Fontcuberta (art)
Anna Fox
Martine Franck
Auguste François (ethno, doc, land)
Robert Frank (doc, land, port)
Thomas E. Franklin (doc)
Leonard Freed
Lee Friedlander (abs, art, land, port)
Francis Frith
Hakuyō Fuchikami
Eva Fuka
Mitsutarō Fuku
Katsuji Fukuda (adv, art)
Rosō Fukuhara (art)
Shinzō Fukuhara (art)
Jill Furmanovsky
Adam Fuss (abs, art, doc)

G

Ron Galella
Isidoro Gallo
Harry Gamboa, Jr.
Alexander Gardner
William Garnett
Anne Geddes (art, doc, port)
Arnold Genthe
Helmut Gernsheim
Luigi Ghirri
Mario Giacomelli
Paula Rae Gibson (art)
Ralph Gibson
Bruce Gilden
Joseph-Philibert Girault de Prangey
André Giroux
Wilhelm von Gloeden (art, fash, port)
Barbara Gluck (art,war)
Fay Godwin (art, land, port)
Frank Gohlke
Anthony Goicolea
Jim Goldberg
David Goldblatt
Nan Goldin (art, int, port)
Andy Goldsworthy (abs, art, land)
Kaveh Golestan (doc)
Greg Gorman (art, port)
John Gossage
William P. Gottlieb
Hal Gould (art)
Emmet Gowin (art, doc)
Masao Gozu
Karen Graffeo (art, port, doc)
Paul Graham
Herb Greene (port)
Jill Greenberg
Lauren Greenfield
Lois Greenfield
Philip Jones Griffiths (doc, war)
Stan Grossfeld
Bob Gruen (port)
Emile Gsell
Ara Güler
Andreas Gursky (art)
John Gutmann

H

Ernst Haas (Doc, port)
Tzeli Hadjidimitriou (art, land, arch)
E.R. Hall (spt, port)
Mark Robert Halper (adv, arch, art, inds, port)
Philippe Halsman (art, fash, port)
Dirck Halstead
David Hamilton (abs, art)
Adelaide Hanscom (pict)
Charles Harbutt
Bert Hardy (doc, war)
John Harrington
Alfred A. Hart
Sam Haskins (adv, art, doc, fash, inds, food, land, port)
Victor Hasselblad (Land)
Masumi Hayashi
Tadahiko Hayashi (doc, port)
Takanobu Hayashi (art)
William Hayes
John Heartfield
Darren Heath (spt)
William Heick (art, doc, ethno, inds)
Gottfried Helnwein (art)
Fritz Henle
Bill Henson (art)
J Malan Heslop (war)
David Octavius Hill
John K. Hillers
David Hilliard
Lewis Hine (art, doc, port)
Terushichi Hirai
Hiro (fash)
John Hoagland (war)
Hannah Höch (abs, art, port)
David Hockney (abs, art, doc, int, land, port)
Heinrich Hoffmann
Frederick Hollyer (port, art, int)
Joseph Holmes
Ismo Hölttö
Horie Kuwajirō
Masao Horino
Horst P. Horst (doc, fash, port)
Eric Hosking
Charles Howard (doc)
Robert Howlett Pioneer, 1831–1858
George Hoyningen-Huene
Henri Huet
Fred Hultstrand
Art Hupy (arch, port)
Frank Hurley
David Hurn
George Hurrell (art, fash)
Philip Hyde (nature, land, art)

I

Tetsuya Ichimura
William H. Illingworth
Jesús Inostroza (doc, art)
Jerry Interval
Walter Iooss
Taikichi Irie (art, doc)
Edith Irvine
Lee Isaacs (abs, adv, art, doc, port)
Johann Baptist Isenring
Yasuhiro Ishimoto (doc, art)
Jules Itier
Mitsuaki Iwagō
Takeji Iwamiya (arch, doc)

J

Bill Jackson
William Henry Jackson
Lotte Jacobi (port)
Bahman Jalali (doc, art)
Russell James
Olof Jarlbro
Jan Töve Johansson
John S. Johnston
Anthony Jones
Charles Jones (food)
Pirkle Jones
Bishin Jumonji

K

Gertrude Käsebier
Clemens Kalischer (doc, art)
Jesse Kalisher
Kameya Tokujirō
Consuelo Kanaga
Nadav Kander
Yousuf Karsh (port)
Nasrollah Kasraian (doc, land)
Rinko Kawauchi
Barry Kay (doc, art)
Seiki Kayamori (doc, ethno)
Kensuke Kazama
Mary Morgan Keipp
Seydou Keïta
Michael Kenna (art, int, land)
Mitch Kern (art, port)
Charles Kerry
André Kertész (doc, land, int, port)
Robert Glenn Ketchum
Carl de Keyzer
Yevgeny Khaldei
Takashi Kijima
Hiroh Kikai (doc, port)
Shunkichi Kikuchi (doc, sci)
Chris Killip
Miru Kim (doc, art, land)
Ihei Kimura (doc, port)
Darius Kinsey
William Klein
Stuart Klipper (art, land)
Mattias Klum
Nick Knight
Kiyoshi Koishi
Akira Komoto (art)
Tomio Kondō (doc, port)
Ad Konings (sci)
Rudolf Koppitz
Alberto Korda
Josef Koudelka
George Krause
Ed Krebs (port)
Barbara Kruger (abs, art, doc)
Motoichi Kumagai (doc)
Yasuo Kuniyoshi
Justine Kurland (art)
Seiji Kurata (doc)
Kusakabe Kimbei
Kineo Kuwabara (doc)
Shisei Kuwabara (doc)

L

David LaChapelle (art, fash)
Vincent Laforet (doc)
Karl Lagerfeld (fash)
Eugene F. Lally
Penny Lancaster
Ernst Heinrich Landrock
Inez van Lamsweerde
Dorothea Lange (doc, port)
Frans Lanting
Clarence John Laughlin (art, int, land, port)
Alma Lavenson
Jacques Henri Lartigue (doc)
Russell Lee (doc)
Louis Legrand
Gustave Le Gray
Rudolf Franz Lehnert
Peter Leibing
Annie Leibovitz (art, doc, fash, port)
Neil Leifer
Jacques Leiser
Herman Leonard
Helmar Lerski
Henri Le Secq (arch)
Esther Levine (art)
Sherrie Levine (art, doc)
Helen Levitt (doc, port)
Patrick Lichfield (port)
Jerome Liebling (art)
Peter Lindbergh (fash)
Lawrence Denny Lindsley (land, doc)
O. Winston Link (abs, adv, art, doc, land, inds)
El Lissitzky
Herbert List
Jacqueline Livingston
Harold Lloyd (port)
R. Ian Lloyd
Eugeniusz Lokajski
Alejandro López de Haro (art)
Jet Lowe (arch, doc, port)
Auguste and Louis Lumière
Markéta Luskačová (doc)
Serge Lutens (art, fash)
Loretta Lux (art)
George Platt Lynes (adv, art, doc, fash, port)
Danny Lyon (doc, port)
Darryn Lyons

M

Iain MacMillan
Chema Madoz (art)
Maeda Genzō
Shinzo Maeda
Jay Maisel (adv)
Marianne Majerus
Vassilis Makris
Christopher Makos
Sally Mann (art, doc, pict, port)
Jonathan Mannion (music, adv, celeb)
Robert Mapplethorpe (art, fash, port)
Fosco Maraini (ethno)
Mary Ellen Mark (doc, port)
Oscar G. Mason (sci)
Willy Matheisl
Spider Martin (doc, port)
Enrico Martino (ethno, land, war)
Margrethe Mather
Susumu Matsushima (fash, port)
Gordon Matta-Clark (art)
Kate Matthews
Alfred Maudslay
Morton D. May
John Jabez Edwin Mayall
Roger Mayne (doc)
Raphael Mazzucco (fashion)
Angus McBean
John McBride
Will McBride (doc, port)
Mary McCartney (port)
Linda McCartney (art, doc, fash)
Don McCullin
Steve McCurry
Glynnis McDaris
Dave McKean
Joseph McKeown (adv, doc, inds, war)
Joe McNally (doc, port)
Laura McPhee
Steven Meisel (art, fash)
Susan Meiselas
Pascal Meunier (doc)
Adolf de Meyer
Joel Meyerowitz
Lee Miller
Mark Miremont
Mohammadreza Mirzaei (art)
Richard Misrach (abs, art, doc)
Daniel S. Mitchell (doc)
Tōyō Miyatake
Miyazaki Yūhi
Lisette Model
Tina Modotti (art, doc, port)
László Moholy-Nagy (art)
Jean-Baptiste Mondino (fash)
Charles Moore (doc, port)
Raymond Moore (art)
Julie Moos (art, doc, land, port)
Inge Morath
Abelardo Morell
Aizō Morikawa (port)
Daidō Moriyama
Christopher Morris
Wright Morris
David Muench
Ugo Mulas (art, doc, port)
Vik Muniz (abs, art)
Martin Munkácsi (spt, doc, fash)
Isabel Muñoz]
Nickolas Muray
Eadweard Muybridge (art, doc, land)
Carl Mydans

N

James Nachtwey (doc, war)
Filip Naudts (art, port)
Nadar
Shigeichi Nagano (doc)
Yasushi Nagao (doc)
Billy Name (art, doc, port)
Hans Namuth (portraits of artists)
Ikkō Narahara (art)
Graham Nash (art)
Yōnosuke Natori (doc)
Negretti and Zambra (photographic studio)
Nelly's (Elli Souyioultzoglou-Seraïdari)
Helmut Newton (art, fash, port)
Arnold Newman (port)
Dianora Niccolini (art)
Nicéphore Niépce
Lennart Nilsson
Nicholas Nixon (doc, port)
William Notman
Kazimierz Nowak (doc, ethno)
Lee Nye

O

Michael O'Brien
Ogawa Kazumasa
Takashi Okamura
Erwin Olaf (fash, port)
Arthur Omar
Mitsugu Ōnishi
Kōshirō Onchi (art)
Chizu Ono
Catherine Opie
Charles O'Rear
Timothy O'Sullivan
Stephens Orr
Rubén Ortiz Torres (art)
Graham Ovenden
Paul Outerbridge

P

Johannes Pääsuke (doc, ethno)
Charles Page (doc)
Tim Page (war)
Giuseppe Palmas
Basil Pao
John Papillon
Richard Pare
Norman Parkinson
Gordon Parks (doc)
Martin Parr (art, doc)
Steve Parish
Robert ParkeHarrison (art)
Freeman Patterson
Dino Pedriali
Irving Penn (art, fash)
Gilles Peress (doc)
Lucian Perkins (doc, war)
Anders Petersen
Bob Peterson (photographer)
John Pfahl
Secondo Pia
Jack Pierson (art)
Gueorgui Pinkhassov (doc)
Peter Pitseolak
Sylvia Plachy
Frank Plicka (doc)
David Plowden (doc)
Guglielmo Plüschow
Robert Polidori (arch)
Eliot Porter
Mark Power
Dith Pran
Victor Prevost
Richard Prince
Priya Ramrakha
Sergei Mikhailovich Prokudin-Gorskii
Włodzimierz Puchalski
Willy Puchner (art, doc)
Gerald P. Pulley

Q

Altaf Qadri

R

Ragnar Axelsson (doc)
Raghu Rai
Herbert Randall
Rankin (fash)
Paul Raphaelson (art)
Man Ray (art, port)
Tony Ray-Jones (art, doc)
Jahangir Razmi (doc)
David Redfern (music)
Henri-Victor Regnault
H. Reid
Oscar Gustave Rejlander (art, port)
Albert Renger-Patzsch
Carlos Reyes-Manzo (doc)
Bettina Rheims
Marc Riboud (art, doc, int, land)
Michael Richard
Eugene Richards (doc)
Jim Richardson (doc, land)
Terry Richardson (fash, art)
Sophy Rickett
Leni Riefenstahl (doc, int, land, port)
Jacob Riis
Frank Rinehart (doc)
Herb Ritts (art, fash, port)
James Roark
Grace Robertson
James Robertson
Ziki Robertson
Henry Peach Robinson (pict)
Thomas C. Roche (doc, war)
Alexandr Rodchenko
George Rodger
José Luis Rodríguez Pittí (art, doc)
Milton Rogovin (doc)
Matthew Rolston
Willy Ronis
Ben Rose (fash, food, port)
Joe Rosenthal
Martha Rosler
Horatio Ross
Mary Rosse
Pierre Rossier
Arthur Rothstein
Dominic Rouse (art)
Galen Rowell
Didier Ruef
Michael Ruetz (art, doc)
Thomas Ruff (art)
Andrew J. Russell

S

Sebastião Salgado (art, doc)
Erich Salomon
Lucas Samaras
Arnold E. Samuelson (war)
August Sander
Akira Satō (art, fash)
Kōji Satō
Tokihiro Satō (art)
Jan Saudek (art, port)
William Saunders
Charles Roscoe Savage
Francesco Scavullo (art, fash)
Jürgen Schadeberg
Rocky Schenck (art)
Bill Schwab (art)
John Schwartz
Arthur E. Scott
Ignác Šechtl
Josef Jindřich Šechtl
Stéphane Sednaoui (adv, art, fash)
Allan Sekula
Mark Seliger (port)
Vittorio Sella (land)
Andres Serrano (art, doc, port)
Masato Seto (doc)
John Sexton
David Seymour
Charles Sheeler
Bob Shell
Charles Shepherd
Cindy Sherman (art, doc, port)
Stewart Shining (fashion)
Kishin Shinoyama
Mieko Shiomi
Stephen Shore
John Shuptrine
Malick Sidibé
Katharina Sieverding
Jeanloup Sieff
Wolfgang Sievers (arch, ind)
Steven Siewert (art, doc)
Floria Sigismondi (art)
Roman Signer
Marilyn Silverstone
Lorna Simpson (art)
Aaron Siskind
Natalia Skobeeva (art, fashion)
Sandy Skoglund (art, doc)
Moneta Sleet Jr.
Victor Sloan (art)
Rick Smolan
Edwin Smith (arch, int, land)
Graham Smith
Mickey Smith (artist)
Pennie Smith
W. Eugene Smith (doc)
Antony Armstrong-Jones, 1st Earl of Snowdon (port)
Melvin Sokolsky (art, fash, adv)
Frederick Sommer
Giorgio Sommer
Alec Soth (art, doc, land, port)
Pete Souza
Albert Spaggiari
Jack Spencer (art, doc, int, land)
Humphrey Spender (doc)
Christine Spengler (war)
Melissa Springer (art, doc, port)
Vytautas Stanionis
Andrew Stark (art, doc)
Chris Steele-Perkins (doc)
Edward Steichen (art, land, pict, port)
Ralph Steiner
Joel Sternfeld (doc)
Louis Stettner
David Stewart (art, adv)
Charles Settrington (land)
Alfred Stieglitz (art, port)
Baron Raimund von Stillfried
Stillfried & Andersen (photographic studio)
Nellie Stockbridge(doc)
Ezra Stoller
Kęstutis Stoškus
Paul Strand (art)
Zoe Strauss (art)
Thomas Struth (art, doc)
Roy Stuart
Jock Sturges (art, port)
Anthony Suau (doc, war)
Issei Suda (art)
Josef Sudek (art, pict)
Hiroshi Sugimoto (art, doc, port)
Francis Meadow Sutcliffe
Antanas Sutkus
John Szarkowski (doc)

T

I. W. Taber
Kaietsu Takagi
Yutaka Takanashi
Masataka Takayama (abs, art)
William Fox Talbot
Tamamura Kozaburō
Akihide Tamura (aka Shigeru Tamura)
Sakae Tamura (art, port)
Sakae Tamura (sci)
Shigeru Tamura (not Akihide Tamura)
Kōtarō Tanaka
Taro (Gerta Pohorylle) (doc)
Henry Taunt (land)
John Bigelow Taylor (arch, art, port)
Maggie Taylor (art)
Sam Taylor-Wood (art, doc, port)
Joyce Tenneson
Anya Teixeira
Juergen Teller (fash)
Teo Bee Yen
Mario Testino
Peter Thomann (doc)
Warren T. Thompson
John Thomson
Nicolas Tikhomiroff
Wolfgang Tillmans (abs, art, land)
Herbert Tobias
Shōmei Tōmatsu (art, doc)
Tomishige Rihei
Akira Toriyama (land, pict)
Oliviero Toscani
Larry Towell
Barbara Traub
Bill Travis (art, port)
Eric Treacy
Arthur Tress (art, fash, port)
Linnaeus Tripe
John Trobaugh (art, doc, port)
Olegas Truchanas
Thomas Tulis (art, doc, inds, land, port)
Spencer Tunick (art, doc, fash, port)
David C. Turnley (doc)
Peter Turnley (doc)

U

Uchida Kuichi
Shōji Ueda
Noboru Ueki
Jerry Uelsmann (art, land, port)
Ueno Hikoma
Ukai Gyokusen
Brian Ulrich (art, doc)
Doris Ulmann
Ellen von Unwerth
Kaoru Usui (doc)
Huynh Cong Ut

V

John Vachon (arch, doc, port)
Max Vadukul
James Valentine
James Van Der Zee
Carl Van Vechten
Kathy Vargas
John Veltri
Kiino Villand
Roman Vishniac
Massimo Vitali

W

Bob Walker
Jeff Wall
Ian Wallace (land)
Chris von Wangenheim (fash)
Nick Waplington
Andy Warhol (art, doc, fash, port)
Waswo X. Waswo (art, port)
Hiroshi Watanabe (port)
Carleton Watkins
Albert Watson
Bruce Weber (art, doc, fash)
Weegee (abs, art, doc)
Carrie Mae Weems
William Wegman
Eudora Welty
Henry Wessel, Jr.
Brett Weston (art, port)
Cole Weston (art, port)
Edward Weston (art, pict, port)
Kim Weston
John H. White (doc)
Minor White (art, land)
Jeff Widener
Hannah Wilke (art, port)
Christopher Williams
Michael Williamson
Charles Paul Wilp (adv)
Laura Wilson
George Washington Wilson
Kathryn Tucker Windham (doc)
Garry Winogrand (art, land)
Stanisław Ignacy Witkiewicz
Joel-Peter Witkin (art, doc, port)
Michael Wolf
Art Wolfe
Brian Wood (art)
Walter B. Woodbury
Francesca Woodman (art)
Otto Wunderlich
Donovan Wylie

Y

Alfred Yaghobzadeh
Hiroshi Yamazaki
Nakaji Yasui
Bunny Yeager
Yevonde
Yokoyama Matsusaburō
Kohei Yoshiyuki‎ (doc)
Paul Yule

Z

Jerome Zerbe (art, doc, fash, war)
David Drew Zingg
Fred Zinn (aer)
Stanislovas Žvirgždas

Historical

2008-03-07T23:25:00.000-08:00

Daguerreotype

A daguerreotype (original French: daguerréotype) is an early type of photograph, developed by Louis Daguerre, in which the image is exposed directly onto a mirror-polished surface of silver bearing a coating of silver halide particles deposited by iodine vapor. In later developments bromine and chlorine vapors were also used, resulting in shorter exposure times. The daguerreotype is a negative image, but the mirrored surface of the metal plate reflects the image and makes it appear positive in the proper light. Thus, daguerreotype is a direct photographic process without the capacity for duplication.

While the daguerreotype was not the first photographic process to be invented, earlier processes required hours for successful exposure, which made daguerreotype the first commercially viable photographic process and the first to permanently record and fix an image with exposure time compatible with portrait photography.

The daguerreotype is named after one of its inventors, French artist and chemist Louis J.M. Daguerre, who announced its perfection in 1839 after years of research and collaboration with Joseph Nicéphore Niépce, applying and extending a discovery by Johann Heinrich Schultz (1724): a silver and chalk mixture darkens when exposed to light. The French Academy of Sciences announced the daguerreotype process on January 9 of that year. The announcement of the daguerreotype process in 1839, along with William Fox Talbot's in the same year, marks the date used as the invention of photography.

Instead of Daguerre obtaining a French patent, the French government provided a pension for him . In Britain, Miles Berry, acting on Daguerre's behalf, obtained a patent for the daguerreotype process on 14 August 1839. Almost simultaneously, on 19 August 1839, the French government announced the invention as a gift "Free to the World".

Camera and photography equipment

2008-03-07T23:24:00.002-08:00

Camera
Color chart
Digital camera
Digital single-lens reflex camera
Dry box
Film
Film base
Film format
Film holder
Film scanner
Film stock
Filter
Flash
Gray card
Lenses for SLR and DSLR cameras
Monopod
Movie projector
Photographic film
Photographic lens
Rangefinder camera
Single-lens reflex camera
Slide projector
Still camera
Toy camera
Tripod
View camera
Zone plate
List of photographic equipment makers

Basic Concepts

2008-03-07T23:24:00.001-08:00

Camera obscura
Composition in visual arts
Diana camera
Early photographers of York
Gelatin-silver process
Gum printing
Hand-coloring
Holography
Kirlian photography
Lomography
Mourning portraits
Negative
North American Nature Photography Association
Photograph
Print permanence
Vignetting