Historical Photography Techniques

Photography has had a long but constantly developing history. Its uses have evolved right along with the technologies, giving us motion pictures, family photo albums, photo journalism and streaming video.

First Efforts

French inventor Joseph Nicephore Niepce used a camera obscura and a pewter plate coated with bitumen of Judeato in 1826 to invent the first photos. He burned a permanent image onto the plate, though it took eight hours of exposure. He named this process heliography.

Faster with Chemicals

Louis-Jacques-Mande Daguerre invented the daguerreotype process in 1839. It used silver compounds to develop the images. William Talbot also used silver compounds in his invention of the calotype process in 1840. This process created negative images for the first time.

Fast and Moving

In 1884, George Eastman developed photographic film and the use of glass plates ended. Instead, reflected light caused chemical reactions in the celluloid in the film. For a century, film ruled the photography world, both still and moving picture. The technology passed through a series of improvements from black-and-white to color and many formats.

Digital

Digital photography's beginnings culminated in 1986 when scientists from the Kodak company invented the megapixel sensor. It could record millions of pixels, which could be used to produce a digital photograph.

---

Photography has had a long but constantly developing history. Its uses have evolved right along with the technologies, giving us motion pictures, family photo albums, photo journalism and streaming video.

First Efforts

French inventor Joseph Nicephore Niepce used a camera obscura and a pewter plate coated with bitumen of Judeato in 1826 to invent the first photos. He burned a permanent image onto the plate, though it took eight hours of exposure. He named this process heliography.

Faster with Chemicals

Louis-Jacques-Mande Daguerre invented the daguerreotype process in 1839. It used silver compounds to develop the images. William Talbot also used silver compounds in his invention of the calotype process in 1840. This process created negative images for the first time.

Fast and Moving

In 1884, George Eastman developed photographic film and the use of glass plates ended. Instead, reflected light caused chemical reactions in the celluloid in the film. For a century, film ruled the photography world, both still and moving picture. The technology passed through a series of improvements from black-and-white to color and many formats.

Digital

Digital photography's beginnings culminated in 1986 when scientists from the Kodak company invented the megapixel sensor. It could record millions of pixels, which could be used to produce a digital photograph.

---

• 
  

  Discontinued Website Smithsonian Institution Archives

  siarchives.si.edu/about/discontinued-website

  Access the official records of the Smithsonian Institution and learn about its history, key events, people, and research.

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  About Photography

  photography.about.com

  About.com Photography is the place for photo lessons, tips, contests, reviews, friendly forums, free desktop wallpapers, and much more.

• 
  

  Photography Tips Facebook

  https://www.facebook.com/LearnPhotography

  Photography Tips, Mumbai (Bombay), India. 361,682 likes 64,693 talking about this.

• 
  

  Photography - Wikipedia, the free encyclopedia

  en.wikipedia.org/wiki/Photography

  Photography (derived from the Greek photos- for "light" and -graphos for "drawing") is the art, science, and practice of creating durable images by

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  History.com History Made Every Day American & World History

  www.history.comShows Games Videos See Full Schedule This Day in History

  Explore HISTORY shows, watch videos and full episodes, play games and access articles on historical topics at History.com.

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  Digital Photography Tips: Digital Photography School

  digital-photography-school.com

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  Photography tips and techniques: articles and guides from Photo

  photo.net/learn

  Portrait Photography, Macro Photography, Street Photography, Wedding Photography, Travel Photography, Stock Photography, Studio Lighting, Digital

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  Home page of History.org : The Colonial Williamsburg

  www.history.orgWebcams Tour The Town

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  Photography and Photos of the Day - National Geographic

  photography.nationalgeographic.comWallpapers Photo of The Day Landscapes Animals People and Culture

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  Photo Archive Main Index

  navsource.org

  Ship images, history, crew contacts, building, service and final fate information.

How to Manage Color With Apple ColorSync

How to Manage Color With Apple ColorSync. Apple's OS-X operating system offers a number of ways to manage color on your Mac. ColorSync is an Apple utility that has been around for years and is really designed for users who have some knowledge of color and color management. However, there are some features that can be used by novices as well. If you plan to manage color on your computer, it is important you have some knowledge of color and color profiles. I have included links in Resources below to assist you with the learning process. The following steps will help you to discover the basics of using ColorSync.

Instructions

1

Locate the ColorSync Utility, which is located under APPLICATION/UTILITIES in your finder window. Although you will see it displayed on your menu bar, there are no real settings to adjust. All procedures are performed from the applications tabs.

2

The first tab is PROFILE FIRST AID. When you click VERIFY, ColorSync will check all the profiles on your computer. If a problem is detected you can then select that profile and click repair. If ColorSync cannot repair the profile, you should delete the profile and create a new one using the Profile Assistant under DISPLAYS or by entering data directly in ColorSync to create a new profile.

3

The next tab lists all the profiles in your computer. Clicking on a profile will show the color gamut and information about the profile. Notice all the profiles will be listed, not just the display profiles. If you have created profiles they will be listed under USER. If you want to edit a profile, simply select the profile and click OPEN.

4

All the elements of the profile are displayed. Simply select an element and enter in the changes you want to make. This is not easy to do if you do not have experience in creating color profiles. There is no "assistant " to help you, and therefore you need to have some knowledge before making changes. This is the Media White Point Tri-Stimulus value. The "X" shows the white point and it will move after you change the value. When you are finished making your edits, save your profile under the FILE menu in the PROFILES folder.

5

The next tab allows you to view and edit the color profiles for devices. You can even open the factory profiles and edit them, although I recommend never doing this. The factory profiles are your baseline, and it is recommended not to change these. Notice the only device that is found is the printer. If my digital camera were connected, it would show under cameras and allow me to make changes to that profile. It will only list devices that are active on your computer.

6

The Filters tab allows the user to create filters for PDF rendering that have specific color dynamics. Each filter can be adjusted for the application, PDF workflow and for the target printer.

7

Finally, there is a color calculator which allows the user to select a color space, rendering intent and profile. You can adjust the calculator using the sliders or by entering in values. This allows the user to compare the values between profiles and rendering intents to determine which values to enter in the adjusted profile.

---

How to Manage Color With Apple ColorSync. Apple's OS-X operating system offers a number of ways to manage color on your Mac. ColorSync is an Apple utility that has been around for years and is really designed for users who have some knowledge of color and color management. However, there are some features that can be used by novices as well.

Enhance your photography skill,The Top Secret Photography Techniques

. If you plan to manage color on your computer, it is important you have some knowledge of color and color profiles. I have included links in Resources below to assist you with the learning process. The following steps will help you to discover the basics of using ColorSync.

Instructions

1

Locate the ColorSync Utility, which is located under APPLICATION/UTILITIES in your finder window. Although you will see it displayed on your menu bar, there are no real settings to adjust. All procedures are performed from the applications tabs.

2

The first tab is PROFILE FIRST AID. When you click VERIFY, ColorSync will check all the profiles on your computer. If a problem is detected you can then select that profile and click repair. If ColorSync cannot repair the profile, you should delete the profile and create a new one using the Profile Assistant under DISPLAYS or by entering data directly in ColorSync to create a new profile.

3

The next tab lists all the profiles in your computer. Clicking on a profile will show the color gamut and information about the profile. Notice all the profiles will be listed, not just the display profiles. If you have created profiles they will be listed under USER. If you want to edit a profile, simply select the profile and click OPEN.

4

All the elements of the profile are displayed. Simply select an element and enter in the changes you want to make. This is not easy to do if you do not have experience in creating color profiles. There is no "assistant " to help you, and therefore you need to have some knowledge before making changes. This is the Media White Point Tri-Stimulus value. The "X" shows the white point and it will move after you change the value. When you are finished making your edits, save your profile under the FILE menu in the PROFILES folder.

5

The next tab allows you to view and edit the color profiles for devices. You can even open the factory profiles and edit them, although I recommend never doing this. The factory profiles are your baseline, and it is recommended not to change these. Notice the only device that is found is the printer. If my digital camera were connected, it would show under cameras and allow me to make changes to that profile. It will only list devices that are active on your computer.

6

The Filters tab allows the user to create filters for PDF rendering that have specific color dynamics. Each filter can be adjusted for the application, PDF workflow and for the target printer.

7

Finally, there is a color calculator which allows the user to select a color space, rendering intent and profile. You can adjust the calculator using the sliders or by entering in values. This allows the user to compare the values between profiles and rendering intents to determine which values to enter in the adjusted profile.

---

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  Apple - Find Out How - Mac Basics

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  Buy iPod shuffle from the Apple Online Store, featuring multiple playlists, VoiceOver, and enough storage for hundreds of songs.

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  eBay Buying Guides - Electronics, Cars, Fashion, Collectibles ...

  www.ebay.com/gds

  No matter what you're buying from eBay, it's important that you're making well informed purchasing decisions. Our guides will lead you through the process.

How to Develop My Own Film for the First Time

Most photographers at some point in time will process their own film at home. Processing film is all about time and temperature. If you have the right film, in the right chemical at the right temperature then it will be developed correctly. Processing black and white film at home is the easiest and usually the first place to start. Color film and slide film have a few more steps in the process and the chemicals used are more toxic, requiring additional safety measures.

Instructions

How to Process Film for the First Time

1

Remove the exposed film from its' canister. This has to done in complete darkness. Any exposure to light will "fog" the film and either render it unusable or at best ruin only a portion of the film. You can either use a changing bag or an interior room in your house that is 100 percent dark when the door is closed and light is off. Use a bottle opener of small pliers to remove the top of the film canister then remove the film, handling it only by the edges.

2

Load film onto the reels. Once you have the film out of canister you have to load it on the reels. The film still cannot be exposed to light so this has to be done in complete darkness. This step is tricky and takes practice, if the film is not loaded correctly onto the reels and comes into contact with itself, the point where it is in contact will be ruined. Practice with test roll in normal light to get a sense of how the film loads onto these reels.

3

Place the reels into the processing tank and replace lid. Once both reels are inside the tank, and the lid is on, it is safe to turn the lights on or remove the tank from the changing bag.

4

Pour 20 ounces of the premixed photo developer in the tank using the light proof filling hole in the top of the lid. The developer should be mixed with water at 72 degrees. After all the developer is in the tank, agitate the film by rotating the tank a quarter turn as you hold it. Do this for 30 seconds, tap the tank on the table, and let the tank sit for 25 seconds. Agitate for five seconds, let sit for 25 seconds and repeat this process for the entire seven-minute developing time. At the end of seven minutes pour out and discard the developer.

5

Pour 20 ounces of mixed stop bath in the tank, agitate for 30 seconds, pour out and discard.

6

Pour 20 ounces of fixer solution you have pre-mixed into the tank and agitate for 15 seconds, and let sit for 45 seconds. The fixing process takes between four to eight minutes depending how fresh the solution is. Fixer can be reused; if you are using a fresh batch then allow the film to fix for four minutes, after which pour out and discard.

7

Wash the film with fresh water. Now the film can be safely viewed in normal light. Remove the top and rinse the film in the tank by running water through the tank for five minutes. After rinsing add two drops of "photo flo" chemical, turning the reels to ensure equal coverage.

8

Take the reels out of the tank, remove the film from the reels and using film clips hang the film for a minimum of two hours to dry.

9

Cut the film into strips of five or six frames and insert into negative sleeves that protect the negatives when being viewed and stored.

---

Most photographers at some point in time will process their own film at home. Processing film is all about time and temperature. If you have the right film, in the right chemical at the right temperature then it will be developed correctly. Processing black and white film at home is the easiest and usually the first place to start. Color film and slide film have a few more steps in the process and the chemicals used are more toxic, requiring additional safety measures.

Instructions

How to Process Film for the First Time

1

Remove the exposed film from its' canister. This has to done in complete darkness. Any exposure to light will "fog" the film and either render it unusable or at best ruin only a portion of the film. You can either use a changing bag or an interior room in your house that is 100 percent dark when the door is closed and light is off. Use a bottle opener of small pliers to remove the top of the film canister then remove the film, handling it only by the edges.

2

Load film onto the reels. Once you have the film out of canister you have to load it on the reels. The film still cannot be exposed to light so this has to be done in complete darkness. This step is tricky and takes practice, if the film is not loaded correctly onto the reels and comes into contact with itself, the point where it is in contact will be ruined. Practice with test roll in normal light to get a sense of how the film loads onto these reels.

3

Place the reels into the processing tank and replace lid. Once both reels are inside the tank, and the lid is on, it is safe to turn the lights on or remove the tank from the changing bag.

4

Pour 20 ounces of the premixed photo developer in the tank using the light proof filling hole in the top of the lid. The developer should be mixed with water at 72 degrees. After all the developer is in the tank, agitate the film by rotating the tank a quarter turn as you hold it. Do this for 30 seconds, tap the tank on the table, and let the tank sit for 25 seconds. Agitate for five seconds, let sit for 25 seconds and repeat this process for the entire seven-minute developing time. At the end of seven minutes pour out and discard the developer.

5

Pour 20 ounces of mixed stop bath in the tank, agitate for 30 seconds, pour out and discard.

6

Pour 20 ounces of fixer solution you have pre-mixed into the tank and agitate for 15 seconds, and let sit for 45 seconds. The fixing process takes between four to eight minutes depending how fresh the solution is. Fixer can be reused; if you are using a fresh batch then allow the film to fix for four minutes, after which pour out and discard.

7

Wash the film with fresh water. Now the film can be safely viewed in normal light. Remove the top and rinse the film in the tank by running water through the tank for five minutes. After rinsing add two drops of "photo flo" chemical, turning the reels to ensure equal coverage.

8

Take the reels out of the tank, remove the film from the reels and using film clips hang the film for a minimum of two hours to dry.

9

Cut the film into strips of five or six frames and insert into negative sleeves that protect the negatives when being viewed and stored.

---

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  BrandYourself.com: Take Control Of Your Own Google Results ...

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  https://www.facebook.com/business/build

  Your Page is the central place to grow your business, build your brand and develop relationships with your customers.

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  Get faster boot times in 4 simple steps - Tips, Reviews and Advice ...

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  Q. My computer takes forever to get up and running when I first turn it on. Even once it's on, it takes 5 minutes or so before I can actually use it for anything.

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  How to Create Your Own DIY Silent Retreat - 2. What to do

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Photo Rag Printing Tips

Photo rag is digital printing paper that is 100 percent cotton. It is used by professional and fine art photographers who want to create images that will maintain their quality for decades or more. When using photo rag paper, there are many options to consider that will affect the longevity of the print, and define the photographer's style.

Coating

Photo rag paper has a coating which helps to create a wide range of contrast and colors. Make sure you are printing on the coated surface. Sometimes this surface is visually apparent; other times you may have to refer to the paper instructions to determine the correct side. Some photo rag papers are coated on both sides.

Surfaces

Surface styles for photo rag paper range from glossy to matte. In between these may be pearl, semi-glossy and luster, though the terms and resulting paper surfaces may vary between manufacturers. Consider paper surface in picturing how dark the shadows of your print should be, as glossy paper will produce more black density (known as D-Max) than will a matte paper.

Weight

Weight of paper is often described in "gsm," or grams per square meter. Higher gsm values result in thicker paper. Paper manufacturers usually offer a sample pack that allows you to experiment with the different surfaces and thicknesses. Since your printer may not be able to accept a certain thickness of paper, or may print sharper on one surface versus another, sample packs are helpful.

Brightness

Brightness describes reflected light, with the number highest to 100 providing the brightest white highlights and greater contrast. Less bright papers may be called warm-tone, which produce creamier highlights and less contast. Some very bright papers achieve their look with a chemical called OBA, or Optical Brightening Agent. Whether or not OBA will slowly degrade the quality of your photo rag print is a debated topic, with some photographers opting to not use OBA-treated papers.

Ink

Most photographers making photo rag prints use high-quality inkjet printers. The best-quality of these printers will use pigment ink as opposed to dye ink. Though a pigment ink printer is more expensive, it is worth the investment if you are making the choice to print on photo rag paper. Certain printers have different inks for printing on different paper surfaces as well, such as a glossy black cartridge versus a matte black cartridge.

Printer Profiles

Printer profiles allow the computer to translate the colors seen on the monitor into the color produced by the printer. It is important to have the correct profile when working with a specific ink and paper combination. When starting to make photo rag prints, it is easiest to use the same manufacturer of paper as your printer because of the matching profile. Printer profiles may be downloaded for free, purchased, or custom-created using profiling software and a spectrometer.

Test Strips

Test strips are recommended before making a full-sized print. In your imaging software, select an area of your print that contains a full range of shadows, highlights, and mid-tones, or contains the most important colors in the image. If there is an undesirable result in the printed test strip, the printer profile may need to be adjusted. As a quick-fix, some photographers will resort instead to creating an adjustment layer in the imaging software that can be added to the image to change color saturation or contrast.

---

Photo rag is digital printing paper that is 100 percent cotton. It is used by professional and fine art photographers who want to create images that will maintain their quality for decades or more. When using photo rag paper, there are many options to consider that will affect the longevity of the print, and define the photographer's style.

Coating

Photo rag paper has a coating which helps to create a wide range of contrast and colors. Make sure you are printing on the coated surface. Sometimes this surface is visually apparent; other times you may have to refer to the paper instructions to determine the correct side.

Enhance your photography skill,The Top Secret Photography Techniques

. Some photo rag papers are coated on both sides.

Surfaces

Surface styles for photo rag paper range from glossy to matte. In between these may be pearl, semi-glossy and luster, though the terms and resulting paper surfaces may vary between manufacturers. Consider paper surface in picturing how dark the shadows of your print should be, as glossy paper will produce more black density (known as D-Max) than will a matte paper.

Weight

Weight of paper is often described in "gsm," or grams per square meter. Higher gsm values result in thicker paper. Paper manufacturers usually offer a sample pack that allows you to experiment with the different surfaces and thicknesses. Since your printer may not be able to accept a certain thickness of paper, or may print sharper on one surface versus another, sample packs are helpful.

Brightness

Brightness describes reflected light, with the number highest to 100 providing the brightest white highlights and greater contrast. Less bright papers may be called warm-tone, which produce creamier highlights and less contast. Some very bright papers achieve their look with a chemical called OBA, or Optical Brightening Agent. Whether or not OBA will slowly degrade the quality of your photo rag print is a debated topic, with some photographers opting to not use OBA-treated papers.

Ink

Most photographers making photo rag prints use high-quality inkjet printers. The best-quality of these printers will use pigment ink as opposed to dye ink. Though a pigment ink printer is more expensive, it is worth the investment if you are making the choice to print on photo rag paper. Certain printers have different inks for printing on different paper surfaces as well, such as a glossy black cartridge versus a matte black cartridge.

Printer Profiles

Printer profiles allow the computer to translate the colors seen on the monitor into the color produced by the printer. It is important to have the correct profile when working with a specific ink and paper combination. When starting to make photo rag prints, it is easiest to use the same manufacturer of paper as your printer because of the matching profile. Printer profiles may be downloaded for free, purchased, or custom-created using profiling software and a spectrometer.

Test Strips

Test strips are recommended before making a full-sized print. In your imaging software, select an area of your print that contains a full range of shadows, highlights, and mid-tones, or contains the most important colors in the image. If there is an undesirable result in the printed test strip, the printer profile may need to be adjusted. As a quick-fix, some photographers will resort instead to creating an adjustment layer in the imaging software that can be added to the image to change color saturation or contrast.

---

• 
  

  Postcard & Brochure Printing in San Francisco Digital Photo Printing

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  6 tips for printing from your smartphone: Connect

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• FapFab

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• Photo paper and cards, albums and software: inkjet paper,

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How to Repair Multicolor Lens Flares in Aperture Photos

Light bouncing off the inside of a lens causes lens flare. A bright light source pointed into the lens produces visible flare. Light shining evenly across an image produces glare. Sometimes these effects are desirable as in the photo of the plants to the left. Avoid unwanted lens flare effects by moving the subject or camera away from the light source or using attachments to change the angle of the light such as a lens hood or polarizing filter. Zoom lenses have more internal elements and are more prone to lens flare than prime lenses. Copy similar elements from the surrounding areas of your photograph to fix lens flare.

Instructions

1




Zoom image to insure all elements of the lens flare are fixed.

Launch Aperture software. Select an image to be edited. Zoom image to at least full size (keyboard shortcut Z). For detailed images, zoom even further so lens flare is magnified.

2

In Aperture 3, open the Quick Brush pop-up menu and select Retouch.

3

Select Clone within the Retouch dialogue box. Use the Radius slider to select the size of the area to be cloned.

4

Move your cursor (brush) over the area you want to copy. Option-Click to select that source area.

5

Move cursor (brush) to cover the lens flare to be fixed.

6

Save your image.

---

Light bouncing off the inside of a lens causes lens flare. A bright light source pointed into the lens produces visible flare. Light shining evenly across an image produces glare. Sometimes these effects are desirable as in the photo of the plants to the left. Avoid unwanted lens flare effects by moving the subject or camera away from the light source or using attachments to change the angle of the light such as a lens hood or polarizing filter. Zoom lenses have more internal elements and are more prone to lens flare than prime lenses. Copy similar elements from the surrounding areas of your photograph to fix lens flare.

Instructions

1




Zoom image to insure all elements of the lens flare are fixed.

Launch Aperture software. Select an image to be edited. Zoom image to at least full size (keyboard shortcut Z). For detailed images, zoom even further so lens flare is magnified.

2

In Aperture 3, open the Quick Brush pop-up menu and select Retouch.

3

Select Clone within the Retouch dialogue box. Use the Radius slider to select the size of the area to be cloned.

4

Move your cursor (brush) over the area you want to copy. Option-Click to select that source area.

5

Move cursor (brush) to cover the lens flare to be fixed.

6

Save your image.

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