-
1 Steinheil, Carl August von
[br]b. 1801 Roppoltsweiler, Alsaced. 1870 Munich, Germany[br]German physicist, founder of electromagnetic telegraphy in Austria, and photographic innovator and lens designer.[br]Steinheil studied under Gauss at Göttingen and Bessel at Königsberg before jointing his parents at Munich. There he concentrated on optics before being appointed Professor of Physics and Mathematics at the University of Munich in 1832. Immediately after the announcement of the first practicable photographic processes in 1839, he began experiments on photography in association with another professor at the University, Franz von Kobell. Steinheil is reputed to have made the first daguerreotypes in Germany; he certainly constructed several cameras of original design and suggested minor improvements to the daguerreotype process. In 1849 he was employed by the Austrian Government as Head of the Department of Telegraphy in the Ministry of Commerce. Electromagnetic telegraphy was an area in which Steinheil had worked for several years previously, and he was now appointed to supervise the installation of a working telegraphic system for the Austrian monarchy. He is considered to be the founder of electromagnetic telegraphy in Austria and went on to perform a similar role in Switzerland.Steinheil's son, Hugo Adolph, was educated in Munich and Augsburg but moved to Austria to be with his parents in 1850. Adolph completed his studies in Vienna and was appointed to the Telegraph Department, headed by his father, in 1851. Adolph returned to Munich in 1852, however, to concentrate on the study of optics. In 1855 the father and son established the optical workshop which was later to become the distinguished lens-manufacturing company C.A. Steinheil Söhne. At first the business confined itself almost entirely to astronomical optics, but in 1865 the two men took out a joint patent for a wide-angle photographic lens claimed to be free of distortion. The lens, called the "periscopic", was not in fact free from flare and not achromatic, although it enjoyed some reputation at the time. Much more important was the achromatic development of this lens that was introduced in 1866 and called the "Aplanet"; almost simultaneously a similar lens, the "Rapid Rentilinear", was introduced by Dallmeyer in England, and for many years lenses of this type were fitted as the standard objective on most photographic cameras. During 1866 the elder Steinheil relinquished his interest in lens manufacturing, and control of the business passed to Adolph, with administrative and financial affairs being looked after by another son, Edward. After Carl Steinheil's death Adolph continued to design and market a series of high-quality photographic lenses until his own death.[br]Further ReadingJ.M.Eder, 1945, History of Photography, trans. E.Epstean, New York (a general account of the Steinheils's work).Most accounts of photographic lens history will give details of the Steinheils's more important work. See, for example, Chapman Jones, 1904, Science and Practice of Photography, 4th edn, London: and Rudolf Kingslake, 1989, A History of the Photographic Lens, Boston.JWBiographical history of technology > Steinheil, Carl August von
-
2 Petzval, Josef Max
SUBJECT AREA: Photography, film and optics[br]b. 1807 Spisska-Beila, Hungaryd. 17 September 1891 Vienna, Austria[br]Hungarian mathematician and photographic-lens designer, inventor of the first "rapid" portrait lens.[br]Although born in Hungary, Petzval was the son of German schoolteacher. He studied engineering at the University of Budapest and after graduation was appointed to the staff as a lecturer. In 1835 he became the University's Professor of Higher Mathematics. Within a year he was offered a similar position at the more prestigious University of Vienna, a chair he was to occupy until 1884.The earliest photographic cameras were fitted with lenses originally designed for other optical instruments. All were characterized by small apertures, and the long exposures required by the early process were in part due to the "slow" lenses. As early as 1839, Petzval began calculations with the idea of producing a fast achromatic objective for photographic work. For technical advice he turned to the Viennese optician Peter Voigtländer, who went on to make the first Petzval portrait lens in 1840. It had a short focal length but an extremely large aperture for the day, enabling exposure times to be reduced to at least one tenth of that required with other contemporary lenses. The Petzval portrait lens was to become the basic design for years to come and was probably the single most important development in making portrait photography possible; by capturing public imagination, portrait photography was to drive photographic innovation during the early years.Petzval later fell out with Voigtländer and severed his connection with the company in 1845. When Petzval was encouraged to design a landscape lens in the 1850s, the work was entrusted to another Viennese optician, Dietzler. Using some early calculations by Petzval, Voigtländer was able to produce a similar lens, which he marketed in competition, and an acrimonious dispute ensued. Petzval, embittered by the quarrel and depressed by a burglary which destroyed years of records of his optical work, abandoned optics completely in 1862 and devoted himself to acoustics. He retired from his professorship on his seventieth birthday, respected by his colleagues but unloved, and lived the life of a recluse until his death.[br]Principal Honours and DistinctionsMember of the Hungarian Academy of Science 1873.Further ReadingJ.M.Eder, 1945, History of Photography, trans. E. Epstean, New York (provides details of Petzval's life and work; Eder claims he was introduced to Petzval by mutual friends and succeeded in obtaining personal data).Rudolf Kingslake, 1989, A History of the Photographic Lens, Boston (brief biographical details).L.W.Sipley, 1965, Photography's Great Inventors, Philadelphia (brief biographical details).JW -
3 Ross, Andrew
SUBJECT AREA: Photography, film and optics[br]b. 1798 London, England d. 1859[br]English optical-instrument maker, founder of a photographic-lens making dynasty.[br]Apprenticed to the optical-instrument maker Gilbert at the age of 14, Ross rose to become Manager of the factory before leaving to found his own business in 1830. He soon earned a reputation for fine craftsmanship and was the first optician in England to produce achromatic microscope objectives. He had an early involvement with photography, perhaps before the public announcements in 1839, for he supplied lenses and instruments to Talbot. On hearing of Petzval's portrait lens, he made a highaperture portrait lens to his own design for the first professional calotypist, Henry Collan. It was unsuccessful, however, and Ross did little more photographic work of note, although his son Thomas and his son-in-law and one-time apprentice, John Henry Dallmeyer, made significant contributions to English photographic optics. Both Thomas and Dallmeyer were left large sums of money on Andrew's death, and independently they established successful businesses; they were to become the two most important suppliers of photographic lenses in England.[br]Further ReadingRudolf Kingslake, 1989, A History of the Photographic Lens, Boston (a brief biography of Ross).J.M.Eder, 1945, History of Photography, trans. E.Epstean, New York.H.J.P.Arnold, 1977, William Henry Fox Talbot, London.JW -
4 Chrétien, Henri Jacques
SUBJECT AREA: Photography, film and optics[br]b. 1879 Paris, Franced. 7 February 1956 Washington, USA[br]French astrophysicist, inventor of the anamorphoser, which became the basis of the Cinemascope motion picture system.[br]Chrétien studied science, and after obtaining his bachelors degree he started his working life at Meudon Observatory. He married in 1910, the same year as he was appointed Head of Astrophysics at Nice. In 1917 he helped to found the Institut d'Optique in Paris. Chrétien became Professor of astrophysics at the Sorbonne and in 1927, as part of his work on optical systems, demonstrated the use of an anamorphic lens for wide-screen motion pictures. Although the system was demonstrated in Washington as early as 1928 and again at the Paris International Exposition of 1937, it was not until 1952 that Twentieth-Century Fox were able to complete purchase of the patents which became the basis of their Cinemascope system. Cinemascope was one of the most successful technical innovations introduced by film studios in the early 1950s as part of their attempts to combat competition from television. The first Cinemascope epic, The Robe, shown in 1953, was an outstanding commercial success, and a series of similarly spectacular productions followed.[br]Further ReadingObituary, 1956, Journal of the Society of Motion Picture and Television Engineers 65:110.R.Kingslake, 1989, A History of the Photographic Lens, Boston (biographical information and technical details of the anamorphic lens).JWBiographical history of technology > Chrétien, Henri Jacques
-
5 Waterhouse, Major-General James
SUBJECT AREA: Photography, film and optics[br]b. 1841d. 28 September 1922[br]English military man and photographer.[br]Waterhouse spent most of his career in the Indian Army. In 1861–2 he was commissioned to photograph the tribes of central India, and over the next few years visited many parts of the subcontinent. In November 1866, after working for five months in the Great Trigonometrical Survey learning the process of photozincography (an early photomechanical process used chiefly for map making), he took charge of photographic operations at the Surveyor-General's office in Calcutta, a post he held until retiring in 1897. During this time he developed many improvements in the photomechanical methods used for reproduction in his office. He also experimented with methods of colour-sensitizing photographic materials, experimenting with eosine dye and publishing in 1875 the fact that this made silver halide salts sensitive to yellow light. He also discovered that gelatine dry plates could be made sensitive to red and infra-red illumination by treatment with alizarine blue solution.He continued his researches upon his retirement and return to England in 1897, and made a special study of the early history of the photographic process. His work on dye sensitizing brought him the Progress Medal of the Royal Photographic Society, and the Vienna Photographic Society awarded him the Voigtländer Medal for researches in scientific photography. One invention often erroneously attributed to him is the Waterhouse stop, the use of a series of perforated plates as a means of adjusting the aperture of a photographic lens. This was described in 1858 by a John Waterhouse, being his only contribution to photography.BCBiographical history of technology > Waterhouse, Major-General James
-
6 Voigtländer, Peter Wilhelm Friedrich
SUBJECT AREA: Photography, film and optics[br]b. 1812 Vienna, Austria d. 1878[br]Austrian manufacturer of the first purpose-designed photographic objective; key member of a dynasty of optical instrument makers.[br]Educated at the Polytechnic Institute in Vienna, Voigtländer travelled widely before taking over the family business in 1837. The business had been founded by Voigtländer's grandfather in 1756, and was continued by his father, Johann Friedrich, the inventor of the opera glass, and by the 1830s enjoyed one of the highest reputations in Europe. When Petzval made the calculations for the first purpose-designed photographic objective in 1840, it was inevitable that he should go to Peter Voigtländer for advice. The business went on to manufacture Petzval's lens, which was also fitted to an all-metal camera of totally original design by Voigtländer.The Petzval lens was an extraordinary commercial success and Voigtländer sold specimens all over the world. Unfortunately Petzval had no formal agreement with Voigtländer and made little financial gain from his design, a fact which was to lead to dispute and separation; the Voigtländer concern continued to prosper, however. To meet the increasing demand for his products, Peter Voigtländer built a new factory in Brunswick and closed the business in Vienna. The closure is seen by at least one commentator as the death blow to Vienna's optical industry, a field in which it was once preeminent. The Voigtländer dynasty continued long after Peter's death and the name enjoyed a reputation for high-quality photographic equipment well into the twentieth century.[br]Principal Honours and DistinctionsHereditary Peerage bestowed by the Emperor of Austria 1868.Further ReadingL.W.Sipley, 1965, Photography's Great Inventors, Philadelphia (a brief biography). J.M.Eder, 1945, History of Photography, trans. E.Epstean, New York.JWBiographical history of technology > Voigtländer, Peter Wilhelm Friedrich
-
7 Lumière, Auguste
SUBJECT AREA: Photography, film and optics[br]b. 19 October 1862 Besançon, Franced. 10 April 1954 Lyon, France[br]French scientist and inventor.[br]Auguste and his brother Louis Lumière (b. 5 October 1864 Besançon, France; d. 6 June 1948 Bandol, France) developed the photographic plate-making business founded by their father, Charles Antoine Lumière, at Lyons, extending production to roll-film manufacture in 1887. In the summer of 1894 their father brought to the factory a piece of Edison kinetoscope film, and said that they should produce films for the French owners of the new moving-picture machine. To do this, of course, a camera was needed; Louis was chiefly responsible for the design, which used an intermittent claw for driving the film, inspired by a sewing-machine mechanism. The machine was patented on 13 February 1895, and it was shown on 22 March 1895 at the Société d'Encouragement pour l'In-dustrie Nationale in Paris, with a projected film showing workers leaving the Lyons factory. Further demonstrations followed at the Sorbonne, and in Lyons during the Congrès des Sociétés de Photographie in June 1895. The Lumières filmed the delegates returning from an excursion, and showed the film to the Congrès the next day. To bring the Cinématographe, as it was called, to the public, the basement of the Grand Café in the Boulevard des Capuchines in Paris was rented, and on Saturday 28 December 1895 the first regular presentations of projected pictures to a paying public took place. The half-hour shows were an immediate success, and in a few months Lumière Cinématographes were seen throughout the world.The other principal area of achievement by the Lumière brothers was colour photography. They took up Lippman's method of interference colour photography, developing special grainless emulsions, and early in 1893 demonstrated their results by lighting them with an arc lamp and projecting them on to a screen. In 1895 they patented a method of subtractive colour photography involving printing the colour separations on bichromated gelatine glue sheets, which were then dyed and assembled in register, on paper for prints or bound between glass for transparencies. Their most successful colour process was based upon the colour-mosaic principle. In 1904 they described a process in which microscopic grains of potato starch, dyed red, green and blue, were scattered on a freshly varnished glass plate. When dried the mosaic was coated with varnish and then with a panchromatic emulsion. The plate was exposed with the mosaic towards the lens, and after reversal processing a colour transparency was produced. The process was launched commercially in 1907 under the name Autochrome; it was the first fully practical single-plate colour process to reach the public, remaining on the market until the 1930s, when it was followed by a film version using the same principle.Auguste and Louis received the Progress Medal of the Royal Photographic Society in 1909 for their work in colour photography. Auguste was also much involved in biological science and, having founded the Clinique Auguste Lumière, spent many of his later years working in the physiological laboratory.[br]Further ReadingGuy Borgé, 1980, Prestige de la photographie, Nos. 8, 9 and 10, Paris. Brian Coe, 1978, Colour Photography: The First Hundred Years, London ——1981, The History of Movie Photography, London.Jacques Deslandes, 1966, Histoire comparée du cinéma, Vol. I, Paris. Gert Koshofer, 1981, Farbfotografie, Vol. I, Munich.BC -
8 Zeiss, Carl
SUBJECT AREA: Photography, film and optics[br]b. 11 September 1816 Weimar, Thuringia, Germanyd. 3 December 1888 Jena, Saxony, Germany[br]German lens manufacturer who introduced scientific method to the production of compound microscopes and made possible the production of the first anastigmatic photographic objectives.[br]After completing his early education in Weimar, Zeiss became an apprentice to the engineer Dr Frederick Koerner. As part of his training, Zeiss was required to travel widely and he visited Vienna, Berlin, Stuttgart and Darmstadt to study his trade. In 1846 he set up a business of his own, an optical workshop in Jena, where he began manufacturing magnifying glasses and microscopes. Much of his work was naturally for the university there and he had the co-operation of some of the University staff in the development of precision instruments. By 1858 he was seeking to make more expensive compound microscopes, but he found the current techniques primitive and laborious. He decided that it was necessary to introduce scientific method to the design of the optics, and in 1866 he sought the advice of a professor of physics at the University of Jena, Ernst Abbe (1840–1905). It took Zeiss until 1869 to persuade Abbe to join his company, and two difficult years were spent working on the calculations before success was achieved. Within a few more years the Zeiss microscope had earned a worldwide reputation for quality. Abbe became a full partner in the Zeiss business in 1875. In 1880 Abbe began an association with Friedrich Otte Schott that was to lead to the establishment of the famous Jena glass works in 1884. With the support of the German government, Jena was to become the centre of world production of new optical glasses for photographic objectives.In 1886 the distinguished mathematician and optician Paul Rudolph joined Zeiss at Jena. After Zeiss's death, Rudolph went on to use the characteristics of the new glass to calculate the first anastigmatic lenses. Immediately successful and widely imitated, the anastigmats were also the first of a long series of Zeiss photographic objectives that were to be at the forefront of lens design for years to come. Abbe took over the management of the company and developed it into an internationally famous organization.[br]Further ReadingL.W.Sipley, 1965, Photography's Great Inventors, Philadelphia (a brief biography). J.M.Eder, 1945, History of Photography, trans. E.Epstean, New York.K.J.Hume, 1980, A History of Engineering Metrology, London, 122–32 (includes a short account of Carl Zeiss and his company).JW / RTS -
9 Chevalier, Charles-Louis
SUBJECT AREA: Photography, film and optics[br]b. 18 April 1804 Franced. 21 November 1859 Paris, France[br]French instrument maker and optician.[br]The son of a distinguished Parisian instrument maker, Charles Chevalier supplied equipment to all the major photographic pioneers of the period. He sold a camera obscura to Niepce de St Victor as early as 1826 and was largely responsible for bringing Niepce de St Victor and Daguerre together. Chevalier was one of the first opticians to design lenses specifically for photographic use; the first photographic camera to be offered for sale to the public, the Giroux daguerreotype camera of 1839, was in fact fitted with a Chevalier achromatic lens. Chevalier also supplied lenses, equipment and examples of daguerreotypes to Talbot in England. In 1841 Chevalier was awarded first prize in a competition for the improvement of photographic lenses, sponsored by the Société d'Encouragement of Paris. Contemporary opinion, however, favoured the runner-up, the Petzval Portrait lens by Voigtländer of Vienna, and Chevalier subsequently became embroiled in an acrimonious dispute which did him little credit. It did not stop him designing lenses, and he went on to become an extremely successful supplier of quality daguerreotype equipment. He was a founder member of the Société Héliographique in 1851.[br]Further ReadingPavillon de Photographie du Parc Naturel Régional de Brotonne, 1974, Charles-Louis Chevalier (an authoritative account of Chevalier's life and work).H.Gernsheim and A.Gernsheim, 1969, The History of Photography, rev. edn, London.JWBiographical history of technology > Chevalier, Charles-Louis
-
10 Ives, Frederic Eugene
SUBJECT AREA: Photography, film and optics[br]b. 17 February 1856 Litchfield, Connecticut, USAd. 27 May 1937 Philadelphia, Pennsylvania, USA[br]American printer who pioneered the development of photomechanical and colour photographic processes.[br]Ives trained as a printer in Ithaca, New York, and became official photographer at Cornell University at the age of 18. His research into photomechanical processes led in 1886 to methods of making halftone reproduction of photographs using crossline screens. In 1881 he was the first to make a three-colour print from relief halftone blocks. He made significant contributions to the early development of colour photography, and from 1888 he published and marketed a number of systems for the production of additive colour photographs. He designed a beam-splitting camera in which a single lens exposed three negatives through red, green and blue filters. Black and white transparencies from these negatives were viewed in a device fitted with internal reflectors and filters, which combined the three colour separations into one full-colour image. This device was marketed in 1895 under the name Kromskop; sets of Kromograms were available commercially, and special cameras, or adaptors for conventional cameras, were available for photographers who wished to take their own colour pictures. A Lantern Kromskop was available for the projection of Kromskop pictures. Ives's system enjoyed a few years of commercial success before simpler methods of making colour photographs rendered it obsolete. Ives continued research into colour photography; his later achievements included the design, in 1915, of the Hicro process, in which a simple camera produced sets of separation negatives that could be printed as dyed transparencies in complementary colours and assembled in register on paper to produce colour prints. Later, in 1932, he introduced Polychrome, a simpler, two-colour process in which a bipack of two thin negative plates or films could be exposed in conventional cameras. Ives's interest extended into other fields, notably stereoscopy. He developed a successful parallax stereogram process in 1903, in which a three-dimensional image could be seen directly, without the use of viewing devices. In his lifetime he received many honours, and was a recipient of the Royal Photographic Society's Progress Medal in 1903 for his work in colour photography.[br]Further ReadingB.Coe, 1978, Colour Photography: The First Hundred Years, London J.S.Friedman, 1944, History of Colour Photography, Boston. G.Koshofer, 1981, Farbfotografie, Vol. I, Munich.E.J.Wall, 1925, The History of Three-Colour Photography, Boston.BC -
11 Lippman, Gabriel
SUBJECT AREA: Photography, film and optics[br]b. 16 August 1845 Hallerick, Luxembourgd. 14 July 1921 at sea, in the North Atlantic[br]French physicist who developed interference colour photography.[br]Born of French parents, Lippman's work began with a distinguished career in classics, philosophy, mathematics and physics at the Ecole Normale in Luxembourg. After further studies in physics at Heidelberg University, he returned to France and the Sorbonne, where he was in 1886 appointed Director of Physics. He was a leading pioneer in France of research into electricity, optics, heat and other branches of physics.In 1886 he conceived the idea of recording the existence of standing waves in light when it is reflected back on itself, by photographing the colours so produced. This required the production of a photographic emulsion that was effectively grainless: the individual silver halide crystals had to be smaller than the shortest wavelength of light to be recorded. Lippman succeeded in this and in 1891 demonstrated his process. A glass plate was coated with a grainless emulsion and held in a special plate-holder, glass towards the lens. The back of the holder was filled with mercury, which provided a perfect reflector when in contact with the emulsion. The standing waves produced during the exposure formed laminae in the emulsion, with the number of laminae being determined by the wavelength of the incoming light at each point on the image. When the processed plate was viewed under the correct lighting conditions, a theoretically exact reproduction of the colours of the original subject could be seen. However, the Lippman process remained a beautiful scientific demonstration only, since the ultra-fine-grain emulsion was very slow, requiring exposure times of over 10,000 times that of conventional negative material. Any method of increasing the speed of the emulsion also increased the grain size and destroyed the conditions required for the process to work.[br]Principal Honours and DistinctionsRoyal Photographic Society Progress Medal 1897. Nobel Prize (for his work in interference colour photography) 1908.Further ReadingJ.S.Friedman, 1944, History of Colour Photography, Boston.Brian Coe, 1978, Colour Photography: The First Hundred Years, London. Gert Koshofer, 1981, Farbfotografie, Vol. I, Munich.BC -
12 Taylor, William
[br]b. 11 June 1865 London, Englandd. 28 February 1937 Laughton, Leicestershire, England[br]English mechanical engineer and metrologist, originator of standard screw threads for lens mountings and inventor of "Dimple" golf balls.[br]William Taylor served an apprenticeship from 1880 to 1885 in London with Paterson and Cooper, electrical engineers and instrument makers. He studied at the Finsbury Technical College under Professors W.E.Ayrton (1847–1908) and John Perry (1850–1920). He remained with Paterson and Cooper until 1887, when he joined his elder brother, who had set up in Leicester as a manufacturer of optical instruments. The firm was then styled T.S. \& W.Taylor and a few months later, when H.W.Hobson joined them as a partner, it became Taylor, Taylor and Hobson, as it was known for many years.William Taylor was mainly responsible for technical developments in the firm and he designed the special machine tools required for making lenses and their mountings. However, his most notable work was in originating methods of measuring and gauging screw threads. He proposed a standard screw-thread for lens mountings that was adopted by the Royal Photographic Society, and he served on screw thread committees of the British Standards Institution and the British Association. His interest in golf led him to study the flight of the golf ball, and he designed and patented the "Dimple" golf ball and a mechanical driving machine for testing golf balls.He was an active member of the Institution of Mechanical Engineers, being elected Associate Member in 1894, Member in 1901 and Honorary Life Member in 1936. He served on the Council from 1918 and was President in 1932. He took a keen interest in engineering education and advocated the scientific study of materials, processes and machine tools, and of management. His death occurred suddenly while he was helping to rescue his son's car from a snowdrift.[br]Principal Honours and DistinctionsOBE 1918. FRS 1934. President, Institution of Mechanical Engineers 1932.Further ReadingK.J.Hume, 1980, A History of Engineering Metrology, London, 110–21 (a short account of William Taylor and of Taylor, Taylor and Hobson).RTS -
13 Dancer, John Benjamin
SUBJECT AREA: Photography, film and optics[br]b. 1812 Englandd. 1887 England[br]English instrument maker and photographer, pioneer of microphotography.[br]The son of a scientific instrument maker, Dancer was educated privately in Liverpool, where from 1817 his father practised his trade. John Benjamin became a skilled instrument maker in his own right, assisting in the family business until his father's death in 1835. He set up on his own in Liverpool in 1840 and in Manchester in 1841. In the course of his career Dancer made instruments for several of the leading scientists of the day, his clients including Brewster, Dalton and Joule.Dancer became interested in photography as soon as the new art was announced in 1839 and practised the processes of both Talbot and Daguerre. It was later claimed that as early as 1839 he used an achromatic lens combination to produce a minute image on a daguerreotype plate, arguably the world's first microphotograph and the precursor of modern microfilm. It was not until the introduction of Archer's wet-collodion process in 1851 that Dancer was able to perfect the technique however. He went on to market a long series of microphotographs which proved extremely popular with both the public and contemporary photographers. It was examples of Dancer's microphotographs that prompted the French photographer Dagron to begin his work in the same field. In 1853 Dancer constructed a binocular stereoscopic camera, the first practicable instrument of its type. In an improved form it was patented and marketed in 1856.Dancer also made important contributions to the magic lantern. He was the first to suggest the use of limelight as an illuminant, pioneered the use of photographic lantern slides and devised an ingenious means of switching gas from one lantern illuminant to another to produce what were known as dissolving views. He was a resourceful innovator in other fields of instrumentation and suggested several other minor improvements to scientific apparatus before his working life was sadly terminated by the loss of his sight.[br]Further ReadingAnon., 1973, "John Benjamin Dancer, originator of microphotography", British Journal of Photography (16 February): 139–41.H.Gernsheim and A.Gernsheim, 1969, The History of Photography, rev. edn, London.JW
См. также в других словарях:
History of the single-lens reflex camera — The history of the single lens reflex camera predates the invention of photography in 1826/27 by one and a half centuries with the use of a reflex mirror in a camera obscura first described in 1676. Such SLR devices were popular as drawing aids… … Wikipedia
History of the camera — The first permanent photograph was made in 1826 or 1827 by Joseph Nicéphore Niépce using a sliding wooden box camera made by Charles and Vincent Chevalier in Paris. Niépce built on a discovery by Johann Heinrich Schultz (1724): a silver and chalk … Wikipedia
motion picture, history of the — Introduction history of the medium from the 19th century to the present. Early years, 1830–1910 Origins The illusion of motion pictures is based on the optical phenomena known as persistence of vision and the phi phenomenon. The first … Universalium
Photographic Alliance of Great Britain — The Photographic Alliance of Great Britain (known as the PAGB) is the umbrella organisation that provides benefits and co ordinates specific events for the majority of photographic clubs and societies in England, Scotland, Wales Northern… … Wikipedia
Plasmat lens — The Plasmat lens is a widely used and long established lens type, especially common in large format photography. It provides high correction of aberrations with a moderate maximum aperture (e.g. f/|5.6|link=yes). In its most basic form it is… … Wikipedia
History of photography — The first permanent photograph was an image produced in 1826[1] by the French inventor Joseph Nicéphore Niépce.[2] … Wikipedia
The Shining (film) — The Shining Theatrical release poster Directed by Stanley Kubrick Produced by Stanle … Wikipedia
Lens (optics) — For other uses, see Lens. A lens. Lenses can be used to focus light. A lens is an optical device with perfect or approximate axial symmetry which tra … Wikipedia
History of film — This article is about the history of cinema. For other uses, see History of photography. Years in film 1870s 1880s 1890s … Wikipedia
Photographic filter — Four photographic filters. Clockwise, from top left, an infrared hot mirror filter, a polarising filter, and a UV filter. The larger filter is a polariser for Cokin style filter mounts. In photography and videography, a filter is a camera… … Wikipedia
Photographic film — This article is mainly concerned with still photography film. For motion picture film, please see film stock. Photographic film is a sheet of plastic (polyester, nitrocellulose or cellulose acetate) coated with an emulsion containing light… … Wikipedia
