What Does The Photograph Show

Creating images by recording calorie-free

Photography
A person photographing near the Boven-Slinge stream at Winterswijk, Netherlands
Other names	Science or art of creating durable images
Types	Recording light or other electromagnetic radiations
Inventor	Louis Daguerre (1839) Henry Flim-flam Talbot (1839)
Related	Stereoscopic, Full-spectrum, Light field, Electrophotography, Photograms, Scanner

Photography is the art, awarding, and practice of creating durable images by recording light, either electronically past means of an image sensor, or chemically by means of a light-sensitive textile such every bit photographic film. It is employed in many fields of science, manufacturing (e.thou., photolithography), and concern, as well equally its more direct uses for fine art, film and video production, recreational purposes, hobby, and mass communication.^[1]

Typically, a lens is used to focus the lite reflected or emitted from objects into a real image on the light-sensitive surface within a camera during a timed exposure. With an electronic image sensor, this produces an electrical charge at each pixel, which is electronically processed and stored in a digital image file for subsequent display or processing. The result with photographic emulsion is an invisible latent paradigm, which is later on chemically "developed" into a visible image, either negative or positive, depending on the purpose of the photographic material and the method of processing. A negative epitome on film is traditionally used to photographically create a positive image on a paper base, known as a impress, either by using an enlarger or by contact printing.

Etymology [edit]

The discussion "photography" was created from the Greek roots φωτός (phōtós), genitive of φῶς (phōs), "light"^[two] and γραφή (graphé) "representation past means of lines" or "drawing",^[3] together meaning "drawing with light".^[4]

Several people may have coined the same new term from these roots independently. Hercules Florence, a French painter and inventor living in Campinas, Brazil, used the French class of the word, photographie, in private notes which a Brazilian historian believes were written in 1834.^[5] This claim is widely reported but is not yet largely recognized internationally. The first apply of the word by the Franco-Brazilian inventor became widely known after the research of Boris Kossoy in 1980.^[six]

The High german newspaper Vossische Zeitung of 25 February 1839 independent an commodity entitled Photographie, discussing several priority claims – specially Henry Pull a fast one on Talbot's – regarding Daguerre'south claim of invention.^[7] The article is the earliest known occurrence of the word in public impress.^[viii] It was signed "J.M.", believed to take been Berlin astronomer Johann von Maedler.^[9] The astronomer Sir John Herschel is likewise credited with coining the give-and-take, independent of Talbot, in 1839.^[ten]

The inventors Nicéphore Niépce, Henry Flim-flam Talbot, and Louis Daguerre seem not to have known or used the word "photography", but referred to their processes equally "Heliography" (Niépce), "Photogenic Drawing"/"Talbotype"/"Calotype" (Talbot), and "Daguerreotype" (Daguerre).^[9]

History [edit]

Forerunner technologies [edit]

A camera obscura used for drawing

Photography is the event of combining several technical discoveries, relating to seeing an image and capturing the image. The discovery of the camera obscura ("nighttime sleeping room" in Latin) that provides an epitome of a scene dates back to ancient China. Greek mathematicians Aristotle and Euclid independently described a photographic camera obscura in the fifth and quaternary centuries BCE.^[11] ^[12] In the sixth century CE, Byzantine mathematician Anthemius of Tralles used a type of photographic camera obscura in his experiments.^[thirteen]

The Arab physicist Ibn al-Haytham (Alhazen) (965–1040) also invented a camera obscura also as the first true pinhole camera.^[12] ^[14] ^[fifteen] The invention of the camera has been traced dorsum to the piece of work of Ibn al-Haytham.^[sixteen] While the effects of a single calorie-free passing through a pinhole had been described before,^[xvi] Ibn al-Haytham gave the first right analysis of the camera obscura,^[17] including the first geometrical and quantitative descriptions of the phenomenon,^[xviii] and was the showtime to apply a screen in a nighttime room and so that an epitome from one side of a pigsty in the surface could be projected onto a screen on the other side.^[19] He also kickoff understood the relationship between the focal signal and the pinhole,^[20] and performed early experiments with afterimages, laying the foundations for the invention of photography in the 19th century.^[15]

Leonardo da Vinci mentions natural camerae obscurae that are formed by dark caves on the edge of a sunlit valley. A hole in the cave wall will act as a pinhole camera and project a laterally reversed, upside downwards paradigm on a piece of paper. Renaissance painters used the camera obscura which, in fact, gives the optical rendering in color that dominates Western Art. It is a box with a small hole in one side, which allows specific calorie-free rays to enter, projecting an inverted epitome onto a viewing screen or newspaper.

The birth of photography was then concerned with inventing means to capture and go on the prototype produced by the camera obscura. Albertus Magnus (1193–1280) discovered argent nitrate,^[21] and Georg Fabricius (1516–1571) discovered argent chloride,^[22] and the techniques described in Ibn al-Haytham's Book of Eyes are capable of producing archaic photographs using medieval materials.^[23] ^[24]

Daniele Barbaro described a diaphragm in 1566.^[25] Wilhelm Homberg described how light darkened some chemicals (photochemical effect) in 1694.^[26] The fiction volume Giphantie, published in 1760, by French author Tiphaigne de la Roche, described what can be interpreted as photography.^[25]

Around the year 1800, British inventor Thomas Wedgwood fabricated the first known endeavor to capture the epitome in a camera obscura by means of a lite-sensitive substance. He used newspaper or white leather treated with silver nitrate. Although he succeeded in capturing the shadows of objects placed on the surface in direct sunlight, and fifty-fifty made shadow copies of paintings on glass, it was reported in 1802 that "the images formed past means of a photographic camera obscura have been found too faint to produce, in whatever moderate time, an effect upon the nitrate of silvery." The shadow images eventually darkened all over.^[27]

Invention [edit]

Earliest known surviving heliographic engraving, 1825, printed from a metal plate fabricated by Nicéphore Niépce.^[28] The plate was exposed under an ordinary engraving and copied it by photographic means. This was a stride towards the first permanent photo taken with a camera.

The first permanent photoetching was an prototype produced in 1822 by the French inventor Nicéphore Niépce, but it was destroyed in a later on attempt to brand prints from it.^[28] Niépce was successful again in 1825. In 1826 or 1827, he fabricated the View from the Window at Le Gras, the primeval surviving photograph from nature (i.eastward., of the image of a existent-world scene, as formed in a camera obscura past a lens).^[29]

View of the Boulevard du Temple, a daguerreotype made by Louis Daguerre in 1838, is generally accepted as the earliest photograph to include people. It is a view of a decorated street, but because the exposure lasted for several minutes the moving traffic left no trace. Only the two men about the lesser left corner, one of them plain having his boots polished by the other, remained in one place long plenty to exist visible.

Because Niépce's camera photographs required an extremely long exposure (at least viii hours and probably several days), he sought to greatly improve his bitumen process or replace it with one that was more practical. In partnership with Louis Daguerre, he worked out post-exposure processing methods that produced visually superior results and replaced the bitumen with a more low-cal-sensitive resin, but hours of exposure in the camera were nevertheless required. With an eye to eventual commercial exploitation, the partners opted for total secrecy.

Niépce died in 1833 and Daguerre then redirected the experiments toward the light-sensitive silverish halides, which Niépce had abased many years earlier considering of his inability to make the images he captured with them low-cal-fast and permanent. Daguerre'south efforts culminated in what would later be named the daguerreotype process. The essential elements—a silver-plated surface sensitized by iodine vapor, developed by mercury vapor, and "fixed" with hot saturated table salt water—were in place in 1837. The required exposure fourth dimension was measured in minutes instead of hours. Daguerre took the earliest confirmed photograph of a person in 1838 while capturing a view of a Paris street: unlike the other pedestrian and horse-drawn traffic on the busy boulevard, which appears deserted, one man having his boots polished stood sufficiently still throughout the several-minutes-long exposure to be visible. The existence of Daguerre's procedure was publicly announced, without details, on vii January 1839. The news created an international awareness. French republic soon agreed to pay Daguerre a alimony in exchange for the right to present his invention to the world as the gift of France, which occurred when complete working instructions were unveiled on 19 Baronial 1839. In that same year, American lensman Robert Cornelius is credited with taking the earliest surviving photographic cocky-portrait.

A latticed window in Lacock Abbey, England, photographed by William Play a trick on Talbot in 1835. Shown here in positive form, this may be the oldest extant photographic negative fabricated in a camera.

In Brazil, Hercules Florence had apparently started working out a silverish-salt-based paper process in 1832, afterwards naming it Photographie.

Meanwhile, a British inventor, William Fox Talbot, had succeeded in making rough but reasonably low-cal-fast silver images on paper as early as 1834 but had kept his work hole-and-corner. After reading most Daguerre'southward invention in Jan 1839, Talbot published his hitherto surreptitious method and set nigh improving on it. At first, like other pre-daguerreotype processes, Talbot's paper-based photography typically required hours-long exposures in the camera, just in 1840 he created the calotype process, which used the chemical development of a latent image to greatly reduce the exposure needed and compete with the daguerreotype. In both its original and calotype forms, Talbot's process, unlike Daguerre'due south, created a translucent negative which could be used to impress multiple positive copies; this is the basis of most modern chemical photography up to the present day, as daguerreotypes could but exist replicated by rephotographing them with a camera.^[thirty] Talbot'southward famous tiny paper negative of the Oriel window in Lacock Abbey, one of a number of camera photographs he fabricated in the summer of 1835, may be the oldest camera negative in existence.^[31] ^[32]

In France, Hippolyte Bayard invented his ain process for producing direct positive newspaper prints and claimed to have invented photography earlier than Daguerre or Talbot.^[33]

British chemist John Herschel fabricated many contributions to the new field. He invented the cyanotype process, later familiar every bit the "blueprint". He was the kickoff to use the terms "photography", "negative" and "positive". He had discovered in 1819 that sodium thiosulphate was a solvent of silver halides, and in 1839 he informed Talbot (and, indirectly, Daguerre) that it could exist used to "set" argent-halide-based photographs and make them completely light-fast. He made the first glass negative in late 1839.

Wilson Chinn, a branded slave from Louisiana--per The New York Times, "one of the earliest and nearly dramatic examples of how the newborn medium of photography could change the class of history."^[34]

Advertisement for Campbell's Photograph Gallery from The Macon City Directory, circa 1877.

In the March 1851 issue of The Chemist, Frederick Scott Archer published his wet plate collodion process. Information technology became the almost widely used photographic medium until the gelatin dry out plate, introduced in the 1870s, eventually replaced it. At that place are three subsets to the collodion process; the Ambrotype (a positive image on drinking glass), the Ferrotype or Tintype (a positive image on metallic) and the glass negative, which was used to brand positive prints on albumen or salted paper.

Many advances in photographic glass plates and printing were made during the residual of the 19th century. In 1891, Gabriel Lippmann introduced a procedure for making natural-color photographs based on the optical miracle of the interference of light waves. His scientifically elegant and important but ultimately impractical invention earned him the Nobel Prize in Physics in 1908.

Drinking glass plates were the medium for most original photographic camera photography from the late 1850s until the general introduction of flexible plastic films during the 1890s. Although the convenience of the film greatly popularized amateur photography, early films were somewhat more expensive and of markedly lower optical quality than their glass plate equivalents, and until the late 1910s they were not available in the big formats preferred by virtually professional photographers, so the new medium did not immediately or completely replace the sometime. Because of the superior dimensional stability of drinking glass, the utilize of plates for some scientific applications, such every bit astrophotography, continued into the 1990s, and in the niche field of light amplification by stimulated emission of radiation holography, it has persisted into the 21st century.

Moving-picture show [edit]

Undeveloped Arista black-and-white film, ISO 125/22°

Hurter and Driffield began pioneering work on the lite sensitivity of photographic emulsions in 1876. Their work enabled the first quantitative measure of motion picture speed to be devised.

The first flexible photographic roll moving picture was marketed by George Eastman, founder of Kodak in 1885, but this original "film" was really a coating on a paper base. As function of the processing, the paradigm-bearing layer was stripped from the paper and transferred to a hardened gelatin support. The first transparent plastic roll motion picture followed in 1889. It was made from highly flammable nitrocellulose known as nitrate moving picture.

Although cellulose acetate or "safe film" had been introduced by Kodak in 1908,^[35] at outset it found merely a few special applications equally an culling to the hazardous nitrate motion picture, which had the advantages of being considerably tougher, slightly more transparent, and cheaper. The changeover was not completed for 10-ray films until 1933, and although prophylactic film was always used for 16 mm and viii mm domicile movies, nitrate moving-picture show remained standard for theatrical 35 mm motion pictures until it was finally discontinued in 1951.

Films remained the dominant form of photography until the early 21st century when advances in digital photography drew consumers to digital formats.^[36] Although mod photography is dominated by digital users, film continues to be used by enthusiasts and professional photographers. The distinctive "look" of film based photographs compared to digital images is likely due to a combination of factors, including (ane) differences in spectral and tonal sensitivity (S-shaped density-to-exposure (H&D bend) with film vs. linear response curve for digital CCD sensors),^[37] (2) resolution, and (iii) continuity of tone.^[38]

Black-and-white [edit]

Originally, all photography was monochrome, or black-and-white. Even after colour film was readily bachelor, black-and-white photography continued to boss for decades, due to its lower cost, chemical stability, and its "classic" photographic wait. The tones and dissimilarity betwixt light and night areas define black-and-white photography.^[39] Monochromatic pictures are not necessarily composed of pure blacks, whites, and intermediate shades of gray but can involve shades of one particular hue depending on the process. The cyanotype procedure, for instance, produces an image composed of blue tones. The albumen impress process, publicly revealed in 1847, produces brownish tones.

Many photographers continue to produce some monochrome images, sometimes because of the established archival permanence of well-processed silver-halide-based materials. Some full-color digital images are candy using a variety of techniques to create black-and-white results, and some manufacturers produce digital cameras that exclusively shoot monochrome. Monochrome printing or electronic display can be used to salvage sure photographs taken in color which are unsatisfactory in their original form; sometimes when presented as black-and-white or single-color-toned images they are plant to be more effective. Although color photography has long predominated, monochrome images are even so produced, by and large for creative reasons. Almost all digital cameras take an option to shoot in monochrome, and most all prototype editing software can combine or selectively discard RGB color channels to produce a monochrome image from one shot in color.

Colour [edit]

Color photography was explored beginning in the 1840s. Early on experiments in color required extremely long exposures (hours or days for camera images) and could not "fix" the photograph to prevent the colour from quickly fading when exposed to white low-cal.

The first permanent color photograph was taken in 1861 using the 3-color-separation principle start published past Scottish physicist James Clerk Maxwell in 1855.^[xl] ^[41] The foundation of about all applied color processes, Maxwell's idea was to take three separate black-and-white photographs through cherry, green and blueish filters.^[40] ^[41] This provides the photographer with the three basic channels required to recreate a colour image. Transparent prints of the images could be projected through similar colour filters and superimposed on the projection screen, an additive method of color reproduction. A color impress on paper could be produced past superimposing carbon prints of the 3 images made in their complementary colors, a subtractive method of color reproduction pioneered by Louis Ducos du Hauron in the late 1860s.

Color photography was possible long before Kodachrome, equally this 1903 portrait by Sarah Angelina Acland demonstrates, merely in its primeval years, the demand for special equipment, long exposures, and complicated printing processes fabricated it extremely rare.

Russian photographer Sergei Mikhailovich Prokudin-Gorskii made extensive use of this color separation technique, employing a special camera which successively exposed the three colour-filtered images on different parts of an ellipsoidal plate. Because his exposures were not simultaneous, unsteady subjects exhibited color "fringes" or, if speedily moving through the scene, appeared as brightly colored ghosts in the resulting projected or printed images.

Implementation of colour photography was hindered by the limited sensitivity of early on photographic materials, which were by and large sensitive to blue, only slightly sensitive to dark-green, and virtually insensitive to red. The discovery of dye sensitization by photochemist Hermann Vogel in 1873 suddenly made it possible to add sensitivity to green, yellow and fifty-fifty red. Improved colour sensitizers and ongoing improvements in the overall sensitivity of emulsions steadily reduced the once-prohibitive long exposure times required for color, bringing it e'er closer to commercial viability.

Autochrome, the kickoff commercially successful color process, was introduced by the Lumière brothers in 1907. Autochrome plates incorporated a mosaic colour filter layer made of dyed grains of white potato starch, which immune the 3 color components to be recorded as next microscopic epitome fragments. After an Autochrome plate was reversal processed to produce a positive transparency, the starch grains served to illuminate each fragment with the right color and the tiny colored points blended together in the eye, synthesizing the color of the bailiwick by the additive method. Autochrome plates were ane of several varieties of additive color screen plates and films marketed between the 1890s and the 1950s.

Kodachrome, the first modern "integral tripack" (or "monopack") color moving picture, was introduced by Kodak in 1935. It captured the 3 color components in a multi-layer emulsion. Ane layer was sensitized to record the carmine-dominated part of the spectrum, another layer recorded only the green part and a third recorded simply the blue. Without special moving-picture show processing, the consequence would just be three superimposed black-and-white images, but complementary cyan, magenta, and yellow dye images were created in those layers by calculation color couplers during a circuitous processing procedure.

Agfa's similarly structured Agfacolor Neu was introduced in 1936. Unlike Kodachrome, the color couplers in Agfacolor Neu were incorporated into the emulsion layers during industry, which profoundly simplified the processing. Currently, available color films still utilize a multi-layer emulsion and the same principles, well-nigh closely resembling Agfa'southward product.

Instant color film, used in a special camera which yielded a unique finished color impress only a minute or two after the exposure, was introduced by Polaroid in 1963.

Colour photography may course images as positive transparencies, which can exist used in a slide projector, or as color negatives intended for employ in creating positive colour enlargements on particularly coated paper. The latter is at present the most common course of picture show (non-digital) color photography attributable to the introduction of automated photograph printing equipment. After a transition catamenia centered around 1995–2005, color picture was relegated to a niche market by inexpensive multi-megapixel digital cameras. Film continues to exist the preference of some photographers because of its distinctive "look".

Digital [edit]

Kodak DCS 100, based on a Nikon F3 trunk with Digital Storage Unit

In 1981, Sony unveiled the kickoff 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 photographic camera was not fully digital.

The first digital photographic camera to both record and salve images in a digital format was the Fujix DS-1P created past Fujfilm in 1988.^[42]

In 1991, Kodak unveiled the DCS 100, the first commercially available digital single lens reflex camera. Although its high price precluded uses other than photojournalism and professional photography, commercial digital photography was born.

Digital imaging uses an electronic epitome sensor to tape the image as a set up of electronic data rather than as chemic changes on movie.^[43] An important difference between digital and chemical photography is that chemical photography resists photo manipulation because it involves film and photographic paper, while digital imaging is a highly manipulative medium. This difference allows for a degree of prototype mail service-processing that is insufficiently difficult in film-based photography and permits different communicative potentials and applications.

Photography on a smartphone

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

Techniques [edit]

Angles such equally vertical, horizontal, or as pictured here diagonal are considered important photographic techniques

A big variety of photographic techniques and media are used in the procedure of capturing images for photography. These include the camera; dualphotography; full-spectrum, ultraviolet and infrared media; light field photography; and other imaging techniques.

Cameras [edit]

The photographic camera is the paradigm-forming device, and a photographic plate, photographic film or a silicon electronic paradigm sensor is the capture medium. The respective recording medium can exist the plate or picture show itself, or a digital magnetic or electronic memory.^[44]

Photographers control the camera and lens to "expose" the light recording material to the required amount of light to course a "latent image" (on plate or film) or RAW file (in digital cameras) which, after advisable processing, is converted to a usable image. Digital cameras employ 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, only can exist reproduced on a newspaper.

The camera (or 'photographic camera obscura') is a dark room or chamber from which, as far every bit possible, all light is excluded except the light that forms the image. It was discovered and used in the 16th century past painters. The discipline being photographed, still, must exist illuminated. Cameras can range from pocket-size to very large, a whole room that is kept night while the object to be photographed is in some other room where it is properly illuminated. This was common for reproduction photography of flat copy when large film negatives were used (see Procedure camera).

As soon equally photographic materials became "fast" (sensitive) enough for taking candid or surreptitious pictures, small "detective" cameras were fabricated, some actually disguised as a book or bag or pocket lookout (the Ticka camera) or even worn hidden backside an Ascot necktie with a tie pin that was really the lens.

The movie camera is a blazon of photographic photographic camera which takes a rapid sequence of photographs on recording medium. In contrast to a still photographic camera, which captures a single snapshot at a fourth dimension, the movie camera takes a serial of images, each chosen a "frame". This is accomplished through an intermittent machinery. The frames are later played dorsum in a movie projector at a specific speed, chosen the "frame rate" (number of frames per 2d). While viewing, a person's eyes and brain merge the separate pictures to create the illusion of motion.^[45]

Stereoscopic [edit]

Photographs, both monochrome and color, tin be captured and displayed through 2 side-by-side images that emulate human stereoscopic vision. Stereoscopic photography was the starting time that captured figures in movement.^[46] While known colloquially every bit "3-D" photography, the more than accurate term is stereoscopy. Such cameras accept long been realized by using moving-picture show and more recently in digital electronic methods (including cell phone cameras).

Dualphotography [edit]

An example of a dualphoto using a smartphone based app

Dualphotography consists of photographing a scene from both sides of a photographic device at in one case (eastward.g. camera for back-to-dorsum dualphotography, or two networked cameras for portal-plane dualphotography). The dualphoto apparatus can exist used to simultaneously capture both the subject and the photographer, or both sides of a geographical identify at once, thus calculation a supplementary narrative layer to that of a single paradigm.^[47]

Full-spectrum, ultraviolet and infrared [edit]

Ultraviolet and infrared films take been available for many decades and employed in a diverseness of photographic avenues since the 1960s. New technological trends in digital photography take opened a new direction in total spectrum photography, where conscientious filtering choices beyond the ultraviolet, visible and infrared lead to new artistic visions.

Modified digital cameras can detect some ultraviolet, all of the visible and much of the near infrared spectrum, equally most digital imaging sensors are sensitive from about 350 nm to 1000 nm. An off-the-shelf digital camera contains an infrared hot mirror filter that blocks most of the infrared and a bit of the ultraviolet that would otherwise exist detected past the sensor, narrowing the accepted range from virtually 400 nm to 700 nm.^[48]

Replacing a hot mirror or infrared blocking filter with an infrared pass or a wide spectrally transmitting filter allows the camera to notice the wider spectrum calorie-free at greater sensitivity. Without the hot-mirror, the reddish, green and blue (or cyan, xanthous and magenta) colored micro-filters placed over the sensor elements pass varying amounts of ultraviolet (blueish window) and infrared (primarily cherry-red and somewhat lesser the greenish and bluish micro-filters).

Uses of full spectrum photography are for art photography, geology, forensics and police enforcement.

Layering [edit]

Layering is a photographic composition technique that manipulates the foreground, subject or middle-ground, and background layers in a way that they all work together to tell a story through the prototype.^[49] Layers may be incorporated past altering the focal length, distorting the perspective by positioning the camera in a certain spot.^[50] People, move, light and a variety of objects can exist used in layering.^[51]

Light field [edit]

Digital methods of paradigm capture and display processing have enabled the new engineering science of "light field photography" (also known as synthetic aperture photography). This process allows focusing at various depths of field to be selected after the photo has been captured.^[52] As explained by Michael Faraday in 1846, the "light field" is understood as v-dimensional, with each point in iii-D space having attributes of two more angles that ascertain the management of each ray passing through that point.

These additional vector attributes can be captured optically through the use of microlenses at each pixel betoken within the 2-dimensional prototype sensor. Every pixel of the final prototype is actually a choice from each sub-assortment located under each microlens, every bit identified by a post-image capture focus algorithm.

Other [edit]

Besides the camera, other methods of forming images with calorie-free are available. For instance, a photocopy or xerography machine forms permanent images simply uses the transfer of static electrical charges rather than photographic medium, hence the term electrophotography. Photograms are images produced by the shadows of objects cast on the photographic paper, without the utilize of a photographic camera. Objects tin also be placed directly on the glass of an image scanner to produce digital pictures.

Types [edit]

Amateur [edit]

Amateur photographers accept photos for personal use, as a hobby or out of coincidental interest, rather than as a business or task. The quality of amateur work can exist comparable to that of many professionals. Amateurs tin can fill up a gap in subjects or topics that might not otherwise be photographed if they are not commercially useful or salable. Apprentice photography grew during the belatedly 19th century due to the popularization of the hand-held camera.^[53] Twenty-first century social media and near-ubiquitous camera phones have made photographic and video recording pervasive in everyday life. In the mid-2010s smartphone cameras added numerous automated help features like color management, autofocus face up detection and prototype stabilization that significantly decreased skill and effort needed to take high quality images.^[54]

Commercial [edit]

Commercial photography is probably best divers equally any photography for which the photographer is paid for images rather than works of art. In this calorie-free, money could be paid for the discipline of the photo or the photograph itself. Wholesale, retail, and professional uses of photography would fall nether this definition. The commercial photographic earth could include:

Advertising photography: photographs made to illustrate and usually sell a service or product. These images, such as packshots, are generally done with an advertisement agency, design firm or with an in-house corporate blueprint team.
Architectural photography focuses on capturing photographs of buildings and architectural structures that are aesthetically pleasing and accurate in terms of representations of their subjects.
Event photography focuses on photographing guests and occurrences at mostly social events.
Style and glamour photography usually incorporates models and is a form of advertising photography. Style photography, like the piece of work featured in Harper's Bazaar, emphasizes apparel and other products; glamour emphasizes the model and body course. Glamour photography is popular in advertising and men'due south magazines. Models in glamour photography sometimes piece of work nude.
360 product photography displays a serial of photos to give the impression of a rotating object. This technique is usually used by ecommerce websites to help shoppers visualise products.
Concert photography focuses on capturing candid images of both the creative person or band as well as the atmosphere (including the crowd). Many of these photographers work freelance and are contracted through an artist or their management to cover a specific show. Concert photographs are often used to promote the creative person or ring in addition to the venue.
Law-breaking scene photography consists of photographing scenes of crime such as robberies and murders. A black and white camera or an infrared camera may exist used to capture specific details.
Still life photography usually depicts inanimate discipline matter, typically commonplace objects which may exist either natural or human being-made. Still life is a broader category for food and some natural photography and can be used for advertizing purposes.
Real Manor photography focuses on the product of photographs showcasing a belongings that is for sale, such photographs requires the utilise of wide-lens and extensive cognition in High-dynamic-range imaging photography.

Example of a studio-made food photograph.

Nutrient photography can be used for editorial, packaging or advertising use. Nutrient photography is like to still life photography but requires some special skills.
Photojournalism can exist considered a subset of editorial photography. Photographs made in this context are accustomed as a documentation of a news story.
Paparazzi is a grade of photojournalism in which the photographer captures candid images of athletes, celebrities, politicians, and other prominent people.
Portrait and hymeneals photography: photographs made and sold directly to the end user of the images.
Landscape photography depicts locations.
Wildlife photography demonstrates the life of wild animals.

Art [edit]

During the 20th century, both fine fine art photography and documentary photography became accepted by the English-speaking fine art world and the gallery organisation. In the United States, a handful of photographers, including Alfred Stieglitz, Edward Steichen, John Szarkowski, F. Kingdom of the netherlands Day, and Edward Weston, spent their lives advocating for photography as a fine art. At first, fine art photographers tried to imitate painting styles. This movement is called Pictorialism, oftentimes using soft focus for a dreamy, 'romantic' look. In reaction to that, Weston, Ansel Adams, and others formed the Grouping f/64 to advocate 'straight photography', the photo as a (sharply focused) thing in itself and not an false of something else.

The aesthetics of photography is a affair 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, and so photography in the context of art would need redefinition, such as determining what component of a photo makes it cute to the viewer. The controversy began with the earliest images "written with low-cal"; Nicéphore Niépce, Louis Daguerre, and others amidst the very earliest photographers were met with acclaim, only some questioned if their work met the definitions and purposes of fine art.

Clive Bell in his classic essay Art states that simply "meaning grade" can distinguish art from what is not art.

There must exist some i quality without which a work of art cannot exist; possessing which, in the to the lowest degree caste, no piece of work is altogether worthless. What is this quality? What quality is shared by all objects that provoke our aesthetic emotions? What quality is mutual to Sta. Sophia and the windows at Chartres, Mexican sculpture, a Persian bowl, Chinese carpets, Giotto'due south frescoes at Padua, and the masterpieces of Poussin, Piero della Francesca, and Cezanne? Only one answer seems possible – significant course. In each, lines and colors combined in a particular manner, certain forms and relations of forms, stir our artful emotions.^[55]

On vii Feb 2007, Sotheby'south London sold the 2001 photograph 99 Cent II Diptychon for an unprecedented $3,346,456 to an anonymous bidder, making it the most expensive at the time.^[56]

Conceptual photography turns a concept or idea into a photograph. Even though what is depicted in the photographs are real objects, the bailiwick is strictly abstract.

In parallel to this development, the then largely separate interface between painting and photography was airtight in the early 1970s with the piece of work of the photo artists Pierre Cordier (Chimigramm), Chemigram and Josef H. Neumann, Chemogram. In 1974 the chemograms by Josef H. Neumann concluded the separation of the painterly groundwork and the photographic layer by showing the pic elements in a symbiosis that had never existed before, as an unmistakable unique specimen, in a simultaneous painterly and at the aforementioned time real photographic perspective, using lenses, within a photographic layer, united in colors and shapes. This Neumann chemogram from the seventies of the 20th century thus differs from the kickoff of the previously created cameraless chemigrams of a Pierre Cordier and the photogram Man Ray or László Moholy-Nagy of the previous decades. These works of art were almost simultaneous with the invention of photography by various important artists who characterized Hippolyte Bayard, Thomas Wedgwood, William Henry Fox Talbot in their early stages, and afterwards Man Ray and László Moholy-Nagy in the twenties and by the painter in the thirties Edmund Kesting and Christian Schad by draping objects direct onto appropriately sensitized photo paper and using a light source without a camera. ^[57]

Photojournalism [edit]

National Guardsman in Washington D.C. (2021)

Photojournalism is a item form of photography (the collecting, editing, and presenting of news textile for publication or broadcast) that employs images in society to tell a news story. Information technology is now usually understood to refer only to still images, merely in some cases the term too refers to video used in broadcast journalism. Photojournalism is distinguished from other close branches of photography (east.g., documentary photography, social documentary photography, street photography or celebrity photography) by complying with a rigid upstanding framework which demands that the work be both honest and impartial whilst telling the story in strictly journalistic terms. Photojournalists create pictures that contribute to the news media, and assist communities connect with 1 other. Photojournalists must be well informed and knowledgeable most events happening right exterior their door. They deliver news in a creative format that is not only informative, simply likewise entertaining, including sports photography.

Science and forensics [edit]

The camera has a long and distinguished history as a means of recording scientific phenomena from the first utilize by Daguerre and Fob-Talbot, such as astronomical events (eclipses for example), pocket-size creatures and plants when the camera was attached to the eyepiece of microscopes (in photomicroscopy) and for macro photography of larger specimens. The camera besides proved useful in recording criminal offence scenes and the scenes of accidents, such equally the Wootton bridge collapse in 1861. The methods used in analysing photographs for use in legal cases are collectively known as forensic photography. Crime scene photos are taken from three vantage point. The vantage points are overview, mid-range, and close-up.^[58]

In 1845 Francis Ronalds, the Honorary Manager of the Kew Observatory, invented the first successful camera to make continuous recordings of meteorological and geomagnetic parameters. Different machines produced 12- or 24- hour photographic traces of the minute-past-minute variations of atmospheric pressure level, temperature, humidity, atmospheric electricity, and the three components of geomagnetic forces. The cameras were supplied to numerous observatories around the world and some remained in utilise until well into the 20th century.^[59] ^[lx] Charles Brooke a little later developed like instruments for the Greenwich Observatory.^[61]

Science uses image engineering that has derived from the pattern of the Pin Hole camera. Ten-ray machines are similar in design to Pin Pigsty cameras with high-grade filters and laser radiations.^[62] Photography has become universal in recording events and data in science and engineering, and at crime scenes or accident scenes. The method has been much extended past using other wavelengths, such as infrared photography and ultraviolet photography, as well as spectroscopy. Those methods were get-go used in the Victorian era and improved much further since that time.^[63]

The first photographed cantlet was discovered in 2012 by physicists at Griffith University, Australia. They used an electric field to trap an "Ion" of the element, Ytterbium. The epitome was recorded on a CCD, an electronic photographic film.^[64]

Wildlife photography [edit]

Wild animals photography involves capturing images of various forms of wildlife. Unlike other forms of photography such as production or food photography, successful wildlife photography requires a lensman to choose the right identify and right time when specific wildlife are present and active. It oft requires great patience and considerable skill and command of the right photographic equipment.^[65]

Social and cultural implications [edit]

There are many ongoing questions about different aspects of photography. In her On Photography (1977), Susan Sontag dismisses the objectivity of photography. This is a highly debated subject within the photographic community.^[66] Sontag argues, "To photograph is to appropriate the thing photographed. It means putting one's self into a certain relation to the earth that feels like knowledge, and therefore like power."^[67] Photographers decide what to take a photo of, what elements to exclude and what angle to frame the photo, and these factors may reverberate a detail socio-historical context. Along these lines, it tin can be argued that photography is a subjective form of representation.

Modernistic photography has raised a number of concerns on its effect on society. In Alfred Hitchcock's Rear Window (1954), the camera is presented equally promoting voyeurism. 'Although the photographic camera is an observation station, the act of photographing is more than than passive observing'.^[67]

The camera doesn't rape or even possess, though information technology may assume, intrude, trespass, distort, exploit, and, at the uttermost achieve of metaphor, assassinate – all activities that, unlike the sexual button and shove, tin can be conducted from a altitude, and with some disengagement.^[67]

Digital imaging has raised ethical concerns because of the ease of manipulating digital photographs in mail-processing. Many photojournalists take alleged they volition not crop their pictures or are forbidden from combining elements of multiple photos to brand "photomontages", passing them as "real" photographs. Today'due south technology has made prototype editing relatively simple for even the novice photographer. Nevertheless, recent changes of in-photographic camera processing allow digital fingerprinting of photos to discover tampering for purposes of forensic photography.

Photography is one of the new media forms that changes perception and changes the structure of order.^[68] Further unease has been acquired around cameras in regards to desensitization. Fears that agonizing or explicit images are widely accessible to children and guild at big have been raised. Specially, photos of war and pornography are causing a stir. Sontag is concerned that "to photograph is to turn people into objects that can be symbolically possessed". Desensitization discussion goes hand in hand with debates about censored images. Sontag writes of her business that the ability to censor pictures ways the lensman has the power to construct reality.^[67]

One of the practices through which photography constitutes society is tourism. Tourism and photography combine to create a "tourist gaze"^[69] in which local inhabitants are positioned and defined by the camera lens. Even so, it has likewise been argued that at that place exists a "reverse gaze"^[70] through which indigenous photographees can position the tourist photographer as a shallow consumer of images.

Police [edit]

Photography is both restricted and protected past the law in many jurisdictions. Protection of photographs is typically accomplished through the granting of copyright or moral rights to the lensman. In the United states, photography is protected equally a First Amendment right and anyone is gratis to photograph anything seen in public spaces as long equally it is in obviously view.^[71] In the Great britain a recent law (Counter-Terrorism Act 2008) increases the ability of the police to prevent people, even printing photographers, from taking pictures in public places.^[72] In Due south Africa, any person may photograph any other person, without their permission, in public spaces and the but specific restriction placed on what may not be photographed by government is related to anything classed as national security. Each country has different laws.

Meet likewise [edit]

Outline of photography
Science of photography
List of photographers
List of photography awards
Astrophotography
Prototype editing
Imaging
Photolab and minilab
Visual arts

References [edit]

^ Spencer, D A (1973). The Focal Dictionary of Photographic Technologies. Focal Printing. p. 454. ISBN978-0-13-322719-2.
^ φάος Archived 25 May 2013 at the Wayback Machine, Henry George Liddell, Robert Scott, A Greek-English language Lexicon, on Perseus
^ γραφή Archived 25 May 2013 at the Wayback Machine, Henry George Liddell, Robert Scott, A Greek-English language Lexicon, on Perseus
^ Harper, Douglas. "photo". Online Etymology Dictionary.
^ Boris Kossoy (2004). Hercule Florence: El descubrimiento de la fotografía en Brasil. Instituto Nacional de Antropología east Historia. ISBN978-968-03-0020-four. Archived from the original on 28 April 2016. Retrieved 13 December 2015.
^ Boris Kossoy (1980). Hercule Florence: a descoberta isolada da fotografia no Brasil. São Paulo: Duas Cidades. ISBN9788531409448.
^ "Photophys.com: The Science of Photography: Appreciation through Understanding". photophys.com. Archived from the original on 18 January 2017. Retrieved 25 June 2019.
^ Mathur, P, Grand & S (6 March 2014). Developments and Changes in Scientific discipline Based Technologies. Partridge Publishing. p. 50. ISBN9781482813982 . Retrieved 25 June 2019.
^ ^a ^b Eder, J.Grand. (1945) [1932]. History of Photography, 4th. edition [Geschichte der Photographie]. New York: Dover Publications, Inc. pp. 258–59. ISBN978-0-486-23586-viii.
^ "Sir John Frederick William Herschel (British, 1792–1871) (Getty Museum)". The J. Paul Getty in Los Angeles. Archived from the original on one Oct 2018. Retrieved 20 June 2019.
^ Campbell, Jan (2005) Picture and picture palace spectatorship: melodrama and mimesis Archived 29 April 2016 at the Wayback Automobile. Polity. p. 114. ISBN 0-7456-2930-X
^ ^a ^b Krebs, Robert E. (2004). Groundbreaking Scientific Experiments, Inventions, and Discoveries of the Middle Ages and the Renaissance. Greenwood Publishing Group. p. xx. ISBN978-0-313-32433-8.
^ Crombie, Alistair Cameron (1990) Science, optics, and music in medieval and early modern idea. A&C Blackness. p. 205. ISBN 978-0-907628-79-8
^ Wade, Nicholas J.; Finger, Stanley (2001). "The eye as an optical instrument: from photographic camera obscura to Helmholtz's perspective". Perception. 30 (10): 1157–77. doi:10.1068/p3210. PMID 11721819. S2CID 8185797.
^ ^a ^b Plott, John C. (1984). Global History of Philosophy: The Flow of scholasticism (part i). p. 460. ISBN978-0-89581-678-8. According to Nazir Ahmed if only Ibn-Haitham'due south fellow-workers and students had been as alert as he, they might even take invented the art of photography since al-Haitham's experiments with convex and concave mirrors and his invention of the "pinhole camera" whereby the inverted image of a candle-flame is projected were among his many successes in experimentation. 1 might likewise almost claim that he had anticipated much that the nineteenth century Fechner did in experimentation with after-images.
^ ^a ^b Belbachir, Ahmed Nabil (2009). Smart Cameras. Springer Science & Business concern Media. ISBN978-1-4419-0953-4. The invention of the photographic camera tin exist traced back to the 10th century when the Arab scientist Al-Hasan Ibn al-Haytham alias Alhacen provided the start clear description and correct analysis of the (man) vision procedure. Although the effects of single calorie-free passing through the pinhole have already been described by the Chinese Mozi (Lat. Micius) (5th century B), the Greek Aristotle (quaternary century BC), and the Arab
^ Wade, Nicholas J.; Finger, Stanley (2001), "The heart as an optical musical instrument: from camera obscura to Helmholtz'due south perspective", Perception, 30 (ten): 1157–1177, doi:10.1068/p3210, PMID 11721819, S2CID 8185797, The principles of the camera obscura first began to exist correctly analysed in the eleventh century, when they were outlined by Ibn al-Haytham.
^ Needham, Joseph. Science and Civilization in China, vol. IV, role i: Physics and Physical Technology (PDF). p. 98. Archived from the original (PDF) on 3 July 2017. Retrieved 5 September 2016. Alhazen used the camera obscura particularly for observing solar eclipses, as indeed Aristotle is said to have done, and it seems that, like Shen Kua, he had predecessors in its study, since he did not claim it as any new finding of his own. But his treatment of it was competently geometrical and quantitative for the showtime time.
^ "Who Invented Camera Obscura?". Photography History Facts. All these scientists experimented with a small hole and light only none of them suggested that a screen is used then an image from ane side of a hole in surface could be projected at the screen on the other. Kickoff one to do and then was Alhazen (likewise known as Ibn al-Haytham) in 11th century.
^ Needham, Joseph. Science and Civilization in Red china, vol. IV, part 1: Physics and Physical Technology (PDF). p. 99. Archived from the original (PDF) on three July 2017. Retrieved v September 2016. The genius of Shen Kua'due south insight into the relation of focal point and pinhole tin can better be appreciated when we read in Singer that this was first understood in Europe by Leonardo da Vinci (+ 1452 to + 1519), well-nigh five hundred years later. A diagram showing the relation occurs in the Codice Atlantico, Leonardo thought that the lens of the heart reversed the pinhole issue, so that the epitome did not appear inverted on the retina; though in fact it does. Actually, the analogy of focal-point and pin-signal must take been understood by Ibn al-Haitham, who died just about the time when Shen Kua was built-in.
^ Davidson, Michael W (13 November 2015). "Albertus Magnus". Molecular Expressions: Science, Optics and You. National High Magnetic Field Laboratory at The Florida State University. Archived from the original on 22 Dec 2015.
^ Potonniée, Georges (1973). The history of the discovery of photography. Arno Press. p. l. ISBN 0-405-04929-three
^ Allen, Nicholas P.50. (1994). "A reappraisal of late thirteenth-century responses to the Shroud of Lirey-Chambéry-Turin: encolpia of the Eucharist, vera eikon or supreme relic?". The Southern African Journal of Medieval and Renaissance Studies. 4 (one): 62–94.
^ Allen, Nicholas P.L. "Verification of the Nature and Causes of the Photograph-negative Images on the Shroud of Lirey-Chambéry-Turin". unisa.air-conditioning.za
^ ^a ^b Gernsheim, Helmut (1986). A concise history of photography Archived 29 April 2016 at the Wayback Machine. Courier Dover Publications. pp. 3–iv. ISBN 0-486-25128-four
^ Gernsheim, Helmut and Gernsheim, Alison (1955) The history of photography from the earliest apply of the camera obscura in the eleventh century up to 1914. Oxford University Press. p. 20.
^ Litchfield, R. 1903. "Tom Wedgwood, the First Photographer: An Account of His Life." London, Duckworth and Co. Run into Chapter Thirteen. Includes the complete text of Humphry Davy's 1802 paper, which is the only known contemporary record of Wedgwood's experiments. (Retrieved seven May 2013 via archive.org Archived 7 Oct 2015 at the Wayback Auto).
^ ^a ^b "The Kickoff Photo – Heliography". Archived from the original on 6 October 2009. Retrieved 29 September 2009. from Helmut Gernsheim's commodity, "The 150th Anniversary of Photography," in History of Photography, Vol. I, No. ane, January 1977: ...In 1822, Niépce coated a glass plate... The sunlight passing through... This first permanent example... was destroyed... some years later.
^ Hirsch, Robert (1999). Seizing the light: a history of photography. McGraw-Hill. ISBN978-0-697-14361-seven. Archived from the original on 29 April 2016. Retrieved 13 December 2015.
^ William Henry Fox Talbot (1800–1877) Archived 3 October 2010 at the Wayback Car. BBC
^ Feldman, Anthony and Ford, Peter (1989) Scientists & inventors. Bloomsbury Books, p. 128, ISBN 1-870630-23-eight.
^ Fox Talbot, William Henry and Jammes, André (1973) William H. Fox Talbot, inventor of the negative-positive process, Macmillan, p. 95.
^ "Hippolyte Bayard (French, 1801–1887) (Getty Museum)". Archived from the original on 24 October 2013. Retrieved 21 April 2019.
^ Paulson Gage, Joan (five Baronial 2013). "Icons of Cruelty". The New York Times.
^ History of Kodak, Milestones-chronology: 1878–1929 Archived 10 Feb 2012 at the Wayback Motorcar. kodak.com
^ Peres, Michael R. (2008). The Concise Focal Encyclopedia of Photography: from the first photo on paper to the digital revolution. Burlington, MA: Focal Press/Elsevier. p. 75. ISBN978-0-240-80998-4.
^ "H&D curve of movie vs digital" (Forum Discussion). Digital Photography Review. nineteen April 2004. Archived from the original on 23 September 2015.
^ Jacobson, Ralph Eastward. (2000). The Focal Manual of Photography: photographic and digital imaging (ninth ed.). Boston, MA: Focal Printing. ISBN978-0-240-51574-8.
^ "Black & White Photography". PSA Periodical. 77 (12): 38–40. 2011.
^ ^a ^b "1861: James Clerk Maxwell'due south greatest year". King's Higher London. 3 January 2017. Archived from the original on 4 January 2017. Retrieved 3 Jan 2017.
^ ^a ^b "From Charles Mackintosh's waterproof to Dolly the sheep: 43 innovations Scotland has given the earth". The independent. 2 January 2016. Archived from the original on two October 2017. Retrieved 2 Dec 2017.
^ "Enquiry & Development". fujifilm.com . Retrieved thirteen January 2022. {{cite web}}: CS1 maint: url-condition (link)
^ Schewe, Jeff (2012). The Digital Negative: Raw Prototype Processing In Lightroom, Camera Raw, and Photoshop. Berkeley, CA: Peachpit Printing, ISBN 0-321-83957-ix, p. 72
^ "Glossary: Digital Photography Review". Dpreview.com. Archived from the original on 18 January 2013. Retrieved 24 June 2013.
^ Anderson, Joseph; Anderson, Barbara (Leap 1993). "The Myth of Persistence of Vision Revisited". Journal of Flick and Video. 45 (1): 3–12. Archived from the original on 24 Nov 2009.
^ Belisle, Brooke (2013). "The Dimensional Image: Overlaps In Stereoscopic, Cinematic, And Digital Depth". Picture show Criticism. 37/38 (3/1): 117–37.
^ Zand, Tristan (viii April 2017). "An introduction to Dualphotography". Dual.Photo. Medium.com. Archived from the original on 16 Apr 2017. Retrieved 15 April 2017.
^ Twede, David. Introduction to Full-Spectrum and Infrared photography. surrealcolor.110mb.com
^ Lackey, Tamara (12 May 2016). "Incorporating Layering Composition Into Your Photography". 42 Westward. Archived from the original on 14 September 2021. Retrieved xiv September 2021.
^ Goldby, Dylan (20 January 2019). "Using layers to heighten your photography". Fujilove Magazine . Retrieved 14 September 2021.
^ "How to apply layering in photography for exceptional photos". Parker Photographic. one December 2020. Retrieved 14 September 2021.
^ Ng, Ren (July 2006) Digital Light Field Photography. PhD Thesis, Stanford University
^ Peterson, C.A. (2011). "Home Portraiture". History of Photography. 35 (four): 374–87. doi:10.1080/03087298.2011.606727. S2CID 216590139.
^ Oloruntimilehin, Israel (17 September 2018). "How To Have Good Pictures With Your Phone". List Dorm. Archived from the original on 16 October 2018.
^ Clive Bong. "Art Archived 3 August 2004 at the Wayback Motorcar", 1914. Retrieved 2 September 2006.
^ Schonauer, David (7 March 2007). "The first $3M photograph". PopPhoto. Archived from the original on 18 March 2007.
^ Hannes Schmidt: Comments on the chemograms by Josef H. Neumann. Exhibition in the "Fotografik Studio Galerie von Prof. Pan Walther". in: Photograph-Presse. Heft 22, 1976, S. 6.
^ Rohde, R.R. (2000). Criminal offense Photography. PSA Journal, 66(3), 15.
^ Ronalds, B.F. (2016). Sir Francis Ronalds: Father of the Electrical Telegraph. London: Imperial College Press. ISBN978-1-78326-917-4.
^ Ronalds, B.F. (2016). "The Beginnings of Continuous Scientific Recording using Photography: Sir Francis Ronalds' Contribution". European Order for the History of Photography. Archived from the original on xiii June 2016. Retrieved 2 June 2016.
^ Brooke (1853). "Photographic self-registering magnetic and meteorological apparatus: Invented by Mr. Brooke of Keppel-Street, London". The Illustrated Magazine of Fine art. 1 (five): 308–11. doi:10.2307/20537989. JSTOR 20537989. Archived from the original on 29 April 2016. Retrieved 13 Dec 2015.
^ Upadhyay, J.; Chakera, J.A.; Navathe, C.P.; Naik, P.A.; Joshi, A.Due south.; Gupta, P.D. (2006). "Evolution of single frame X-ray framing photographic camera for pulsed plasma experiments". Sādhanā. 31 (5): 613. CiteSeerX10.ane.1.570.172. doi:ten.1007/BF02715917. S2CID 123558773.
^ Blitzer, Herbert 50.; Stein-Ferguson, Karen; Huang, Jeffrey (2008). Understanding forensic digital imaging. Academic Press. pp. 8–9. ISBN978-0-12-370451-1. Archived from the original on 29 April 2016. Retrieved thirteen December 2015.
^ Glenday, Craig (2013). Guinness Globe Records 2014. p. 192. ISBN978-i-908843-15-9.
^ "Wild fauna photography". BBC . Retrieved 14 June 2020.
^ Bissell, K.L. (2000). "A Return to 'Mr. Gates': Photography and Objectivity". Newspaper Research Periodical. 21 (3): 81–93. doi:10.1177/073953290002100307. S2CID 140920402.
^ ^a ^b ^c ^d Sontag, S. (1977) On Photography, Penguin, London, pp. iii–24, ISBN 0-312-42009-9.
^ Levinson, P. (1997) The Soft Edge: a Natural History and Futurity of the Data Revolution, Routledge, London and New York, pp. 37–48, ISBN 0-415-15785-4.
^ Urry, John (2002). The tourist gaze (2nd ed.). London: Sage. ISBN978-0-7619-7347-viii.
^ Gillespie, Alex. "Tourist Photography and the Contrary Gaze".
^ "You Have Every Right to Photograph That Cop". American Civil Liberties Wedlock. Archived from the original on 25 February 2016. Retrieved 18 February 2016.
^ "Jail for photographing police?". British Journal of Photography. 28 Jan 2009. Archived from the original on 27 March 2010.

External links [edit]

Globe History of Photography From The History of Art.
Daguerreotype to Digital: A Brief History of the Photographic Process From the Country Library & Archives of Florida.