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1 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 -
2 Lumière, Charles Antoine
SUBJECT AREA: Photography, film and optics[br]b. 13 March 1840 Ormoy, Franced. 16 April 1911[br]French photographer and photographie manufacturer.[br]Orphaned when his parents died of cholera, at the age of 14 he was taken by his elder sister to live in Marcilly-le-Hayer. Apprenticed to a joiner, he was also interested in chemistry and physics, but his great love was drawing and painting. The leading water-colourist Auguste Constantin took him into his Paris home as an apprentice and taught him the whole business of painting. He was able to earn his living as a sign-painter, and numbered among his clients several photographers. This led to an interest in photography, which caused him to abandon the safe trade of sign-painter for that of photographer.Lumière took a post with a photographer in Besançon in 1862. He set up business on his own account in 1865 and moved to Lyons c.1870, joining his friend and fellow photographer Emile Lebeau. The business prospered; in 1879 he installed an electricity generator in his studio to run the newly invented Van de Weyde electric arc lamp, permitting portraiture in all weathers and at all times. With the arrival of the dry-plate process c. 1880, the Lumière business looked to employ the new medium. His second son, Louis Lumière (b. 5 October 1864 Besançon, France; d. 6 June 1948 Bandol, France; see under Lumière, Auguste), fresh from college, experimented with emulsions with which his 12-year-old sister coated glass plates. While still running the studio, Antoine started marketing the plates, which were the first to be made in France, and production was soon up to 4,000 plates a day. Under his guidance A.Lumière et ses Fils acquired a worldwide reputation for the quality and originality of its products.After his retirement from business, when he handed it over to his sons, Auguste (see Lumière, Auguste) and Louis, he took up painting again and successfully exhibited in several Salons. He was a Chevalier of the Légion d'honneur, a recognition of his participation in the 1893 World's Colombian Exposition in Chicago.[br]Further ReadingGuy Borgé, 1980, Prestige de la photographie, Nos. 8 and 9, Paris.BCBiographical history of technology > Lumière, Charles Antoine
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3 Barnack, Oskar
SUBJECT AREA: Photography, film and optics[br]b. 1879 Berlin, Germanyd. January 1936 Wetzlar, Germany[br]German camera designer who conceived the first Leica camera and many subsequent models.[br]Oskar Barnack was an optical engineer, introspective and in poor health, when in 1910 he was invited through the good offices of his friend the mechanical engineer Emil Mechau, who worked for Ernst Leitz, to join the company at Wetzlar to work on research into microscope design. He was engaged after a week's trial, and on 2 January 1911 he was put in charge of microscope research. He was an enthusiastic photographer, but excursions with his large and heavy plate camera equipment taxed his strength. In 1912, Mechau was working on a revolutionary film projector design and needed film to test it. Barnack suggested that it was not necessary to buy an expensive commercial machine— why not make one? Leitz agreed, and Barnack constructed a 35 mm movie camera, which he used to cover events in and around Wetzlar.The exposure problems he encountered with the variable sensitivity of the cine film led him to consider the design of a still camera in which short lengths of film could be tested before shooting—a kind of exposure-meter camera. Dissatisfied with the poor picture quality of his first model, which took the standard cine frame of 18×24 mm, he built a new model in which the frame size was doubled to 36×24 mm. It used a simple focal-plane shutter adjustable to 1/500 of a second, and a Zeiss Milar lens of 42 mm focal length. This is what is now known as the UR-Leica. Using his new camera, 1/250 of the weight of his plate equipment, Barnack made many photographs around Wetzlar, giving postcard-sized prints of good quality.Ernst Leitz Junior was lent the camera for his trip in June 1914 to America, where he was urged to put it into production. Visiting George Eastman in Rochester, Leitz passed on Barnack's requests for film of finer grain and better quality. The First World War put an end to the chances of developing the design at that time. As Germany emerged from the postwar chaos, Leitz Junior, then in charge of the firm, took Barnack off microscope work to design prototypes for a commercial model. Leitz's Chief Optician, Max Berek, designed a new lens, the f3.5 Elmax, for the new camera. They settled on the name Leica, and the first production models went on show at the Leipzig Spring Fair in 1925. By the end of the year, 1,000 cameras had been shipped, despite costing about two months' good wages.The Leica camera established 35 mm still photography as a practical proposition, and film manufacturers began to create the special fine-grain films that Barnack had longed for. He continued to improve the design, and a succession of new Leica models appeared with new features, such as interchangeable lenses, coupled range-finders, 250 exposures. By the time of his sudden death in 1936, Barnack's life's work had forever transformed the nature of photography.[br]Further ReadingJ.Borgé and G.Borgé, 1977, Prestige de la, photographie.BC
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