Photogrammetry Essay
explanatory Essay
757 words
Many great people have contributed to the development of photogrammetry. From the explanation of mathematical principles, the inventions of camera hardware and constant innovation of data capturing methods, each and every discovery lead to the modern digital photogrammetry that we know today.
In order to investigate the history of photogrammetry, one must first define exactly what photogrammetry means. According to the American Society for Photogrammetry and Remote Sensing, photogrammetry is the: “art, science, and technology of obtaining reliable information about physical objects and the environment, through processes of recording, measuring, and interpreting images and patterns of electromagnetic radiant energy and other phenomena” (ASPRS,2010).
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This principle was later detailed by Leonardo Da Vinci in 1490. Camera obscura refers to a “darkened room” which was originally a room that was sealed from light with the exception for a tiny hole in one wall. An image could be projected, reversed or upside down, onto a wall or on a white screen opposite the opening. The image could then be traced on translucent paper (Hemphill, 2003). Perspective and projective geometry is considered to be the basic principles from which the theory of photogrammetry is developed (Klinkenberg, n.d.).
The next significant development was made in 1759 by John Heinrich Lambert, a Swiss polymath. He developed the mathematical principles of perspective imagery using space resections to find points in space from which the picture was made. This is relevant because later on the relationship between projective geometry and photogrammetry was explained by R. Strums and Guido Hauck in 1883 (Klinkenberg,
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The first cycle, plane table photogrammetry, began in 1850 by Dr. Albrecht Meydenbauer. Meydenbauer had an accident where he almost fell down from the side of a cathedral while he was documenting it for an architectural survey. From this he realised that direct measurements from the façade of the cathedral could be substituted by indirect measurements obtained from photographic images. This was where the basic concept of photogrammetry was formed. Meydenbauer, from this point, devoted his life to the comprehension of this concept (Albertz, 2007).
Meydenbauer began designing cameras that had all the main components that are required for photogrammetric instruments. These included the integration of a coordinate system for the image (which was created by crosshairs that projected on the photoplate during exposure) as well as a fixed focus used to define the principal distance or focal length (Albertz, 2007). Despite all this, Meydenbauer’s method of indirect measurements from images was not accepted and only after an abundance of technical improvements to his camera design and practical experiments did he succeed. This was 25 years after his original idea of the use of photographs for the survey and documentation of buildings (Klinkenberg,
In this essay, the author
- Explains that many great people contributed to the development of photogrammetry, from the explanation of mathematical principles, the inventions of camera hardware, and constant innovation of data capturing methods.
- Explains that photogrammetry is the art, science, and technology of obtaining reliable information about physical objects and the environment, through processes of recording, measuring and interpreting images and patterns of electromagnetic radiant energy.
- Explains that photogrammetry was realised around 1850, but the basic concepts of photography began as early as 1038 ad when al hazen of basra explained the principle of camera obscura.
- Explains that many great people contributed to the development of photogrammetry, from the explanation of mathematical principles, the inventions of camera hardware, and constant innovation of data capturing methods.
- Explains that photogrammetry is the art, science, and technology of obtaining reliable information about physical objects and the environment, through processes of recording, measuring and interpreting images and patterns of electromagnetic radiant energy.
- Explains that photogrammetry was realised around 1850, but the basic concepts of photography began as early as 1038 ad when al hazen of basra explained the principle of camera obscura.
- Explains that john heinrich lambert, a swiss polymath, developed the mathematical principles of perspective imagery using space resections to find points in space from which the picture was made.
- Explains that joseph nicephore niepce's invention of the first camera made a huge impact in photogrammetric history.
- Explains that photogrammetry was a possibility with the creation of the first photograph. it was developed in different stages called development cycles.
- Explains that the first cycle of plane table photogrammetry began in 1850 by dr. albrecht meydenbauer.
- Explains that meydenbauer began designing cameras that had all the main components that are required for photogrammetric instruments. however, his method of indirect measurements from images was not accepted and only after technical improvements to his camera design and practical experiments did he succeed.
- Explains that aimé laussedat, a military engineer in france, started experimenting with photographs for the purposes of topographic mapping.
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- The History Of Photogrammetryexplanatory essayDevelopments are leads to the nowadays to science of photogrammetry occurred long before the invention of photograph. As early as 350 B.C Aristotle had referred to the process of projecting images in optically. Then, in the early 18th century Dr. Brook Taylor had published his treatise on linear perspective. Afterward, J. H. Lambert had suggested that the principle of perspective could be used in preparing maps.
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- Explains that the quality of a resampled image depends on interpolation algorithms. photogrammetric software packages offer the following methods.
- Explains the simplest and fastest method, whereby the distances of a transformed point to centre of neighboring pixels are calculated.
- Explains that distances in row and column direction are used as weights for calculate the weighted mean. four nearest pixels are taken into account to produce a smoother image.
- Explains that the quality of a resampled image depends on interpolation algorithms. photogrammetric software packages offer the following methods.
- Explains the simplest and fastest method, whereby the distances of a transformed point to centre of neighboring pixels are calculated.
- Explains that distances in row and column direction are used as weights for calculate the weighted mean. four nearest pixels are taken into account to produce a smoother image.
- Explains that precise measurements are made from photos and other information sources to determine relative locations of points. this enables to find distances, angles, areas, volumes, elevations and sizes and shapes of the objects.
- Explains that photogrammetry can be classified with a listing number of ways, but only the standard method is used to split the field depends on the camera location during photography.
- Explains the basis method of photogrammetry, wherein the camera is mounted in an aircraft and it is usually pointed in vertically towards the ground. multiple overlapping photos are taken as the aircraft along a flight path.
- Explains that close-range photogrammetry is non-topographic and results in drawing, 3d models, and point clouds.
- Explains that the whole image is divided into pixels, which is size and shape depends on the size of capacitors.
- Explains that the determination of object coordinates of points measured in images is a basic task of photogrammetry.
- Explains the relationship between image coordinates xp', yp’, and object-coordinates of points p.
- Explains that the origo of the pixel coordinate system is shifted of a half-pixel out from the image in both rows and columns.
- Explains that orthoimages or normalized images are created during automatic exterior orientation or dtm generation that can be used as reference for images.
- Defines photogrammetry as the art, science, and technology of obtaining reliable information about physical objects and the environment.
- Explains that photogrammetry deals with identifying objects and judging their significance through careful and systematic analysis. it also includes branches of photographic interpretation and remote sensing.
- Explains how the development of photogrammetry began long before the invention of photographs.
- Explains that digital image is the creation of digital images that are made by the several of images. measuring conjugate points in two or more images is one of the most common tasks in photogrammetry.
- Explains that the digital image is presented as a matrix i that are consist of r = 1, rows, j = 1 and columns.
- Explains how a regular grid is easier to handle in calculations. a reverse process is applied by resampling, wherein centres of all pixels are found in an original image.
1566 wordsRead More - Daguerreotype-Louis-Jacques-Mande Daguerreanalytical essayPrior to the invention of the daguerreotype, the Camera Obscura was the main optical instrument that was used to project images onto paper. The Camera Obscura was a device in the shape of a box that allowed light, which was being reflected from the images that the user was intending to capture, to enter through an opening at one end of the box to form an image on a surface and an artist would then trace the image to form the most accurate impression of an image at that peri...
In this essay, the author
- Cites mahtani, s. (2012, april 20). singapore's lee hsien loong joins facebook.
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961 wordsRead More - Leonardo Da Vinci's Influenceexplanatory essayDa Vinci believed perspective was nothing but a thorough knowledge of the function of the eye (Richter, 29-30)
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- Explains leonardo da vinci was born on april 15th, 1452, and died on may 2nd, 1519, in amboise, france.
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- Opines that leonardo da vinci has influenced all painting since his time.
- Explains leonardo da vinci was born on april 15th, 1452, and died on may 2nd, 1519, in amboise, france.
- Opines that they can carry out a sculpture in marble, bronze, or clay, and in painting, everything it is possible to do.
- Opines that leonardo da vinci has influenced all painting since his time.
- Explains that leonardo da vinci was the greatest artist in european history because of his intense focus on nature and perspective, his studies on human anatomy and mathematics, and his influence on many other artists.
- Explains that leonardo da vinci was the greatest artist because he focused on the physics of nature and perspective.
- Explains that da vinci believed that perspective was nothing but a thorough knowledge of the eye's function.
- Explains that richter believes perspective is a rational demonstration in which every object sends its image to the eye.
- Opines that shadow is very important in perspective because without them opaque and solid bodies will be ill defined.
- Explains that da vinci believed that the problems of perspective are made clear by five mathematical terms.
- Explains that leonardo da vinci was the greatest artist because he focused on human anatomy and mathematics/proportions.
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- Explains that lester painted the altarpiece in the chapel of the palazzo vecchio in 1478, but he never finished it.
- Narrates how lester painted an altarpiece for a monastery outside the city in 1481, but never completed it.
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- Quotes pope as saying, "this man will never accomplish anything! he thinks of the end before the beginning!"
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740 wordsRead More - Theory Of Photography Essayexplanatory essayThe first models of the Camera Obscura were large chambers that could be entered by the artist. At first, this invention was recognized as an aid to artists who could trace the images to create a more realistic impression of the scene. The difficulty with the chamber was that it was not readily portable, and was therefore useless to an artist. This issue was solved when advancements were made in the seventeenth century when inventors developed a portable version of the optical device. Also, those using the instrument found that the image produced was inaccurate in that it defied the rules of perspective because it was formed by a single lens. Inventors discovered a way to correct this problem, as explained in the History of Photography:
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- Explains that the theory of photography originated from the discovery of the camera obscura phenomenon. the first recordings of scientists recognizing this concept were in the writings of greek philosopher, aristotle.
- Explains that the camera obscura was an aid to artists who could trace the images to create a more realistic impression of the scene. the difficulty with the chamber was that it was not readily portable.
- Explains that by combining two lenses ground to segments of arcs of different radii a reasonable flatness of field could be obtained.
- Explains that the theory of photography originated from the discovery of the camera obscura phenomenon. the first recordings of scientists recognizing this concept were in the writings of greek philosopher, aristotle.
- Explains that the camera obscura was an aid to artists who could trace the images to create a more realistic impression of the scene. the difficulty with the chamber was that it was not readily portable.
- Explains that by combining two lenses ground to segments of arcs of different radii a reasonable flatness of field could be obtained.
- Explains that the camera obscura's idea of permanent prints came to light in the 1790s, when thomas wedgwood began experimenting with photo-sensitive silver salts.
- Describes how joseph nicéphore niépce combined the camera obscura with permanent imagery using his invention of heliography.
- Narrates how niépce's experiment led to the creation of the daguerreotype camera, which became the first to be manufactured in quantity.
- Opines that daguerreotypes were printed on polished metal plates, so viewing was difficult, and the delicate surfaces of the prints were covered with a sheet of glass.
- Explains that william henry fox talbot's invention of the calotype solved this complication by coating a paper with silver nitrate and potassium iodide.
- Explains that in the photogenic or sciagraphic process, if the paper is transparent, the first drawing may serve as an object, to produce a second drawing, in which the light and shadow would be reversed.
- Explains talbot's method of automatically recreating an image, and frederick scott archer introduced the wet-plate system, which replaced the paper with a sheet of glass coated in collodion.
- Explains that the dubroni was the first of its kind to sell in profusion. it was designed by jules bourdin (1838-1893).
- Explains how the photographer coats the plate with collodion, inserts it into the camera, and squirts silver nitriate solution over it using a pipette.
- Explains that the collodion system process caused difficulties for photographers because the plates had to be exposed immediately after the coating was applied. richard leach maddox suspended the chemicals in gelatin, which allows the silver salts to retain their photosensitivity.
- Explains how george eastman introduced roll film in 1889 to replace plates in order to take a series of photos.
- Explains that photography has greatly influenced the way we view the world. the camera obscura was used as an aid to artists but with the continued development of the camera, photographers recognized the artistic opportunities in the photography itself.
- Explains that roger fenton (1819 – 1869) was considered the world’s first photojournalist and received little appreciation for his work.
- Analyzes how matthew b. brady and a group of nearly twenty other cameramen photographed the civil war. because brady denied his team individual credit for their work, several members resigned.
- Narrates how jacob august riis, a danish photographer, immigrated to the united states, where he experienced the impoverished side of new york city.
1587 wordsRead More - Clear Liquid Thought: The Photographs of Jim Dineanalytical essaythe beginnings of photography and essentially linked to its role in the comprehension of the
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- Describes the beginnings of photography and essentially linked to its role in the comprehension of the text.
- Analyzes how unconscious images do not imply disclosing images of the artist's work.
- Describes the works' potential to generate visual equivalents of inner life perceptions in a variety of ways.
- Describes the beginnings of photography and essentially linked to its role in the comprehension of the text.
- Analyzes how unconscious images do not imply disclosing images of the artist's work.
- Describes the works' potential to generate visual equivalents of inner life perceptions in a variety of ways.
- Explains that jim dine's compositions are not narratives of inner life, but forms of visual experience.
- Opines that viewers need a "willing suspension" of attention from viewers in the academia.
- Explains that their discussion of jim dine's photographic work stems in two larger concerns in their ongoing discussion.
- Analyzes how visual culture redefines our vision of the unconscious.
- Analyzes anca cristofovici's "un frémissement de miroirs, la beauté inattendue" : les mondes photographiques de
- Describes the ways in which they discussed the various ways of expressing their views.
- Opines that the opening paragraph, which can, i would like to advance, be productively placed in the context.
- Analyzes life's tensions between determinations of various kinds in the larger picture of life.
- Explains unconscious is a source for unconscious's innovative technique as it is for his technique.
- Describes dine as an artist who has experimented since the 1960s with a wide range of techniques.
- Opines that the exhibition was presented at the national gallery of art in washigton in the summer of 2004.
- Cites rosalind krauss' book on modernism, whose title is borrowed from that.
- Asks if we can still think of inner life -- visually -- in the same way.
- Explains how vision expanded and redefined our notions of the corporeal and the mental.
- Opines that aesthetic objects are an aspect that seems to have fallen into oblivion in the current visual culture.
- Opines that manipulation serves entirely different purposes than the former case, which is not my subject here.
- Describes an important contribution which would be worth reconsidering in the future.
- Explains that he draws from a combination of new and old photographic techniques which allow him to represent.
- Describes the types of latent images jim dine's camera works reveal.
- Describes the printing plates and computer files used by the artist for his photogravures.
- Explains that photographic images are closer to fleeting mental images in all their sensory dimensions.
- Opines that they have had a passion or sorrow, as anything they've ever done.
- Describes the steps he took to doctor the images recorded by the camera, and transform them into actual images.
- Explains that his creative use of the digital camera and of digital processing allows him to produce.
- Explains that the grain of paper they are printing on, result in an intense tactile effect, which is even more intense.
- Explains dine uses a different procedure to recreate mental scenes in his recent work.
- Explains that these photographs are not manipulated; they aren't the result of several manipulations.
- Analyzes how the first digital works, the "staging" done by the artist, are already edited.
- Analyzes how editing seems to be for dine a way of bringing together the conscious and the unconscious.
- Opines that development is blocked by the perceptual impact the image produces on the viewer.
- Explains the common way in which we perceive the passage of time, namely that it passes without.
- Opines that expressivity is fragile on the verge of extinction.
- Opines that disintegrating memories are like parts suggestive of a whole, and as such reminiscent of the whole.
- Explains ehrenzweig's study of artistic imagining, the hidden order of art.
- Analyzes grundberg, andy, "now, the camera's eye turns inward", in the new york times, may 28.
- Explains that the phrase used in the title of this article is coined after one of dine's black-and-white images.
- Describes powers, richard, three framers on their way to a dance.
- Analyzes how photography enlightened, modified, or enhanced the understanding of the unconscious before the invention of psychoanalysis.
- Analyzes how soulage deals with the beginnings of photography and its paradoxical uses in psychiatry. the photographs of duchenne de boulogne and hugh welch diamond are dealt with in the context of their institutional destiny and their consequent aesthetic status
- Opines that reevaluation is counterproductive and of no avail to the scholar. the current paradigms of knowledge in western cultures are in a different configuration.
- Suggests that one of the most productive ways of creating such new cognitive and discoursive frameworks is by taking time to look at what artistis do when they bring into the viewers' visual field not only mental and sensory images but
- Describes his major shows, including "on the art of fixing a shadow: 150 years of photography" at the national gallery of art in washington, and "the art of photography, 1839-1989" in the museum of fine arts in houston.
- Analyzes how the distance between the visualization of the unconscious in luis bunuel's films and that of david lynch in mulholland drive epitomizes an entirely new distance.
- Explains the difference between free association and editing as a form of peripheral grasp of consciousness.
- Analyzes how dine's photographic work brought mental processes into the visual field and its open and intentional relation to the unconscious. he associates his use of photography as an artist to his exploration of what he sometimes calls the subconscious.
- Explains that walker evans used the term "editing" as early as 1931. richard powers provides rich documentary and fictional material in his novel, three framers on their way to a dance.
- Explains that 6 actually powers refers to photography as "simultaneously the most free and most determined procedure." the tensions at work in the making of a photograph.
- Describes dine's photographic work as an aesthetic journey into a personal world.
- Explains dine's photographic work was donated to the maison européenne de la photographie in paris and the davison art center at the wesleyan.
- Opines that the paper is an invitation for the reader to become familiar with dine's less known aspects of his work.
- Explains that it is precisely the technical devices ("slow motion and enlargement") that make it possible for photography to "reveal the secret."
- Analyzes krauss' analysis of how the "optical unconscious" struggled its way out of a system based on the repressed as embodied in the logic of modernism.
- Analyzes how computer collage gives artists the possibility to smooth the seam between inner and external space. digital manipulations11 in photography shows that inner space can no longer exist.
- Explains the distinction between testimonial photography and art photography, which is conceived of as a discreet unit, but as an conjunction of zones which we inhabit mentally.
- Explains that the emergence of something repressed, rather than the recognition of dimly known shapes or emotions experienced in the more or less distant past, is part of our affective self or of what in his book, the shadow of the object.
- Analyzes how dine's photographs suggest that the visual model of the unconscious or of mental life as photographic is linked to the understanding of photography as a mimetic form.
- Analyzes how daniel sibony draws an analogy between photography and psychoanalysis in his essay "une technique de l'instant ou la machine à clicher".
- Analyzes how hamon paid particular attention to the ways in which the various aesthetics of the "imageries" circulating at the time forced literature to redefine itself
- Opines that the objects juxtaposed in the rhetoric of the text were the result of mental images which had already synthesized various visual systems.
- Explains dine's special use of photography, which unsettles categories of the mimesis as well as boundaries between art media.
- Analyzes grundberg's essay, "assaying the photographic," in which he points out the wide range of possibilities provided by the varied techniques dine uses that allows him to "refashion the consequences of the camera lens".
- Analyzes how the memory of the camera is articulated to the computer's memory. both the photogravures and the digital memory exist between rational space and floating arenas.
- Analyzes how dine disrupts the fantasy of the control one can have over the camera in order to create the illusion of depth.
- Analyzes how dine displaces the viewer's visual habits related to photographs from the real to the mental by insisting on the potential of the camera to record thought and emotion.
- Explains jim dine's print technology, which delivers a droplet the size of 10 microns, and delivers an image of continuous tonality and richness with an apparent resolution of 1,800 dots per inch.
- Opines that his photographic images are not snapshots of sudden associative flashes (in the sense of the surrealist automatic).
- Analyzes dine's statement that photography is a more accessible road to bring down the unconscious and channel it as grist for his mill. the objects and figures in his compositions represent analogs of inner or internal objects,18 of spaces of memory.
- Asks dine how can photography record time levels and modes of perception -- verbal, visual, sensory -- that coextend in the fugitive instant of a mental image?
- Explains that a photograph can represent, for the image-taker and/or the viewer, an internal object, as well as function as transitional object in the winnicottian sense in an adult's permanent construction of
- Analyzes how dine's knowledge is not narrative, and the "events" that happen in his photographs are purely visual.
- Analyzes how "the passage of time" is cunningly bracketed in a skillful visual suspense that compacts past, present, and future in one image and defers
- Analyzes how dine's photographic images are explicitely linked to his past seen from the perspective of the present. the compositions highlight the fact that the camera does not only record the past; it is also an instrument for reconstructing memory.
- Analyzes how dine beats inert matter into life by keeping on film the capacities of the mind to retain -- in time -- parts of life faithfully, that is creative.
- Analyzes how the viewer's attention is bidden not only by what the photographic tableaux represent, but by the immediacy of mental flashes.
- Analyzes how thought and vision are in the process of being structured, where the unconscious is a way of editing our selves.
4343 wordsRead More - Compare And Contrast Michelangelo's Creation Of Adamanalytical essayIn the early 1400s, Italian engineer and architect, Filippo Brunelleschi, rediscovered the system of perspective as a mathematical technique to replicate depth and form within a picture plane. According to the principles, establishing one or more vanishing points can enable an artist to draw the parallels of an object to recede and converge, thus disappearing into a “distance”. In 1412, Brunelleschi demonstrated this technique to the public when he used a picture of the Florence Baptistery painted on a panel with a small hole in the centre.3 In his other hand, he held a mirror to reflect the painting itself, in which the reflected view seen through the hole depicted the correct perspective of the baptistery. It was confirmed that the image
In this essay, the author
- Explains how brunelleschi rediscovered the system of perspective as a mathematical technique to replicate depth and form within the picture plane.
- Analyzes how italian painters giotto di bondone and duccio di buoninsegna attempted to recreate perspective in the early 14th century.
- Analyzes how jan van eyck's madonna of chancellor rolin uses a one-point perspective technique to create the illusion of depth and space in the painting.
- Explains how brunelleschi rediscovered the system of perspective as a mathematical technique to replicate depth and form within the picture plane.
- Analyzes how italian painters giotto di bondone and duccio di buoninsegna attempted to recreate perspective in the early 14th century.
- Analyzes how jan van eyck's madonna of chancellor rolin uses a one-point perspective technique to create the illusion of depth and space in the painting.
- Explains that the improvement and rediscovery of the system of perspective and the vanishing point had a key influence on the renaissance and art techniques throughout time.
- Explains that the renaissance was based on the concept of humanism, which emphasised the self-worth, attributes, dignity, abilities, and creativity of humans. influenced by scholars, this dramatic change and explosion of renewed ideas occurred.
- Explains that humanism changed the way of life regarding independence, social class, business and language, and had a significant influence in the artistic community.
- Analyzes how michelangelo's creation of adam depicts biblical narratives depicting the body as a reflection of both divine beauty and the beauty of human soul.
- Analyzes how anatomical correctness was introduced in art during the renaissance era. michelangelo portrayed god and the other figures beside him in human form and scaled them to the same size as adam.
- Analyzes raphael's painting, the school of athens, which reflects a humanist approach. the fresco is located in the stanza della segnatura in vatican city.
- Analyzes how raphael highlights the humanist idea that mankind is able to achieve, advance and share knowledge.
- Analyzes how the focus on intellect and individuality had a major influence on western philosophy and art in the renaissance.
1472 wordsRead More - Timeline of Photography, Film, and Camerasexplanatory essayThe first real documentation on photography dates back to a man by the name of Joseph Niepce, in 1814. Niepce discovered what was known as “Camera Obsucra,”a soon to be common form of photography in that time. Camera Obscura is Latin for darkened chamber room, for it was the process of using a device that had a room with a hole in one side. The hole, also known as a pinhole, was used to project an external scene through it and onto a surface inside the room or “box,” the smaller the pinhole the sharper the image. Once the re-image was projected onto the surface the artist or “photographer” could then trace the image with key precision, thus reproducing the image with amazing accuracy. Most often when using the Camera Obscura method, the image is projected at a rotated 180 degrees, but in the 1800’s, mirrors were positioned and repositioned to project the image right-side up. Although Niepce managed to capture a photographic image, it required over eight hours of light to expose the photograph and faded quickly afterwards. Not much time passed after this sensation hit that another one was on its way.
In this essay, the author
- Explains the art, process, and job of producing a permanent image by the action of radiant energy and light. they will go back centuries, researching the men who paved the road for the photography we all know in today's society.
- Explains that joseph niepce discovered the "camera obscura" method of photography in 1814. the pinhole was used to project an external scene onto a surface inside the room.
- Describes how the "daguerreotype" was procured by using a sheffield's plate, buffed by buffers, and exposed to iodine fumes by safelight.
- Explains the art, process, and job of producing a permanent image by the action of radiant energy and light. they will go back centuries, researching the men who paved the road for the photography we all know in today's society.
- Explains that joseph niepce discovered the "camera obscura" method of photography in 1814. the pinhole was used to project an external scene onto a surface inside the room.
- Describes how the "daguerreotype" was procured by using a sheffield's plate, buffed by buffers, and exposed to iodine fumes by safelight.
- Narrates how alexander wolcott aimed to improve on the daguerreotype by creating a concave reflective mirror camera that allowed people to take candid photographs and produce them in just five minutes.
- Describes how talbot patented the collotype process, which allowed people to make their negatives into positives while creating multiple copies of the positive.
- Explains that fredrick scott archer created a photographic process that only took two to three seconds of exposure to capture an image. the collodion process allowed microscopic detail for special purposes.
- Explains that thomas sutton's camera was patented in 1859, and that oliver wendell holmes' stereoscope viewer made objects appear 3-d and closer than they actually were.
- Explains richard leach maddox's dry plate silver bromide process, which contrasts the previous "wet plate process" by placing silver salts in a gelatin coating that went on paper.
- Explains how george eastman created and patented a kodak roll-film camera in 1898, which made camera’s handheld operations.
- Concludes that the first methods of this field were essential to the progression of photography. they were surprised by some of these methods, and were quite amazed by how their hobby was created.
- Cites bellis, mary, nelson, kenneth, and waltson, ken. the wet plate collodion process.
- Cites daniel, malcolm, henry talbot, the collotype process, and kremalicious. niepce’s camera obscura and the history of the first photograph
- Describes pederson, scholer, mark, and alternative photography's silver dry gelatin plate process.
- Describes thomas sutton's work on wikipedia and george eastman, the great idea finder.
- Explains nelson, kenneth, the daguerreian society, the wet plate collodion process, alternative photography, rss, 02. march 2010.
- Cites kretschman, matthais. niepce’s camera obscura and the history of the first photograph.
- Describes pederson, scholer, mark, and alternative photography's silver dry gelatin plate process.
1447 wordsRead More - Why Is Leonardo Da Vinci The Universal Mananalytical essayHe dedicated countless hours of research to studying ocular science before he concluded that “he could not depict correctly on canvas everything he saw with two eyes” (Wade, et al.). His studies of vision (Fig. 2) show the differences between a binocular view and a monocular view of an object. He found that a painting can only show a monocular view of the object, because when viewing an object with one eye, part of the background will not be visible; however, when viewing an object with two eyes, the viewer is able to see everything behind the object, because eye ‘s’ sees space ‘m x’ while eye ‘r’ sees space ‘x n’. In painting, this cannot be possible, because the painted object covers everything behind it. His findings were that “it is impossible for a painting even though executed with the greatest perfection of outline, shadow, light, and color to seem in the same relief as the natural model, unless that natural model is looked at from a great distance with one eye.” (Wade, et al.). These findings led him to abandon linear perspective in pursuit of atmospheric
In this essay, the author
- Explains that leonardo da vinci was a scientist, inventor, and arguably one of the most brilliant men to have ever lived. his passion for science and art drove him to attempt to unite the two fields.
- Explains how leonardo used linear perspective to create the illusion of three dimensions on a two-dimensional surface.
- Explains that leonardo felt linear perspective was optically unreliable, and searched for an effective method of displaying forms as they are viewed in nature.
- Explains that leonardo da vinci was a scientist, inventor, and arguably one of the most brilliant men to have ever lived. his passion for science and art drove him to attempt to unite the two fields.
- Explains how leonardo used linear perspective to create the illusion of three dimensions on a two-dimensional surface.
- Explains that leonardo felt linear perspective was optically unreliable, and searched for an effective method of displaying forms as they are viewed in nature.
- Analyzes how leonardo's atmospheric perspective created the illusion of depth by making objects at greater distance from the viewer appear less defined, and often less colorful, than nearer objects.
- Analyzes leonardo's use of geometric forms to give the painting a sense of balance and stability.
- Explains that leonardo produced some of the most popular, and naturalistic works of all time. his drive to understand the workings of human eye and man’s perception of nature led him to that success.
1168 wordsRead More - Rise of Photography in the World of Artexplanatory essayPhotography is traced back to France in the 1800’s where the camera obscura was invented and in the late 1820’s to the 1830’s where a French inventor by the name of Joseph Nicéphore Niépce, invented the first camera and printed the first photograph on paper he is also credited with taking the first photograph1, but he wasn’t the only one working on this new invention, there were many others during this time period inventing different parts and making the camera better with each invention. It took time and many different inventors over years to create a process where they could turn a negative into a photo. By the late 1800’s photography was rising in popularity due to more families wanting portraits done and not being able to afford an artist for a sitting or being able to sit for such long periods though this wasn’t very favourable because it was so fragile and expensive to use and carry around.
In this essay, the author
- Explains that the rise of photography began in the early 1830's in france, and has been debated if it deserves its place in art world.
- Explains that photography dates back to france in the 1800s where the camera obscura was invented, and in 1820s to 1830s when joseph nicéphore niépce invented the first camera.
- Explains that the advent of photography challenged the realist tradition that had predominated since the renaissance.
- Explains that the rise of photography began in the early 1830's in france, and has been debated if it deserves its place in art world.
- Explains that photography dates back to france in the 1800s where the camera obscura was invented, and in 1820s to 1830s when joseph nicéphore niépce invented the first camera.
- Explains that the advent of photography challenged the realist tradition that had predominated since the renaissance.
- Explains that in the united states there was a less expensive and more durable portable camera for photographers to use to take sitting portraits of families being developed.
- Explains that the first colour photograph2 was produced in 1861 by james clark maxwell, using primary colours and using those to create a color photograph during the editing process.
- Describes how the lumiere brothers in france created the first colour film, and kodak's first commercial camera in america changed the world of art and how we view our own world.
- Describes how the introduction of the kodak camera challenged the notion that photography could be art. photographers around the world were using this new technology and capturing first moments that are now a "moment in history."
- Describes the different types of photography that started booming at this point, such as glamour/fashion, media, photojournalism, and wildlife.
- Explains that landscape photographers were using this to their advantage and creating photographs that rivaled the best landscape painting. new ways to use the camera and its devices were coming into play every year.
- Opines that if it weren't for this new technology, we would have never seen buzz aldrin3 walking on the moon for ourselves, and earth from outer space. steve mccurry stumbled into an afghan village and took a photograph.
- Explains that photography has become more popular in the 20th century and 21st century. professional photographers use digital technology to create professional quality photographs.
- Explains that in 1990 the editing process was easier for amateur photographers, with the release of adobe photoshop, and nikon released its first digital slr camera, pushing out the need for film to be developed. kodak stopped producing film cameras.
- Explains that photography is about capturing a moment, or an image and sealing it in time. great photographers have captured images for us in the national geographic and galleries and in vogue magazine.
- Explains that when people see a great painting or work of art, they tend to say, "wow, this really looks like an image." some people believe that being an artist is about creating great art to make it look realistic.
- Explains that photography is about patience and waiting for the right moment. many great photographers edit their photos in camera instead of relying on an editing process like photoshop. film photographers have to be great at this.
- Explains that art and photography go hand in hand. artists use a camera to take everyday photos and then turn them into these images that ordinary people might not be able to reproduce.
- Cites lovejoy's "art, technology, and postmodernism: paradigms, parallels and paradoxes" and roberts' "summary, photography, chapter 26 progress and its discontents:
1437 wordsRead More - Ibn al Haythamexplanatory essayDuring his wide studies of optics, Alhazen was first to challenge the Greek’s theory of how the light comes out of the eye, and disproved it by proving how light bounces off of object and goes into our eye. To prove this, he studied the eye works itself using knowledge of previous scholars and dissection. Using this, he started to explain how light enters the eye, is focused and then gets projected to the back of the eye, where the image will be flipped upside down. With this knowledge, he was able to study the pinhole camera, which is one of his inventions. His concept of a pinhole camera is simple: a box with a tiny hole on one side is able to project an image of whatever is outside onto a side of the box on the inside.
In this essay, the author
- Describes ibn al haytham, a muslim innovator born in 965 in basra, who invented the first pinhole camera and camera obscura. before alhazen, scientists believed that they did not have to scientifically prove their findings.
- Explains how alhazen challenged the greek's theory of how the light comes out of the eye and disproved it by proving how light bounces off of object and goes into our eye.
- Explains that alhazen's creation of the pinhole camera is the reason why cameras and other important inventions were created, such as eye-glasses, magnifying glasses and telescopes.
- Describes ibn al haytham, a muslim innovator born in 965 in basra, who invented the first pinhole camera and camera obscura. before alhazen, scientists believed that they did not have to scientifically prove their findings.
- Explains how alhazen challenged the greek's theory of how the light comes out of the eye and disproved it by proving how light bounces off of object and goes into our eye.
- Explains that alhazen's creation of the pinhole camera is the reason why cameras and other important inventions were created, such as eye-glasses, magnifying glasses and telescopes.
- Explains that alhazen's studies and methods have helped shape the science we know today.
- Explains that alhazen wrote numerous books on astronomy in the early 11th century. he refuted astrology as a scientific subject, stating that it contradicts one of the main ideas of islam — that god is the cause of all things.
- Explains that alhazen invented two things- camera obscula and a pinhole camera. he is most known for writing his book "kitâb al-manâzir" which is the book of optics.
642 wordsRead More - Analysis of Desity Variation by Shadowgraphyexplanatory essayShadowgraphy is one of the oldest and simplest of the flow visualization techniques. Robert Hooke was the first person to study the Schlieren and Shadowgraphy techniques around 1665. He studied the shadow of plumes of a burning candle casted by sun on a white paper [1]. Hooke published these work in Micrographia [2]. In 1780, Jean Paul Marat published a volume on the physics of fire that contains apparently the first optical flow visualization image ever printed [1]. Ernst Mach mentioned several outdoor shadowgraph and schlieren visualizations in his Popular Scientific Lectures [3]. Cooper and Rathert [4] first studied the use of sunlight shadowgraphy to reveal shock wave locations on high-speed aircraft wings [3].
In this essay, the author
- Explains that n is the number density of the material molecules, and the molecular polarizability. for materials with low density, refractive index is near one.
- Analyzes the relation between the intensity of light on screen and light transmitted from source.
- Explains that if i is the intensity of light on screen, yo is distance between two parallel rays, and the final distance after refraction, then l is a test section's distance.
- Explains that n is the number density of the material molecules, and the molecular polarizability. for materials with low density, refractive index is near one.
- Analyzes the relation between the intensity of light on screen and light transmitted from source.
- Explains that if i is the intensity of light on screen, yo is distance between two parallel rays, and the final distance after refraction, then l is a test section's distance.
- Explains that ‘z’ is direction along which ray of light travels and ‘x’, ‘y’ are horizontal and vertical directions on screen.
- Explains that the experiment was performed in dark so as to avoid interference of other light sources. the shadow shows the plumes of air due to convection caused by the burning of the candle.
- Explains that edge detection is one of the methods of image processing.
- Explains that the analysis was done using the image processing toolbox of mathworks matlab 2012a.
- Explains that these two images were converted to grayscale image in matlab and background was subtracted from the shadowgraph image.
- Explains how canny edge detector algorithm was applied to the final image. the image obtained is shown in figure 3.
- Explains that the edges in the image can be clearly seen. they are nothing but the pixels where there is sharp change in intensity.
- Explains cooper, g.e., and rathert, ga, visual observations of the shock wave in flight, naca, 1948.
- Explains the relationship of refractive index to mass density and self-consistency of mixing rules for multicomponent mixtures like ambient aerosols.
- Explains hui hu, flow visualization techniques: shadowgraph and schlieren, aere 344 lecture notes, iowa state university.
- Explains that shadowgraphy is one of the oldest and simplest flow visualization techniques. hooke was the first person to study the schlieren and shadowgraphy techniques around 1665.
- Explains that the most powerful edge-detection method that edge provides is the canny method. the canny method uses two different thresholds to detect strong and weak edges.
1198 wordsRead More