History of Photography
The details were introduced as a gift to the world in 1839, a date generally accepted as the birth year of practical photography. The metal-based daguerreotype process soon had some competition from the paper-based calotype negative and salt print processes invented by William Henry Fox Talbot.

Birth of Photography
Nicéphore Niépce's earliest surviving camera photograph, 1826 or 1827: View from the Window at Le Gras (Saint-Loup-de-Varennes, France)

Etymology
A camera obscura used for drawing images

Development of chemical photography
It is a view of a busy street, but because the exposure time was at least ten minutes the moving traffic left no trace.
The history of photography has roots in remote antiquity with the discovery of the principle of the camera obscura and the observation that some substances are visibly altered by exposure to light. As far as is known, nobody thought of bringing these two phenomena together to capture camera images in permanent form until around 1800, when Thomas Wedgwood made the first reliably documented although unsuccessful attempt. In the mid-
The metal-
The commercial introduction of computer-
Etymology
The coining of the word “Photography” has been attributed in 1839 to Sir John Herschel based on the Greek φῶς (phos), (genitive: phōtós) meaning “light”, and γραφή (graphê), meaning “drawing, writing”, together meaning “drawing with light”.
Photography is the result of combining several different technical discoveries. Long before the first photographs were made, Chinese philosopher Mo Ti and Greek mathematicians Aristotle and Euclid described a pinhole camera in the 5th and 4th centuries BCE. In the 6th century CE, Byzantine mathematician Anthemius of Tralles used a type of camera obscura in his experiments
Ibn al-
Development of chemical photography Monochrome process
Around the year 1800, Thomas Wedgwood made the first known attempt to capture the image in a camera obscura by means of a light-
In 1816 Nicéphore Niépce, using paper coated with silver chloride, succeeded in photographing the images formed in a small camera, but the photographs were negatives, darkest where the camera image was lightest and vice versa, and they were not permanent in the sense of being reasonably light-
Robert Cornelius, self-
One of the oldest photographic portraits known, made by Joseph Draper of New York, in 1839 or 1840, of his sister, Dorothy Catherine Draper.
The oldest surviving permanent photograph of the image formed in a camera was created by Niépce in 1826 or 1827. It was made on a polished sheet of pewter and the light-
In partnership, Niépce (in Chalon-
In 1833 Niépce died suddenly, leaving his notes to Daguerre. More interested in silver-
After reading early reports of Daguerre’s invention, William Henry Fox Talbot, who had succeeded in creating stabilized photographic negatives on paper in 1835, worked on perfecting his own process. In early 1839 he acquired a key improvement, an effective fixer, from John Herschel, the astronomer, who had previously shown that hyposulfite of soda (commonly called “hypo” and now known formally as sodium thiosulfate) would dissolve silver salts. News of this solvent also reached Daguerre, who quietly substituted it for his less effective hot salt water treatment.
Talbot’s early silver chloride “sensitive paper” experiments required camera exposures of an hour or more. In 1840, Talbot invented the calotype process, which, like Daguerre’s process, used the principle of chemical development of a faint or invisible “latent” image to reduce the exposure time to a few minutes. Paper with a coating of silver iodide was exposed in the camera and developed into a translucent negative image. Unlike a daguerreotype, which could only be copied by rephotographing it with a camera, a calotype negative could be used to make a large number of positive prints by simple contact printing. The calotype had yet another distinction compared to other early photographic processes, in that the finished product lacked fine clarity due to its translucent paper negative. This was seen as a positive attribute for portraits because it softened the appearance of the human face. Talbot patented[18] this process, which greatly limited its adoption. He spent the rest of his life in lawsuits defending the patent until he gave up on photography. Later George Eastman refined Talbot’s process, which is the basic technology used by chemical film cameras today. Hippolyte Bayard had also developed a method of photography but delayed announcing it, and so was not recognized as its inventor.
In 1839, John Herschel made the first glass negative, but his process was difficult to reproduce. Slovene Janez Puhar invented a process for making photographs on glass in 1841; it was recognized on June 17, 1852 in Paris by the Académie Nationale Agricole, Manufacturière et Commerciale.[19] In 1847, Nicephore Niépce’s cousin, the chemist Niépce St. Victor, published his invention of a process for making glass plates with an albumen emulsion; the Langenheim brothers of Philadelphia and John Whipple and William Breed Jones of Boston also invented workable negative-
In 1851 Frederick Scott Archer invented the collodion process.[citation needed] Photographer and children’s author Lewis Carroll used this process. (Carroll refers to the process as “Tablotype” [sic] in the story “A Photographer’s Day Out”)
Roger Fenton’s assistant seated on Fenton’s photographic van, Crimea, 1855.
Herbert Bowyer Berkeley experimented with his own version of collodian emulsions after Samman introduced the idea of adding dithionite to the pyrogallol developer.[citation needed] Berkeley discovered that with his own addition of sulfite, to absorb the sulfur dioxide given off by the chemical dithionite in the developer, that dithionite was not required in the developing process. In 1881 he published his discovery. Berkeley’s formula contained pyrogallol, sulfite and citric acid. Ammonia was added just before use to make the formula alkaline. The new formula was sold by the Platinotype Company in London as Sulpho-
Nineteenth-
The daguerreotype proved popular in response to the demand for portraiture that emerged from the middle classes during the Industrial Revolution.[citation needed] This demand, that could not be met in volume and in cost by oil painting, added to the push for the development of photography.
In 1847, Count Sergei Lvovich Levitsky designed a bellows camera which significantly improved the process of focusing. This adaptation influenced the design of cameras for decades and is still found in use today in some professional cameras. While in Paris, Levitsky would become the first to introduce interchangeable decorative backgrounds in his photos, as well as the retouching of negatives to reduce or eliminate technical deficiencies.[citation needed] Levitsky was also the first photographer to portray a photo of a person in different poses and even in different clothes (for example, the subject plays the piano and listens to himself).
Roger Fenton and Philip Henry Delamotte helped popularize the new way of recording events, the first by his Crimean war pictures, the second by his record of the disassembly and reconstruction of The Crystal Palace in London. Other mid-
By 1849, images captured by Levitsky on a mission to the Caucasus were exhibited by the famous Parisian optician Chevalier at the Paris Exposition of the Second Republic as an advertisement of their lenses. These photos would receive the Exposition’s gold medal; the first time a prize of its kind had ever been awarded to a photograph.
That same year in 1849 in his St. Petersburg, Russia studio Levitsky would first propose the idea to artificially light subjects in a studio setting using electric lighting along with daylight. He would say of its use, “as far as I know this application of electric light has never been tried; it is something new, which will be accepted by photographers because of its simplicity and practicality”.
In 1851, at an exhibition in Paris, Levitsky would win the first ever gold medal awarded for a portrait photograph.
In America, by 1851 a broadside by daguerreotypist Augustus Washington was advertising prices ranging from 50 cents to $10.[23] However, daguerreotypes were fragile and difficult to copy. Photographers encouraged chemists to refine the process of making many copies cheaply, which eventually led them back to Talbot’s process.
Ultimately, the modern photographic process came about from a series of refinements and improvements in the first 20 years. In 1884 George Eastman, of Rochester, New York, developed dry gel on paper, or film, to replace the photographic plate so that a photographer no longer needed to carry boxes of plates and toxic chemicals around. In July 1888 Eastman’s Kodak camera went on the market with the slogan “You press the button, we do the rest”. Now anyone could take a photograph and leave the complex parts of the process to others, and photography became available for the mass-
In the twentieth century, photography developed rapidly as a commercial service. End-
A practical means of color photography was sought from the very beginning. Results were demonstrated as early as 1848, but exposures lasting for hours or days were required and the colors were so light-
The first durable color photograph was a set of three black-
Two French inventors, Louis Ducos du Hauron and Charles Cros, working unknown to each other during the 1860s, famously unveiled their nearly identical ideas on the same day in 1869. Included were methods for viewing a set of three color-
The first widely used method of color photography was the Autochrome plate, commercially introduced in 1907. It was based on one of Louis Ducos du Hauron’s ideas: instead of taking three separate photographs through color filters, take one through a mosaic of tiny color filters overlaid on the emulsion and view the results through an identical mosaic. If the individual filter elements were small enough, the three primary colors would blend together in the eye and produce the same additive color synthesis as the filtered projection of three separate photographs. Autochrome plates had an integral mosaic filter layer composed of millions of dyed potato starch grains. Reversal processing was used to develop each plate into a transparent positive that could be viewed directly or projected with an ordinary projector. The mosaic filter layer absorbed about 90 percent of the light passing through, so a long exposure was required and a bright projection or viewing light was desirable. Competing screen plate products soon appeared and film-
A new era in color photography began with the introduction of Kodachrome film, available for 16 mm home movies in 1935 and 35 mm slides in 1936. It captured the red, green and blue color components in three layers of emulsion. A complex processing operation produced complementary cyan, magenta and yellow dye images in those layers, resulting in a subtractive color image. Maxwell’s method of taking three separate filtered black-
In 1957, a team led by Russell A. Kirsch at the National Institute of Standards and Technology developed a binary digital version of an existing technology, the wirephoto drum scanner, so that alphanumeric characters, diagrams, photographs and other graphics could be transferred into digital computer memory. One of the first photographs scanned was a picture of Kirsch’s infant son Walden. The resolution was 176×176 pixels with only one bit per pixel, i.e., stark black and white with no intermediate gray tones, but by combining multiple scans of the photograph done with different black-
The charge-
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The web has been a popular medium for storing and sharing photos ever since the first photograph was published on the web by Tim Berners-

Robert Cornelius, self-portrait, Oct. or Nov. 1839, approximate quarter plate daguerreotype. The back reads, "The first light picture ever taken."

One of the oldest photographic portraits known, made by Joseph Draper of New York, in 1839[9] or 1840, of his sister, Dorothy Catherine Draper.

A calotype print showing the American photographer Frederick Langenheim (circa 1849). Note, the caption on the photo calls the process Talbotype

Roger Fenton's assistant seated on Fenton's photographic van, Crimea, 1855.

Mid 19th century "Brady stand" photo model's armrest table, meant to keep portrait models more still during long exposure times (studio equipment nicknamed after the famed US photographer, Mathew Brady).

A photographer appears to be photographing himself in a 19th-century photographic studio. Note clamp to hold the poser's head still. An 1893 satire on photographic procedures already becoming obsolete at the time.

The first durable color photograph, taken by Thomas Sutton in 1861

DSLR
The photographer can see the motive before taking an image by the mirror. When taking an image the mirror will swing up and light will go to the sensor instead.
1. Camera lens 2. Reflex mirror 3. Focal-


