Photography

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Photography is a long-standing science, art, application and image-making practice by recording light or other electromagnetic radiation, either electronically using image sensors, or chemically using light-sensitive materials such as photographic film.

Normally, the lens is used to focus the reflected light or transmitted from the object to the real image on the light-sensitive surface inside the camera during the timed lighting. With an electronic image sensor, it generates an electrical charge on each pixel, which is electronically processed and stored in a digital image file for subsequent display or processing. The result with a photographic emulsion is an invisible latent image, which is then chemically "developed" into a visible image, either negative or positive depending on the purpose of the photographic material and the method of processing. Negative images on films are traditionally used to create a photographically positive image on a paper base, known as a mold, either by using a magnifier or by contact printing.

Photography is used in many fields of science, manufacturing (eg, photolithography), and business, as well as its direct use of art, film and video production, recreational purposes, hobbies, and mass communication.

Video Photography

Etimologi

The word "photography" was created from Greek roots ????? ( ph? tos ), genitive ??? ( ph? s ), "light" and ????? ( graphÃÆ'Â © ) "representation by line" or "image", together means "drawing with light".

Some people may have created the same new terms from these roots independently. Hercules Florence, a French painter and inventor living in Campinas, Brazil, uses the French word form, photographie , in a personal note believed by a Brazilian historian written in 1834. This claim is widely reported but never independently confirmed as without a doubt.

The German newspaper Vossische Zeitung on February 25, 1839 posted an article titled Photographie , discussed several priority claims - notably Henry Fox Talbot - in connection with the claim of Daguerre's discovery. This article is the earliest known word appearance in public print. It was signed "J.M.", believed to have been the Berlin astronomer Johann von Maedler.

Credit has traditionally been given to Sir John Herschel both to unite words and to introduce them to the public. Its use in personal correspondence before 25 February 1839 and in the lecture of the Royal Society on the issue in London on March 14, 1839 has long been documented and accepted as a settled fact.

The inventors of NicÃÆ'Â © phore NiÃÆ'Â © pce, Henry Fox Talbot and Louis Daguerre do not seem to know or use the word "photography", but refer to their process as "Heliography" (NiÃÆ'Â © pce), "Photogenic Drawing"/"Talbotype "/" Calotype "(Talbot) and" Daguerreotype "(Daguerre).

Maps Photography

History

Precursors technology

Photography is the result of incorporating several technical inventions. Long before the first photographs were made, the ancient Han Chinese philosopher Mo In of the Mohist Logic School was the first to discover and develop optical scientific principles, camera obscura, and pinhole cameras. Then Greek mathematicians Aristotle and Euclid also independently described the pinhole camera in the 5th and 4th centuries BC. In the 6th century AD, the Byzantine Anthemius of Tralles mathematician used a kind of obscura camera in his experiments. Both the Chinese polymath Han Shen Kuo (1031-95) and the Arabic physicist Ibn al-Haytham (Alhazen) (965-1040) independently found the obscura camera and pinhole camera, Albertus Magnus (1193-1280) discovered silver nitrate, and Georg Fabricius (1516-71) invented silver chloride. Shen Kuo explains the science of camera obscura and optical physics in his scientific work Dream Pool Essays while the techniques described in Ibn al-Haytham's Optical Book were able to produce primitive photographs using medieval materials.

Daniele Barbaro described the diaphragm in 1566. Wilhelm Homberg describes how light darkens some chemicals (photochemical effects) in 1694. The fictional book Giphantie , published in 1760, by the French writer Tiphaigne de la Roche, describes what can be interpreted as photography.

The discovery of an obscura camera that provided scene images originated in ancient China. Leonardo da Vinci mentions a natural camera obscura formed by dark caves at the edge of a sunlit valley. The hole in the cave wall will act as a pinhole camera and project the upside down picture on a piece of paper. So the birth of photography is mainly concerned with creating a means to capture and preserve the images produced by camera obscura.

Renaissance painters use camera obscura which, in fact, provides optical rendering in colors that dominate Western Art. Camera obscura literally means "dark room" in Latin. It is a box with a hole in it that allows light to enter and make the image onto a piece of paper.

Photographic discovery

Around the year 1800, British inventor Thomas Wedgwood made the first known effort to capture images in a camera obscura using light-sensitive substances. He uses paper or white skin that is treated with silver nitrate. Although he managed to capture the shadows of objects placed on the surface in direct sunlight, and even made copies of shadow paintings on glass, it was reported in 1802 that "images shaped with obscura cameras have been found too unconscious to produce." , in moderate time, the effect on silver nitrate. "The image of the shadows eventually becomes dark.

The first permanent photo is an image produced in 1822 by French inventor NicÃÆ'  © phore NiÃÆ' © pce, but the photo was destroyed in a further attempt to make a mold of it. Nià ©  © pce succeeded again in 1825. In 1826 or 1827, he made the Landscape of the Window at Le Gras , the earliest surviving photographs of nature (ie, images from real-world scenes, such as which is formed in the camera obscura by the lens).

Since the camera photos of Nià ©  © pce require very long exposure (at least eight hours and maybe several days), it seeks to improve the bitumen process or replace it with a more practical. In partnership with Louis Daguerre, he worked out a post-exposure processing method that yielded superior visual results and replaced bitumens with a more light-sensitive resin, but hours of camera exposure were still needed. With an eye for commercial exploitation eventually, the partners voted for total secrecy.

Nià ©  © pce died in 1833 and Daguerre then directed the experiment toward a light-sensitive silver halide, which Niça had left behind for years because of his inability to make the images he captured quickly and permanently. Daguerre's efforts culminated in what would later be called the daguerreotype process. The essential elements - iodine-coated, silver-coated, silver-coated surfaces developed by mercury vapor, and "fixed" with hot saturated brine - were installed in 1837. The required exposure times were measured in minutes instead of hours. Daguerre took the earliest confirmed photo of a person in 1838 while capturing the sights of Paris: unlike the pedestrian traffic and other people's traffic on a busy, deserted street, one who has his polished boots standing quite still along several long-exposure-minutes to become visible. The existence of the Daguerre process was announced publicly, without details, on January 7, 1839. The news created an international sensation. France immediately agreed to pay Daguerre's pension in exchange for the right to present his invention to the world as a French gift, which occurred when complete work instructions were inaugurated on August 19, 1839. That same year, American photographer Robert Cornelius was credited with taking self-portrait photography which still live the earliest.

In Brazil, Florence Hercules apparently began working on a salt-based paper process in 1832, later renaming it Photographie .

Meanwhile, a British inventor, William Fox Talbot, had succeeded in making silver images as fast as lightning on paper as early as 1834 but kept his work secret. After reading about Daguerre's discovery in January 1839, Talbot publicized his secret methods to date and began to correct them. Initially, like other pre-daguerreotype processes, Talbot paper-based photography typically required exposure for several hours in the camera, but in 1840 he created the calotype process, which uses the chemical development of the latent image to reduce the required exposure and compete with the daguerreotype. In both original and calotype forms, Talbot's process, unlike Daguerre, creates a translucent negative that can be used to print multiple positive copies; this is the foundation of most modern chemistry photography to this day, as Daguerreotypes can only be replicated by photographing them with the camera. The famous little Talbot paper from the Oriel window at Lacock Abbey, one of a number of camera photographs he made in the summer of 1835, was probably the oldest negative camera.

The English chemist John Herschel made many contributions to the new field. He invented the cyanotype process, which came to be known as the "blueprint". He was the first to use the terms "photography", "negative" and "positive". He had discovered in 1819 that sodium thiosulfate was a solvent of silver halide, and in 1839 he told Talbot (and, indirectly, Daguerre) that it could be used to "fix" the photo-based halide and make it really fast.. He made his first negative glass by the end of 1839.

In the March 1851 edition of The Chemist, Frederick Scott Archer published the collodion process of his wet plate. It became the most widely used photographic medium to the gelatine-dry plate, introduced in the 1870s, eventually replacing it. There are three subsets to the collodion process; Ambrotype (positive image on glass), Ferrotype or Tintype (positive image on metal) and negative glass, used to make positive prints on albumen or salted paper.

Many advances in photographic and printing glass plates were made during the rest of the 19th century. In 1891, Gabriel Lippmann introduced the process of making colored natural photographs based on the optical phenomenon of light wave disruption. His scientifically elegant and important but basically impractical invention earned him the Nobel Prize in Physics in 1908.

The glass plate was the medium for most of the original camera photography from the late 1850s until the general introduction of flexible plastic films during the 1890s. Although the convenience of this film greatly popularized amateur photography, the early films were somewhat more expensive and the optical quality was much lower than the equivalent of their glass disks, and until the late 1910s they were not available in the large format favored by most professional photographers, so media new does not immediately or completely replace the old. Due to the superior glass dimensional stability, the use of slabs for several scientific applications, such as astrophotography, continued into the 1990s, and in the field of laser holography niches, persisted until the 2010s.

Movie photography

Hurter and Driffield began pioneering work on the light sensitivity of photographic emulsion in 1876. Their work allowed the first quantitative size of film speed to be made.

The first flexible photographic roll film was marketed by George Eastman in 1885, but the original "film" was actually a coating on the base of the paper. As part of the processing, the image buffer layer is stripped of paper and transferred to a hardened gelatine support. The first transparent plastic roll film was followed in 1889. Made from highly flammable nitrocellulose ("celluloid"), now commonly called "nitrate film".

Although cellulose acetate or "safety film" was introduced by Kodak in 1908, it was initially found only a few special applications as an alternative to harmful nitrate films, which had the advantage of being much harder, slightly more transparent, and less expensive. Substitution was not completed for X-ray films until 1933, and although safety films were always used for home films of 16 mm and 8 mm, the nitrate films remained standard for the 35 mm theatrical films until finally discontinued in 1951.

Film remains a dominant form of photography until the beginning of the 21st century when advances in digital photography attract consumers to digital format. Although modern photography is dominated by digital users, the film continues to be used by professional fans and photographers. The "appearance" of photographs based on different films compared to digital images is likely due to a combination of factors, including: (1) differences in spectral and tonal sensitivity (S-shaped density-to-exposure (H & D curves) linear response curve for digital CCD sensor) (2) resolution and (3) tone continuity.

Black and white

Initially, all photography is monochrome, or black and white . Even after the color film is available, black and white photography has continued to dominate for decades, due to its cheaper cost and the "classic" photographic look. The tone and contrast between light and dark areas determine black and white photography. It is important to note that monochromatic images do not always consist of pure black, white, and medium-gray shades but can involve a certain one-color shade depending on the process. The cyanotype process, for example, produces an image consisting of a blue tone. The printing process of albumen was first used more than 170 years ago, resulting in a brownish tone.

Many photographers continue to produce monochrome images, sometimes due to the firmness of the existing archives of a well-processed silver-halide based material. Some colorful digital images are processed using various techniques to create black and white results, and some manufacturers produce digital cameras that exclusively photograph monochrome. Monochrome or electronic display can be used to save certain photographs taken in unsatisfactory colors in their original form; sometimes when presented as black-and-white or one-color-toned images they are found to be more effective. Although color photography has long dominated, monochrome images are still being produced, mostly for artistic reasons. Almost all digital cameras have the option to shoot in monochrome, and almost all image editing software can combine or selectively discard RGB color channels to produce monochrome images from a single colored shot.

Color

Color photography was explored beginning in the 1840s. Early experiments in color require very long exposures (hours or days for camera images) and can not "fix" the photo to prevent the color fade quickly when exposed to white light.

The first permanent color photograph was taken in 1861 using the three-color separation principle first published by Scottish physicist James Clerk Maxwell in 1855. The basis of almost all practical color processes, Maxwell's idea was to take three separate black-and-white photographs. through red, green, and blue filters. This provides the photographer with the three basic channels needed to recreate the color image. Transparent prints of images can be projected through the same color filter and superimposed on the projection screen, additional methods of color reproduction. A color print on paper can be produced by layering the carbon prints of the three drawings made in their complementary colors, the color reproduction method pioneered by Louis Ducos du Hauron in the late 1860s.

The Russian photographer Sergei Mikhailovich Prokudin-Gorskii uses this color separation technique extensively, using a special camera that sequentially exposes three color-filtered images on different parts of the oval plate. Because the exposure is not simultaneous, the unshakable subject shows the "edge" color or, if moving quickly through the scene, appears as brightly colored ghosts in a projected or printed image.

Implementation of color photography is hindered by the limited sensitivity of early photographic materials, most of which are sensitive to blue, are only slightly sensitive to green, and hardly sensitive to red. The discovery of the dye sensitization by photochemist Hermann Vogel in 1873 suddenly made it possible to add sensitivity to the colors of green, yellow and even red. Improved dye sensitivity and continuous improvement in overall emulsion sensitivity significantly reduced the long exposure time that was previously required for color, making it closer to commercial survival.

Autochrome, the first commercially successful color process, was introduced by LumiÃÆ'¨re brothers in 1907. The autochrome plate incorporates a mosaic color filter layer made of stained potato starch grains, allowing three color components to be recorded as adjacent microscopic image fragments.. Once the reverse Autochrome plate is processed to produce positive transparency, the starch grains are presented to illuminate each fragment with the correct color and small colored dots fused into the eye, synthesizing the subject's color with the additive method. The autochrome plate is one of several types of additive color display plates and films that were marketed between the 1890s and 1950s.

Kodachrome, the first modern "first integral tripack" color film (or "monopack"), was introduced by Kodak in 1935. It captures three color components in a multi-layer emulsion. One layer is sensitive to recording a predominantly red part of the spectrum, another layer only records the green part and the third only records blue. Without special film processing, the result is only three black-and-white images superimposed, but complementary cyan, magenta and yellow color drawings are created on the layer by adding color screw during the complicated processing procedure.

Agfacolor The same structured NeU Agfa was introduced in 1936. Unlike Kodachrome, the color coupler in Agfacolor Neu was incorporated into the emulsion coating during manufacture, which greatly simplified the process. Currently, the available color films still use the same multi-layer emulsion and principle, most similar to the Agfa product.

Instant color film, used in special cameras that produce unique color finish prints just a minute or two after exposure, was introduced by Polaroid in 1963.

Color photography can form images as positive transparency, which can be used in a slide projector, or as a negative color intended for use in creating positive color enlargements on special coated paper. The latter is now the most common form of film color photography (non-digital) due to the introduction of automated photo printing equipment. After a transition period centered around 1995-2005, color films are downgraded to specialized markets by cheap multi-megapixel digital cameras. Movies continue to be a preference for some photographers because of the distinctive "look".

Digital Photography

In 1981, Sony launched its first consumer camera to use charge-coupled devices for imaging, eliminating the need for film: Sony Mavica. While Mavica stores images to disk, images are displayed on television, and the camera is not completely digital. In 1991, Kodak launched the DCS 100, the first commercially available single lens digital reflector camera. Despite the high costs that hinder use in addition to photojournalism and professional photography, commercial digital photography was born.

Digital imaging uses an electronic image sensor to record images as a set of electronic data rather than as a chemical change in the film. An important difference between digital and chemical photography is that chemical photography rejects photo manipulation because it involves film and photographic paper, whereas digital imaging is a highly manipulative medium. This distinction enables relatively painless post-image processing levels in film-based photography and enables a variety of different potential and communicative applications.

Digital photography dominates the 21st century. More than 99% of photos taken worldwide are through digital cameras, increasingly through smartphones.

Photography synthesis

Photographic synthesis is part of computer-generated imagery (CGI) where the shooting process is modeled on real photography. CGI, creating a digital copy of the real universe, requires a process of visual representation of this universe. Photographic synthesis is the application of analog and digital photography in the digital space. With actual photographic characteristics but not limited by the physical boundaries of the real world, synthesis photography allows artists to move to areas beyond the reach of real photography.

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Photography techniques

Various kinds of photography and media techniques are used in the process of shooting for photography. This includes cameras; stereoscopy; dualphotography; full spectrum, ultraviolet and infrared media; bright field photography; and other imaging techniques.

Camera

The camera is an image-forming device, and photographic plates, photographic films or silicon electronic image sensors are the media of capture. The recording media in question may be either the plates or the film itself, or digital or electronic memory.

Photographers control cameras and lenses to "expose" light recording materials to the amount of light required to form "latent images" (on plates or films) or RAW files (in digital cameras) which, after being processed accordingly, are converted to usable images. Digital cameras use electronic image sensors based on light-sensitive electronics such as charge-coupled devices (CCD) or semiconductor metal-oxide coating technology (CMOS). The resulting digital image is stored electronically, but can be reproduced on paper.

The camera (or 'camera obscura') is a dark room or room as far as possible, all light is excluded except the light that shapes the image. It was discovered and used in the 16th century by painters. However, the subject being photographed should be illuminated. The camera can range from small to very large, the entire room remains dark while the object to be photographed is in another room where it is illuminated properly. This is common for flat copy reproduction photography when big movie negatives are used (see Process camera).

As soon as the photographic material becomes "fast" (sensitive) enough to take a clear or clandestine image, a small "detective" camera is made, some actually disguised as books or handbags or pocket watches (camera Ticka ) or even worn behind an Ascot tie with a pin tie that is really a lens.

The film camera is a type of photographic camera that takes a quick sequence of photos on the recording medium. Unlike the still camera, which captures a single snapshot at a time, the movie camera takes a series of images, each called a "frame". This is achieved through intermittent mechanisms. The frame is then played back in a movie projector at a certain speed, called "frame rate" (number of frames per second). When looking, one's eyes and brain combine separate images together to create the illusion of motion.

Stereoscopic

Photographs, both monochrome and color, can be captured and displayed through two side-by-side images that mimic human stereoscopic vision. Stereoscopic photography is the first to capture moving figures. While known colloquially as "3-D" photography, the more accurate term is stereoscopy. Such cameras have long been realized by using film and more recently in digital electronic methods (including camera phones).

Dualphotography

Dualphotography consists of photographing scenes from both sides of the photography device at once (eg back-to-back dual-photography camera, or two network cameras for plane-portal dualography). The dualphoto apparatus can be used to simultaneously capture subjects and photographers, or both sides of geographical places at once, thus adding an additional narrative layer with a single image.

Full spectrum, ultraviolet, and infrared

Ultraviolet and infrared films have been available for decades and used in various photographic lines since the 1960s. The trend of new technologies in digital photography has opened up new directions in full-spectrum photography, where careful screening options across the ultraviolet, visible and infrared leads to a new artistic vision.

The modified digital camera can detect multiple ultraviolet, all-per-visible and much of the near infrared spectrum, as most sensitive digital imaging sensors are from about 350 nm to 1000 nm. An off-the-shelf digital camera contains an infrared heat mirror filter that blocks most of the infrared and slightly ultraviolet that will be detected by the sensor, narrowing the received range from about 400 nm to 700 nm.

Replacing a hot mirror or infrared block filter with infrared transmitters or broad-spectrum transmitter filters allows the camera to detect a wider spectrum of light at greater sensitivity. Without hot-mirrors, micro-filters of red, green and blue (or cyan, yellow and magenta) placed above the sensor elements pass through a variety of ultraviolet (blue windows) and infrared (especially red and somewhat less green and blue filters micro).

The use of full-spectrum photography is for art photography, geology, forensics, and law enforcement.

Photography light field

The digital method of image capture and image processing has enabled new technology "light field photography" (also known as synthetic aperture photography). This process allows focusing on different field depths to be selected after taken photos. As explained by Michael Faraday in 1846, "the field of light" is understood as 5-dimensional, with each point in 3-D space having a two-angle attribute that further determines the direction of each ray passing through that point.

These additional vector attributes can be captured optically through the use of microlenses at each pixel point in a 2-dimensional image sensor. Each pixel of the final image is actually the choice of each sub-array located beneath each microlens, as identified by the post-image shoot focus algorithm.

Other imaging techniques

In addition to cameras, other methods for shaping images with light are also available. For example, a photocopy machine or xerography forms a permanent image but uses a static electrical charge transfer rather than a photographic medium, hence the term electrophotography. Photograms are images produced by the shadow of objects thrown on photographic paper, without using a camera. Objects can also be placed directly on the scanner glass to produce digital images.

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Production mode

Amateur

An amateur photographer is a person who practices photography as a hobby/passion and does not have to make a profit. The quality of some amateur jobs is proportional to many professionals and may be highly specialized or eclectic in choosing a subject. Amateur photography is often a pre-eminent subject in photography with little prospect for commercial use or awards. Amateur photography grew at the end of the 19th century due to the popularization of handheld cameras. Nowadays it has been widespread through social media and is performed on various platforms and tools, switching to mobile usage as a primary tool to make photography more accessible to everyone.

Commercial

Commercial photography is perhaps best defined as any photography in which photographers are paid for images rather than artwork. In this light, money can be paid for the subject of the photo or the photo itself. The use of photography wholesale, retail, and professional will fall under this definition. The world of commercial photography may include:

• Ad photography: photos are created to describe and usually sell a service or product. These images, such as package drawings, are generally done with advertising agencies, design firms or with an internal corporate design team.
• Fashion and glamor photography usually incorporate models and are a form of advertising photography. Fashion photography, like the work featured on Harper's Bazaar, emphasizes clothing and other products; Glamor emphasizes the model and body shape. Glamor photography is popular in ad and men's magazines. Models in glamor photography can sometimes be used naked.
• Concert photography focuses on honest shooting of artists or bands as well as the atmosphere (including spectators). Many of these photographers work freelance and are contracted through their artist or management to cover certain events. Concert photos are often used to promote the artist or band next to the venue.
• Photography crime scene consists of scenes photographing crimes such as robbery and murder. The black-and-white camera or infrared camera can be used to capture specific details.
• Lifetime photography usually describes non-living material, usually ordinary objects that may be natural or man-made. Still life is a broader category for food and some natural photography and can be used for advertising purposes.
• Food photography can be used for editorial use, packaging or advertising. Food photography is similar to still life photography but requires some special skills.
• Editorial photography illustrates stories or ideas in the context of magazines. These are usually commissioned by magazines and include features of fashion photography and glamor.
  • Photo journalism can be considered as part of editorial photography. Photos created in this context are accepted as documentation of the news.
• Portrait and wedding photography: photos created and sold directly to the end user of the image.
• Landscape photography describes the location.
• Wildlife photography shows animal life.
• Paparazzi is a form of photojournalism in which photographers capture candid pictures of athletes, celebrities, politicians, and other prominent people.
• Pet photography involves several aspects similar to traditional studio portraits. This can also be done in natural lighting, outside the studio, just like at a client's home.

The market for photography services shows aphorism "A picture worth a thousand words", which has an interesting base in the history of photography. Magazines and newspapers, companies that install websites, advertising agencies, and other groups pay for photography.

Many people take photos for commercial purposes. Organizations with budgets and the need for photography have several options: they can hire photographers directly, organize public competitions, or get the rights to stock photographs. Photo stocks can be obtained through traditional stock giants, such as Getty Images or Corbis; smaller microstock agencies, such as Fotolia; or the web market, such as Cutcaster.

Art

During the 20th century, both art photography and documentary photography were accepted by the English art world and the gallery system. In the United States, a handful of photographers, including Alfred Stieglitz, Edward Steichen, John Szarkowski, F. Holland Day, and Edward Weston, spend their lives advocating photography as art. At first, art photographers tried to imitate the style of painting. 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 'direct photography', the photograph as an object (centered sharply) in itself and not an imitation of something else.

Aesthetics of photography is a matter that continues to be discussed regularly, especially in the arts. Many artists argue that photography is a mechanical image reproduction. If photography is an authentic art, then photography in the context of art will require redefinition, such as determining what components of a photo make it beautiful for viewers. Controversy begins with the earliest drawings "written with light"; NicÃÆ'  © phé Nià ©  © pce, Louis Daguerre, and others among the earliest photographers were met with praise, but some questioned whether their work met the definition and purpose of art.

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

There must be a quality without which a work of art can not exist; have the, at least, no work that is not worth it at all. What is this quality? What qualities are possessed by all the objects that provoke our aesthetic emotions? What quality is common to Sta. Sophia and the windows at Chartres, Mexican statues, Persian bowls, Chinese tapestries, Giotto wall paintings in Padua, and Poussin's masterpieces, Piero della Francesca, and Cezanne? Only one answer seems possible - a significant form. In each, the lines and colors are combined in a certain way, certain shapes and form relationships, stirring our aesthetic emotions.

On February 7, 2007, Sotheby's London sold 2001 99 Cent II Diptychon for an unprecedented 3,345,456 anonymous bidder, making it the most expensive one at the time.

Conceptual photography changes the concept or idea into a photo. Although what is depicted in the photo is a real object, the subject is very abstract.

Photojournalism photo

Photojournalism is a special form of photography (collection, editing, and presentation of news material for publication or broadcasting) that uses pictures to tell a story. Now it is usually understood to refer only to still images, but in some cases this term also refers to the video used in broadcast journalism. Photojournalism is distinguished from other branches of photography (eg, documentary photography, social documentary photography, street photography or celebrity photography) by adhering to a rigid ethical framework that demands that the work be honest and impartial while telling the story in strict journalistic terms. Photojournalists create images that contribute to the news media, and help communities connect with each other. Photojournalists should have good and knowledgeable information about events that occur just outside their door. They deliver news in a creative format that is not only informative, but also entertaining.

Science and forensics

The camera has a long and distinguished history as a means of recording scientific phenomena from first use by Daguerre and Fox-Talbot, such as astronomical events (eg eclipses), small creatures and plants when the camera is attached to a microscope lens (in photomicroscopy) and for macro photography specimens the greater one. The camera also proved useful in recording crime scenes and scene scenes, such as the collapse of the Wootton bridge in 1861. The method used in analyzing photographs for use in legal cases is collectively known as forensic photography. Photos of crime scenes are taken from three strategic points. Profitable points are overview, medium range, and close range.

In 1845 Francis Ronalds, Honorary Director of the Kew Observatory, invented the first successful camera to make continuous recording of meteorological and geomagnetic parameters. Different engines produce 12 or 24 hour photographic traces of minute-by-minute variations of atmospheric pressure, temperature, humidity, atmospheric electricity, and three components of geomagnetic force. The cameras were supplied to many observatories around the world and some remained in use until the 20th century. Charles Brooke later developed a similar instrument for the Greenwich Observatory.

Science uses image technology that has been derived from the Pin Hole camera design. X-Ray machines are similar in design to Pin Hole cameras with high-grade filters and laser radiation. Photography has become ubiquitous in recording events and data in science and engineering, and at crime scene or accident scenes. This method has been extensively extended by using other wavelengths, such as infrared photography and ultraviolet photography, as well as spectroscopy. These methods were first used in the Victorian era and have increased further since then.

The first photographed atom was discovered in 2012 by a physicist at Griffith University, Australia. They use an electric field to trap the "Ion" of the element, Ytterbium. The picture was recorded on CCD, electronic photography film.

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Social and cultural implications

There are many ongoing questions about various aspects of photography. In his writings "On Photography" (1977), Susan Sontag discussed concerns about the objectivity of photography. This is a highly debated topic in the photography community. Sontag argues, "Taking pictures means adjusting to what is photographed.That means putting oneself into a certain relationship with a world that feels like knowledge, and therefore loves strength." Photographers decide what photos to take, what elements to exclude and what angles to frame photos, and these factors may reflect a particular socio-historical context. Throughout these lines, it can be said that photography is a form of subjective representation.

Modern photography has raised a number of concerns about its impact on society. In Alfred Hitchcock's Rear Window (1954), cameras are presented as promoting voyeurism. 'Although the camera is an observation station, the action of photographing is more than just passive observation'.

The camera does not rape or even possess, though it may perceive, interfere, enter without permission, distort, exploit, and, at the farthest reach of metaphor, kill - all activities which, unlike sex drive and encouragement, can be done from a distance, and with some detachments.

Digital imaging has caused ethical concerns because of the ease of manipulating digital photos in post-processing. Many photojournalists have stated that they will not cut their pictures or are banned from combining elements from multiple photos to create "photomontages", passing them as "real" photos. Today's technology has made image editing relatively simple even for budding photographers. However, recent changes in camera processing allow digital fingerprints of photos to detect interference for forensic photography purposes.

Photography is a new form of media that changes perceptions and changes the structure of society. Further inconvenience has occurred around the camera in connection with desensitization. Fear that disruptive or explicit images are widely accessible to children and society has generally been raised. In particular, photographs of war and pornography caused a stir. Sontag worries that "photographing is turning people into objects that can be possessed symbolically." The desensitization discussion goes hand in hand with the debates on censored images. Sontag writes his concern that the ability to censor images means that photographers have the ability to build reality.

One of the practices in which photography is a society is tourism. Tourism and photography combine to create a "tourist view" where locals are positioned and determined by camera lenses. However, it has also been suggested that there is an "upside down view" where indigenous photography can position a tourist photographer as a superficial consumer image.

In addition, photography has become a topic of many songs in popular culture.

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Legal

Photography is restricted and protected by law in many jurisdictions. Photo protection is usually accomplished through copyright or moral rights to photographers. In the United States, photography is protected as a First Amendment right and anyone is free to photograph anything that is visible in the public spaces during the normal appearance. In Britain, the recent legislation (the 2008 Anti-Terrorism Act) increases police forces to prevent people, even press journalists, take photos in public places.

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See also

• Photography outline
• Photography science
• List of photographers
• Image editing
• Photolab and minilab

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References

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Further reading

Introduction

• Photography. Critical Introduction [Paperback], ed. by Liz Wells, 3rd ed., London [etc.]: Routledge, 2004, ISBNÃ, 0-415-30704-X

History

• New History of Photography , ed. by Michel Frizot, KÃÆ'¶ln: KÃÆ'¶nemann, 1998
• Franz-Xaver Schlegel, Das Leben der toten Dinge - Studien zur modernen Sachfotografie den den 1914-1935 , 2 BÃÆ'¤nde, Stuttgart/Germany: Art in Life 1999, ISBN 3-00 -004407-8.

Reference is working

• Tom Ang (2002). Dictionary of Photography and Digital Imaging: Important References for Modern Photographers . Watson-Guptill. ISBNÃ, 0-8174-3789-4.
• Hans-Michael Koetzle: Das Lexikon der Photographer: 1900 bis heal , Munich: Knaur 2002, 512 p., ISBN 3-426-66479-8
• John Hannavy (ed.): Nineteenth Photographic Encyclopedia , 1736 p., New York: Routledge 2005 ISBNÃ, 978-0-415-97235-2
• Lynne Warren (Hrsg.): Photographic Encyclopedia Twenty-Century , 1719 p., New York, NY [et.] Ã,: Routledge, 2006
• The Oxford Companion to the Photograph , ed. by Robin Lenman, Oxford University Press 2005
• "The Focal Encyclopedia of Photography", Richard Zakia, Leslie Stroebel, Focal Press 1993, ISBNÃ, 0-240-51417-3

Other books

• Photography and the Art of Observing by Freeman Patterson, Key Porter Books 1989, ISBNÃ, 1-55013-099-4.
• Photographic Art: Personal Expression Approach by Bruce Barnbaum, Rocky Nook 2010, ISBNÃ, 1-933952-68-7.
• Image Clarity: High Resolution Photography by John B. Williams, Focal Press 1990, ISBNÃ, 0-240-80033-8.

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External links

• Photography in Curlie (based on DMOZ)
• The History of the World of Photography From The History of Art.
• Daguerreotype to Digital: Brief History of Photography Process Of State Library & amp; Archives of Florida.
• Photographic Changes Everything is a collection of essays, stories, and original images - donated by experts from the spectrum of the professional world and members of the project's online audience - exploring the many ways photography shapes our culture and life, by the Smithsonian Institution.

Source of the article : Wikipedia