{"id":490,"date":"2015-04-28T21:01:00","date_gmt":"2015-04-28T21:01:00","guid":{"rendered":"https:\/\/courses.candelalearning.com\/masteryart1x6xmaster\/?post_type=chapter&p=490"},"modified":"2015-06-07T19:45:09","modified_gmt":"2015-06-07T19:45:09","slug":"reading-early-photography","status":"publish","type":"chapter","link":"https:\/\/courses.lumenlearning.com\/mcc-artappreciation\/chapter\/reading-early-photography\/","title":{"raw":"Reading: Early Photography","rendered":"Reading: Early Photography"},"content":{"raw":"By modern standards, nineteenth-century photography can appear rather primitive. While the stark black and white landscapes and unsmiling people have their own austere beauty, these images also challenge our notions of what defines a work of art.\r\n\r\n[caption id=\"\" align=\"alignright\" width=\"325\"]\"Joseph Joseph Nic\u00e9phore Ni\u00e9pce,\u00a0View from the Window at Gras, 1826[\/caption]\r\n\r\nPhotography is a controversial fine art medium, simply because it is difficult to classify\u2014is it an art or a science? Nineteenth-century photographers struggled with this distinction, trying to reconcile aesthetics with improvements in technology.\r\n

The Birth of Photography<\/h2>\r\nAlthough the principle of the camera was known in antiquity, the actual chemistry needed to register an image was not available until the nineteenth century.\r\n\r\nArtists from the Renaissance onwards used a camera obscura (Latin for dark chamber), or a small hole in the wall of a darkened box that would pass light through the hole and project an upside down image of whatever was outside the box. However, it was not until the invention of a light sensitive surface by Frenchman Joseph Nic\u00e9phore Ni\u00e9pce that the basic principle of photography was born.\r\n\r\nFrom this point the development of photography largely related to technological improvements in three areas, speed, resolution and permanence. The first photographs, such as Niepce\u2019s famous View from the Window at Gras<\/i> (1826) required a very slow speed (a long exposure period), in this case about eight hours, obviously making many subjects difficult, if not impossible, to photograph. Taken using a camera obscura to expose a copper plate coated in silver and pewter,\u00a0Niepce\u2019s image looks out of an upstairs window, and part of the blurry quality is due to changing conditions during the long exposure time, causing the resolution, or clarity of the image, to be grainy and hard to read. An additional challenge was the issue of permanence, or how to successfully stop any further reaction of the light sensitive surface once the desired exposure had been achieved. Many of Niepce\u2019s early images simply turned black over time due to continued exposure to light. This problem was largely solved in 1839 by the invention of hypo, a chemical that reversed the light sensitivity of paper.\r\n\r\n[caption id=\"\" align=\"aligncenter\" width=\"560\"]\"louis Louis Daguerre, The Artist's Studio, 1837, daguerreotype[\/caption]\r\n

Technological Improvements<\/h2>\r\nPhotographers after Niepce experimented with a variety of techniques. Louis Daguerre invented a new process he dubbed a daguerrotype in 1839, which significantly reduced exposure time and created a lasting result, but only produced a single image.\r\n\r\n[caption id=\"\" align=\"aligncenter\" width=\"540\"]\"Talbot, William Henry Fox Talbot, The Open Door, 1844, Salted paper print from paper negative[\/caption]\r\n\r\nAt the same time, Englishman William Henry Fox Talbot was experimenting with his what would eventually become his calotype method, patented in February 1841. Talbot\u2019s innovations included the creation of a paper negative, and new technology that involved the transformation of the negative to a positive image, allowing for more that one copy of the picture. The remarkable detail of Talbot\u2019s method can be see in his famous photograph, The Open Door<\/i>(1844) which captures the view through a medieval-looking entrance. The texture of the rough stones surrounding the door, the vines growing up the walls and the rustic broom that leans in the doorway demonstrate the minute details captured by Talbot\u2019s photographic improvements.\r\n\r\n[caption id=\"\" align=\"alignright\" width=\"357\"]\""Nadar Honor\u00e9 Daumier, Nadar \u00e9levant la Photographie \u00e0 la hauteur de l'Art (Nadar elevating Photography to Art), lithograph from Le Boulevard, May 25, 1863[\/caption]\r\n\r\nThe collodion method was introduced in 1851. This process involved fixing a substance known as gun cotton onto a glass plate, allowing for an even shorter exposure time (3\u20135 minutes), as well as a clearer image.\r\n\r\nThe big disadvantage of the collodion process was that it needed to be exposed and developed while the chemical coating was still wet, meaning that photographers had to carry portable darkrooms to develop images immediately after exposure. Both the difficulties of the method and uncertain but growing status of photography were lampooned by Honore Daumier in his Nadar Elevating Photography to the Height of Art<\/i> (1862). Nadar, one of the most prominent photographers in Paris at the time, was known for capturing the first aerial photographs from the basket of a hot air balloon. Obviously, the difficulties in developing a glass negative under these circumstances must have been considerable.\r\n\r\n[caption id=\"\" align=\"alignright\" width=\"356\"]\"The Eadweard Muybridge, The Horse in Motion (\"Sallie Gardner,\" owned by Leland Stanford; running at a 1:40 gait over the Palo Alto track, 19 June 1878)[\/caption]\r\n\r\nFurther advances in technology continued to make photography less labor intensive. By 1867 a dry glass plate was invented, reducing the inconvenience of the wet collodion method.\r\n\r\nPrepared glass plates could be purchased, eliminating the need to fool with chemicals. In 1878, new advances decreased the exposure time to 1\/25th of a second, allowing moving objects to be photographed and lessening the need for a tripod. This new development is celebrated in Eadweard Maybridge\u2019s sequence of photographs called Galloping Horse (1878). Designed to settle the question of whether or not a horse ever takes all four legs completely off the ground during a gallop, the series of photographs also demonstrated the new photographic methods that were capable of nearly instantaneous exposure.\r\n\r\nFinally in 1888 George Eastman developed the dry gelatin roll film, making it easier for film to be carried. Eastman also produced the first small inexpensive cameras, allowing more people access to the technology.\r\n\r\nPhotographers in the nineteenth century were pioneers in a new artistic endeavor, blurring the lines between art and technology. Frequently using traditional methods of composition and marrying these with innovative techniques, photographers created a new vision of the material world. Despite the struggles early photographers must have had with the limitations of their technology, their artistry is also obvious.","rendered":"

By modern standards, nineteenth-century photography can appear rather primitive. While the stark black and white landscapes and unsmiling people have their own austere beauty, these images also challenge our notions of what defines a work of art.<\/p>\n

\"Joseph<\/p>\n

Joseph Nic\u00e9phore Ni\u00e9pce,\u00a0View from the Window at Gras, 1826<\/p>\n<\/div>\n

Photography is a controversial fine art medium, simply because it is difficult to classify\u2014is it an art or a science? Nineteenth-century photographers struggled with this distinction, trying to reconcile aesthetics with improvements in technology.<\/p>\n

The Birth of Photography<\/h2>\n

Although the principle of the camera was known in antiquity, the actual chemistry needed to register an image was not available until the nineteenth century.<\/p>\n

Artists from the Renaissance onwards used a camera obscura (Latin for dark chamber), or a small hole in the wall of a darkened box that would pass light through the hole and project an upside down image of whatever was outside the box. However, it was not until the invention of a light sensitive surface by Frenchman Joseph Nic\u00e9phore Ni\u00e9pce that the basic principle of photography was born.<\/p>\n

From this point the development of photography largely related to technological improvements in three areas, speed, resolution and permanence. The first photographs, such as Niepce\u2019s famous View from the Window at Gras<\/i> (1826) required a very slow speed (a long exposure period), in this case about eight hours, obviously making many subjects difficult, if not impossible, to photograph. Taken using a camera obscura to expose a copper plate coated in silver and pewter,\u00a0Niepce\u2019s image looks out of an upstairs window, and part of the blurry quality is due to changing conditions during the long exposure time, causing the resolution, or clarity of the image, to be grainy and hard to read. An additional challenge was the issue of permanence, or how to successfully stop any further reaction of the light sensitive surface once the desired exposure had been achieved. Many of Niepce\u2019s early images simply turned black over time due to continued exposure to light. This problem was largely solved in 1839 by the invention of hypo, a chemical that reversed the light sensitivity of paper.<\/p>\n

\"louis<\/p>\n

Louis Daguerre, The Artist’s Studio, 1837, daguerreotype<\/p>\n<\/div>\n

Technological Improvements<\/h2>\n

Photographers after Niepce experimented with a variety of techniques. Louis Daguerre invented a new process he dubbed a daguerrotype in 1839, which significantly reduced exposure time and created a lasting result, but only produced a single image.<\/p>\n

\"Talbot,<\/p>\n

William Henry Fox Talbot, The Open Door, 1844, Salted paper print from paper negative<\/p>\n<\/div>\n

At the same time, Englishman William Henry Fox Talbot was experimenting with his what would eventually become his calotype method, patented in February 1841. Talbot\u2019s innovations included the creation of a paper negative, and new technology that involved the transformation of the negative to a positive image, allowing for more that one copy of the picture. The remarkable detail of Talbot\u2019s method can be see in his famous photograph, The Open Door<\/i>(1844) which captures the view through a medieval-looking entrance. The texture of the rough stones surrounding the door, the vines growing up the walls and the rustic broom that leans in the doorway demonstrate the minute details captured by Talbot\u2019s photographic improvements.<\/p>\n

\""Nadar<\/p>\n

Honor\u00e9 Daumier, Nadar \u00e9levant la Photographie \u00e0 la hauteur de l’Art (Nadar elevating Photography to Art), lithograph from Le Boulevard, May 25, 1863<\/p>\n<\/div>\n

The collodion method was introduced in 1851. This process involved fixing a substance known as gun cotton onto a glass plate, allowing for an even shorter exposure time (3\u20135 minutes), as well as a clearer image.<\/p>\n

The big disadvantage of the collodion process was that it needed to be exposed and developed while the chemical coating was still wet, meaning that photographers had to carry portable darkrooms to develop images immediately after exposure. Both the difficulties of the method and uncertain but growing status of photography were lampooned by Honore Daumier in his Nadar Elevating Photography to the Height of Art<\/i> (1862). Nadar, one of the most prominent photographers in Paris at the time, was known for capturing the first aerial photographs from the basket of a hot air balloon. Obviously, the difficulties in developing a glass negative under these circumstances must have been considerable.<\/p>\n

\"The<\/p>\n

Eadweard Muybridge, The Horse in Motion (“Sallie Gardner,” owned by Leland Stanford; running at a 1:40 gait over the Palo Alto track, 19 June 1878)<\/p>\n<\/div>\n

Further advances in technology continued to make photography less labor intensive. By 1867 a dry glass plate was invented, reducing the inconvenience of the wet collodion method.<\/p>\n

Prepared glass plates could be purchased, eliminating the need to fool with chemicals. In 1878, new advances decreased the exposure time to 1\/25th of a second, allowing moving objects to be photographed and lessening the need for a tripod. This new development is celebrated in Eadweard Maybridge\u2019s sequence of photographs called Galloping Horse (1878). Designed to settle the question of whether or not a horse ever takes all four legs completely off the ground during a gallop, the series of photographs also demonstrated the new photographic methods that were capable of nearly instantaneous exposure.<\/p>\n

Finally in 1888 George Eastman developed the dry gelatin roll film, making it easier for film to be carried. Eastman also produced the first small inexpensive cameras, allowing more people access to the technology.<\/p>\n

Photographers in the nineteenth century were pioneers in a new artistic endeavor, blurring the lines between art and technology. Frequently using traditional methods of composition and marrying these with innovative techniques, photographers created a new vision of the material world. Despite the struggles early photographers must have had with the limitations of their technology, their artistry is also obvious.<\/p>\n\n\t\t\t

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Candela Citations<\/h3>\n\t\t\t\t\t
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CC licensed content, Shared previously<\/div>