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Length: Medium Languages: Photography. An art form invented in 1830s, becoming publicly recognised ten years later. Today, photography is the largest growing hobby in the world, with the hardware alone creating a multi-billion dollar industry. Not everyone knows what camera obscura or even shutter speed is, nor have many heard of Henri Cartier-Bresson or even Annie Leibovitz. In this article, we take a step back and take a look at how this fascinating technique was created and developed. Before Photography: Camera Obscura Before photography was created, people had figured out the basic principles of lenses and the camera. They could project the image on the wall or piece of paper, however no printing was possible at the time: recording light turned out to be a lot harder than projecting it. The instrument that people used for processing pictures was called the Camera Obscura (which is Latin for the dark room) and it was around for a few centuries before photography came along. It is believed that Camera Obscura was invented around 13-14th centuries, however there is a manuscript by an Arabian scholar Hassan ibn Hassan dated 10th century that describes the principles on which camera obscura works and on which analogue photography is based today. An illustration of camera obscura. Image: Public domain via Wikipedia Camera Obscura is essentially a dark, closed space in the shape of a box with a hole on one side of it. The hole has to be small enough in proportion to the box to make the camera obscura work properly. Light coming in through a tiny hole transforms and creates an image on the surface that it meets, like the wall of the box. The image is flipped and upside down, however, which is why modern analogue cameras have made use of mirrors. In the mid 16th century, Giovanni Battista della Porta, an Italian scholar, wrote an essay on how to use camera obscura to make the drawing process easier. He projected the image of people outside the camera obscura on the canvas inside of it (camera obscura was a rather big room in this case) and then drew over the image or tried to copy it. Giovanni Battista della Porta. Image: Public domain via Wikipedia The process of using camera obscura looked very strange and frightening for the people at those times. Giovanni Battista had to drop the idea after he was arrested and prosecuted on a charge of sorcery. Even though only few of the Renaissance artists admitted they used camera obscura as an aid in drawing, it is believed most of them did. The reason for not openly admitting it was the fear of being charged of association with occultism or simply not wanting to admit something many artists called cheating. Today we can state that camera obscura was a prototype of the modern photo camera. Many people still find it amusing and use it for artistic reasons or simply for fun. The First Photograph Installing film and permanently capturing an image was a logical progression. The first photo picture—as we know it—was taken in 1825 by a French inventor Joseph Nicéphore Niépce. It records a view from the window at Le Gras. The first photograph, taken by Joseph Nicéphore Niépce. Image: public domain via Wikipedia The exposure had to last for eight hours, so the sun in the picture had time to move from east to west appearing to shine on both sides of the building in the picture. Niepce came up with the idea of using a petroleum derivative called "Bitumen of Judea" to record the camera's projection. Bitumen hardens with exposure to light, and the unhardened material could then be washed away. The metal plate, which was used by Niepce, was then polished, rendering a negative image that could be coated with ink to produce a print. One of the problems with this method was that the metal plate was heavy, expensive to produce, and took a lot of time to polish. Joseph Nicéphore Niépce 1765-1833. Image: public domain via Wikipedia Photography Takes Off In 1839, Sir John Herschel came up with a way of making the first glass negative. The same year he coined the term photography, deriving from the Greek "fos" meaning light and "grafo"—to write. Even though the process became easier and the result was better, it was still a long time until photography was publicly recognized. At first, photography was either used as an aid in the work of an painter or followed the same principles the painters followed. The first publicly recognized portraits were usually portraits of one person, or family portraits. Finally, after decades of refinements and improvements, the mass use of cameras began in earnest with Eastman's Kodak's simple-but-relatively-reliable cameras. Kodak's camera went on to the market in 1888 with the slogan "You press the button, we do the rest. In 1900 the Kodak Brownie was introduced, becoming the first commercial camera in the market available for middle-class buyers. The camera only took black and white shots, but still was very popular due to its efficiency and ease of use. The first color photograph, a tartan ribbon, taken by James Clerk Maxwell Color Photography Color photography was explored throughout the 19th century, but didn't become truly commercially viable until the middle of the 20th century. Prior to this, color could not preserved for long; the images quickly degraded. Several methods of color photography were patented from 1862 by two French inventors: Louis Ducos du Hauron and Charlec Cros, working independently. The first practical color plate reached the market in 1907. The method it used was based on a screen of filters. The screen let filtered red, green and/or blue light through and then developed to a negative, later reversed to a positive. Applying the same screen later on in the process of the print resulted in a color photo that would be preserved. The technology, even though slightly altered, is the one that is still used in the processing. Red, green and blue are the primary colors for television and computer screens, hence the RGB modes in numerous imaging applications. The first color photo, an image of a tartan ribbon (above) was taken in 1861 by the famous Scottish physicist James Clerk Maxwell, who was famous for his work with electromagnetism. Despite the great influence his photograph had on the photo industry, Maxwell is rarely remembered for this as his inventions in the field of physics simply overshadowed this accomplishment. The First Photograph With People The first ever picture to have a human in it was Boulevard du Temple by Louis Daguerre, taken in 1838. The exposure lasted for about 10 minutes at the time, so it was barely possible for the camera to capture a person on the busy street, however it did capture a man who had his shoes polished for long enough to appear in the photo. Boulevard du Temple is by Louis Daguerre Notables in Photography At one time, photography was an unusual and perhaps even controversial practice. If not for the enthusiasts who persevered and indeed, pioneered, many techniques, we might not have the photographic styles, artists, and practitioners we have today. Here are just a few of the most influential people we can thank for many of the advances in photography. Alfred Stieglitz Photography became a part of day-to-day life and an art movement. One of the people behind photography as art was Alfred Stieglitz, an American photographer and a promoter of modern art. Alfred Stieglitz in 1902 Stieglitz said that photographers are artists. He, along with F. Holland Day, led the Photo-Secession, the first photography art movement whose primary task was to show that photography was not only about the subject of the picture but also the manipulation by the photographer that led to the subject being portrayed. Stieglitz set up various exhibitions where photos were judged by photographers. Stieglitz also promoted photography through newly established journals such "Camera Notes" and "Camera Work. Examples of Stieglitz's Work The Terminal—Alfred Steiglitz Songs of the Sky—Alfred Steiglitz Gaspard-Félix Tournachon (Felix Nadar) Felix Nadar (a pseudonym of Gaspard-Félix Tournachon) was a French caricaturist, journalist and—once photography emerged—a photographer. He is most famous for pioneering the use of artificial lightning in photography. Nadar was a good friend of Jules Verne and is said to have inspired Five Weeks in a Balloon after creating a 60 metre high balloon named Le Géant (The Giant. Nadar was credited for having published the first ever photo interview in 1886. Gaspard-Félix Tournachon (Felix Nadar) Nadar's portraits followed the same principles of a fine art portrait. He was known for depicting many famous people including Jules Verne, Alexander Dumas, Peter Kropotkin and George Sand. Examples of Nadar's Work Auguste Rodin—Nadar Emile Zola—Nadar Henri Cartier-Bresson Henri Cartier-Bresson was a French photographer who is most famous for creating the "street photography" style of photojournalism, using the new compact 35mm format (which we still use today. Around the age of 23, he became very interested in photography and abandoned painting for it. "I suddenly understood that a photograph could fix eternity in an instant, he would later explain. Strangely enough, he would take his first pictures all around the world but avoided his native France. His first exhibition took place in New York's Julien Levy Gallery in 1932. Cartier-Bresson's first journalistic photos were taken at the George VI coronation in London however none of those portrayed the King himself. The Frenchman's works have influenced generations of photo artists and journalists around the world. Despite being narrative in style, his works can also be seen as iconic artworks. Despite all the fame and impact, there are very few pictures of the man. He hated being photographed, as he was embarrassed of his fame. Examples of Cartier-Bresson's Work Trieste, Italy—Cartier-Bresson courtesy of Fondation Henri Cartier-Bresson Hyeres 1932—Cartier-Bresson courtesy of Fondation Henri Cartier-Bresson Looking Forward The next article in this series will look at the 1940s-80s, covering the invention of multi-layer color negatives through to the introduction of Polaroid and Fujifilm instant cameras. We'll also investigate the how photography became a tool of propaganda and why it came to be used in advertising products and promotion. More Articles You Might Like Take a closer look at a photo from 1894 showing Frederick Douglass and his grandson, Joseph Douglass, from the National Museum of African American History... A practical process was available for color photography by the 1930s, but it took decades for color images to be fully accepted by newspapers and the fine... Let's go west with Dorothea Lange's crucial depictions of a region in crisis during the 1930's. Printed photographs are, unfortunately, always degrading. The process of taking a film photograph is a chemical process. When you apply fixer, you slow the... The story of women in photography is still a work in progress. Its not a fairy tale but its also not a tragedy. In celebration of International Womens... In a broader context, we usually see photographs that have been preserved and restored from important moments in history. Hindsight's a wonderful thing, and... In the middle of President Roosevelt's "New Deal. a group was assembled to fight the effects of poverty among rural areas of the United States during the... Why does knowing something about your archive photograph matter? Here we'll look at some of the reasons and how you can find out about your own archive images. The first part in our "History of Photography" series took a look at Camera Obscura, the invention of the camera, and introduced us to some of the very first...

The photograph free full sun. Photography free lessons. Photography Lens and mounting of a large-format camera Other names Science or art of creating durable images Types Recording light or other electromagnetic radiation Inventor Thomas Wedgwood (1800) Related Stereoscopic, Full-spectrum, Light field, Electrophotography, Photograms, Scanner Photography is the art, application and practice of creating durable images by recording light or other electromagnetic radiation, either electronically by means of an image sensor, or chemically by means of a light-sensitive material such as photographic film. It is employed in many fields of science, manufacturing (e. g., photolithography) and business, as well as its more direct uses for art, film and video production, recreational purposes, hobby, and mass communication. [1] Typically, a lens is used to focus the light reflected or emitted from objects into a real image on the light-sensitive surface inside a camera during a timed exposure. With an electronic image sensor, this produces an electrical charge at each pixel, which is electronically processed and stored in a digital image file for subsequent display or processing. The result with photographic emulsion is an invisible latent image, which is later chemically "developed" into a visible image, either negative or positive depending on the purpose of the photographic material and the method of processing. A negative image on film is traditionally used to photographically create a positive image on a paper base, known as a print, either by using an enlarger or by contact printing. Etymology [ edit] The word "photography" was created from the Greek roots φωτός ( phōtos) genitive of φῶς ( phōs. light" 2] and γραφή ( graphé) representation by means of lines" or "drawing. 3] together meaning "drawing with light. 4] Several people may have coined the same new term from these roots independently. Hercules Florence, a French painter and inventor living in Campinas, Brazil, used the French form of the word, photographie, in private notes which a Brazilian historian believes were written in 1834. [5] This claim is widely reported but is not yet largely recognized internationally. The first use of the word by the Franco-Brazilian inventor became widely known after the research of Boris Kossoy in 1980. [6] The German newspaper Vossische Zeitung of 25 February 1839 contained an article entitled Photographie, discussing several priority claims – especially Henry Fox Talbot 's – regarding Daguerre's claim of invention. [7] The article is the earliest known occurrence of the word in public print. [8] It was signed "J. M. believed to have been Berlin astronomer Johann von Maedler. [9] The astronomer Sir John Herschel is also credited with coining the word, independent of Talbot, in 1839. [10] The inventors Nicéphore Niépce, Henry Fox Talbot and Louis Daguerre seem not to have known or used the word "photography" but referred to their processes as "Heliography" Niépce. Photogenic Drawing" Talbotype" Calotype" Talbot) and "Daguerreotype" Daguerre. 9] History [ edit] Precursor technologies [ edit] A camera obscura used for drawing Photography is the result of combining several technical discoveries, relating to seeing an image and capturing the image. The discovery of the camera obscura ( dark chamber" in Latin) that provides an image of a scene dates back to ancient China. Greek mathematicians Aristotle and Euclid independently described a camera obscura in the 5th and 4th centuries BCE. [11] 12] In the 6th century CE, Byzantine mathematician Anthemius of Tralles used a type of camera obscura in his experiments. [13] The Arab physicist Ibn al-Haytham (Alhazen) 965–1040) also invented a camera obscura as well as the first true pinhole camera. [12] 14] 15] The invention of the camera has been traced back to the work of Ibn al-Haytham. [16] While the effects of a single light passing through a pinhole had been described earlier, 16] Ibn al-Haytham gave the first correct analysis of the camera obscura, 17] including the first geometrical and quantitative descriptions of the phenomenon, 18] and was the first to use a screen in a dark room so that an image from one side of a hole in the surface could be projected onto a screen on the other side. [19] He also first understood the relationship between the focal point and the pinhole, 20] and performed early experiments with afterimages, laying the foundations for the invention of photography in the 19th century. [15] Leonardo da Vinci mentions natural camera obscura that are formed by dark caves on the edge of a sunlit valley. A hole in the cave wall will act as a pinhole camera and project a laterally reversed, upside down image on a piece of paper. Renaissance painters used the camera obscura which, in fact, gives the optical rendering in color that dominates Western Art. It is a box with a hole in it which allows light to go through and create an image onto the piece of paper. The birth of photography was then concerned with inventing means to capture and keep the image produced by the camera obscura. Albertus Magnus (1193–1280) discovered silver nitrate, 21] and Georg Fabricius (1516–1571) discovered silver chloride, 22] and the techniques described in Ibn al-Haytham 's Book of Optics are capable of producing primitive photographs using medieval materials. [23] 24] Daniele Barbaro described a diaphragm in 1566. [25] Wilhelm Homberg described how light darkened some chemicals (photochemical effect) in 1694. [26] The fiction book Giphantie, published in 1760, by French author Tiphaigne de la Roche, described what can be interpreted as photography. [25] Around the year 1800, British inventor Thomas Wedgwood made the first known attempt to capture the image in a camera obscura by means of a light-sensitive substance. He used paper or white leather treated with silver nitrate. Although he succeeded in capturing the shadows of objects placed on the surface in direct sunlight, and even made shadow copies of paintings on glass, it was reported in 1802 that "the images formed by means of a camera obscura have been found too faint to produce, in any moderate time, an effect upon the nitrate of silver. The shadow images eventually darkened all over. [27] Invention [ edit] Earliest known surviving heliographic engraving, 1825, printed from a metal plate made by Nicéphore Niépce. [28] The plate was exposed under an ordinary engraving and copied it by photographic means. This was a step towards the first permanent photograph taken with a camera. The first permanent photoetching was an image produced in 1822 by the French inventor Nicéphore Niépce, but it was destroyed in a later attempt to make prints from it. [28] Niépce was successful again in 1825. In 1826 or 1827, he made the View from the Window at Le Gras, the earliest surviving photograph from nature (i. e., of the image of a real-world scene, as formed in a camera obscura by a lens. 29] Because Niépce's camera photographs required an extremely long exposure (at least eight hours and probably several days) he sought to greatly improve his bitumen process or replace it with one that was more practical. In partnership with Louis Daguerre, he worked out post-exposure processing methods that produced visually superior results and replaced the bitumen with a more light-sensitive resin, but hours of exposure in the camera were still required. With an eye to eventual commercial exploitation, the partners opted for total secrecy. Niépce died in 1833 and Daguerre then redirected the experiments toward the light-sensitive silver halides, which Niépce had abandoned many years earlier because of his inability to make the images he captured with them light-fast and permanent. Daguerre's efforts culminated in what would later be named the daguerreotype process. The essential elements—a silver-plated surface sensitized by iodine vapor, developed by mercury vapor, and "fixed" with hot saturated salt water—were in place in 1837. The required exposure time was measured in minutes instead of hours. Daguerre took the earliest confirmed photograph of a person in 1838 while capturing a view of a Paris street: unlike the other pedestrian and horse-drawn traffic on the busy boulevard, which appears deserted, one man having his boots polished stood sufficiently still throughout the several-minutes-long exposure to be visible. The existence of Daguerre's process was publicly announced, without details, on 7 January 1839. The news created an international sensation. France soon agreed to pay Daguerre a pension in exchange for the right to present his invention to the world as the gift of France, which occurred when complete working instructions were unveiled on 19 August 1839. In that same year, American photographer Robert Cornelius is credited with taking the earliest surviving photographic self-portrait. A latticed window in Lacock Abbey, England, photographed by William Fox Talbot in 1835. Shown here in positive form, this may be the oldest extant photographic negative made in a camera. In Brazil, Hercules Florence had apparently started working out a silver-salt-based paper process in 1832, later naming it Photographie. Meanwhile, a British inventor, William Fox Talbot, had succeeded in making crude but reasonably light-fast silver images on paper as early as 1834 but had kept his work secret. After reading about Daguerre's invention in January 1839, Talbot published his hitherto secret method and set about improving on it. At first, like other pre-daguerreotype processes, Talbot's paper-based photography typically required hours-long exposures in the camera, but in 1840 he created the calotype process, which used the chemical development of a latent image to greatly reduce the exposure needed and compete with the daguerreotype. In both its original and calotype forms, Talbot's process, unlike Daguerre's, created a translucent negative which could be used to print multiple positive copies; this is the basis of most modern chemical photography up to the present day, as daguerreotypes could only be replicated by rephotographing them with a camera. [30] Talbot's famous tiny paper negative of the Oriel window in Lacock Abbey, one of a number of camera photographs he made in the summer of 1835, may be the oldest camera negative in existence. [31] 32] In France, Hippolyte Bayard invented his own process for producing direct positive paper prints and claimed to have invented photography earlier than Daguerre or Talbot. [33] British chemist John Herschel made many contributions to the new field. He invented the cyanotype process, later familiar as the "blueprint. He was the first to use the terms "photography. negative" and "positive. He had discovered in 1819 that sodium thiosulphate was a solvent of silver halides, and in 1839 he informed Talbot (and, indirectly, Daguerre) that it could be used to "fix" silver-halide-based photographs and make them completely light-fast. He made the first glass negative in late 1839. In the March 1851 issue of The Chemist, Frederick Scott Archer published his wet plate collodion process. It became the most widely used photographic medium until the gelatin dry plate, introduced in the 1870s, eventually replaced it. There are three subsets to the collodion process; the Ambrotype (a positive image on glass) the Ferrotype or Tintype (a positive image on metal) and the glass negative, which was used to make positive prints on albumen or salted paper. Many advances in photographic glass plates and printing were made during the rest of the 19th century. In 1891, Gabriel Lippmann introduced a process for making natural-color photographs based on the optical phenomenon of the interference of light waves. His scientifically elegant and important but ultimately impractical invention earned him the Nobel Prize in Physics in 1908. Glass plates were the medium for most original camera photography from the late 1850s until the general introduction of flexible plastic films during the 1890s. Although the convenience of the film greatly popularized amateur photography, early films were somewhat more expensive and of markedly lower optical quality than their glass plate equivalents, and until the late 1910s they were not available in the large formats preferred by most professional photographers, so the new medium did not immediately or completely replace the old. Because of the superior dimensional stability of glass, the use of plates for some scientific applications, such as astrophotography, continued into the 1990s, and in the niche field of laser holography, it has persisted into the 2010s. Film [ edit] Undeveloped Arista black-and-white film, ISO 125/22 Hurter and Driffield began pioneering work on the light sensitivity of photographic emulsions in 1876. Their work enabled the first quantitative measure of film speed to be devised. The first flexible photographic roll film was marketed by George Eastman, founder of Kodak in 1885, but this original "film" was actually a coating on a paper base. As part of the processing, the image-bearing layer was stripped from the paper and transferred to a hardened gelatin support. The first transparent plastic roll film followed in 1889. It was made from highly flammable nitrocellulose. celluloid. now usually called " nitrate film. Although cellulose acetate or " safety film " had been introduced by Kodak in 1908, 34] at first it found only a few special applications as an alternative to the hazardous nitrate film, which had the advantages of being considerably tougher, slightly more transparent, and cheaper. The changeover was not completed for X-ray films until 1933, and although safety film was always used for 16 mm and 8 mm home movies, nitrate film remained standard for theatrical 35 mm motion pictures until it was finally discontinued in 1951. Films remained the dominant form of photography until the early 21st century when advances in digital photography drew consumers to digital formats. [35] Although modern photography is dominated by digital users, film continues to be used by enthusiasts and professional photographers. The distinctive "look" of film based photographs compared to digital images is likely due to a combination of factors, including: 1) differences in spectral and tonal sensitivity (S-shaped density-to-exposure (H&D curve) with film vs. linear response curve for digital CCD sensors) 36] 2) resolution and (3) continuity of tone. [37] Black-and-white [ edit] Originally, all photography was monochrome, or black-and-white. Even after color film was readily available, black-and-white photography continued to dominate for decades, due to its lower cost and its "classic" photographic look. The tones and contrast between light and dark areas define black-and-white photography. [38] It is important to note that monochromatic pictures are not necessarily composed of pure blacks, whites, and intermediate shades of gray but can involve shades of one particular hue depending on the process. The cyanotype process, for example, produces an image composed of blue tones. The albumen print process first used more than 170 years ago, produces brownish tones. Many photographers continue to produce some monochrome images, sometimes because of the established archival permanence of well-processed silver-halide-based materials. Some full-color digital images are processed using a variety of techniques to create black-and-white results, and some manufacturers produce digital cameras that exclusively shoot monochrome. Monochrome printing or electronic display can be used to salvage certain photographs taken in color which are unsatisfactory in their original form; sometimes when presented as black-and-white or single-color-toned images they are found to be more effective. Although color photography has long predominated, monochrome images are still produced, mostly for artistic reasons. Almost all digital cameras have an option to shoot in monochrome, and almost all image editing software can combine or selectively discard RGB color channels to produce a monochrome image from one shot in color. Color [ edit] Color photography was explored beginning in the 1840s. Early experiments in color required extremely long exposures (hours or days for camera images) and could not "fix" the photograph to prevent the color from quickly fading when exposed to white light. The first permanent color photograph was taken in 1861 using the three-color-separation principle first published by Scottish physicist James Clerk Maxwell in 1855. [39] 40] The foundation of virtually all practical color processes, Maxwell's idea was to take three separate black-and-white photographs through red, green and blue filters. [39] 40] This provides the photographer with the three basic channels required to recreate a color image. Transparent prints of the images could be projected through similar color filters and superimposed on the projection screen, an additive method of color reproduction. A color print on paper could be produced by superimposing carbon prints of the three images made in their complementary colors, a subtractive method of color reproduction pioneered by Louis Ducos du Hauron in the late 1860s. Color photography was possible long before Kodachrome, as this 1903 portrait by Sarah Angelina Acland demonstrates, but in its earliest years, the need for special equipment, long exposures, and complicated printing processes made it extremely rare. Russian photographer Sergei Mikhailovich Prokudin-Gorskii made extensive use of this color separation technique, employing a special camera which successively exposed the three color-filtered images on different parts of an oblong plate. Because his exposures were not simultaneous, unsteady subjects exhibited color "fringes" or, if rapidly moving through the scene, appeared as brightly colored ghosts in the resulting projected or printed images. Implementation of color photography was hindered by the limited sensitivity of early photographic materials, which were mostly sensitive to blue, only slightly sensitive to green, and virtually insensitive to red. The discovery of dye sensitization by photochemist Hermann Vogel in 1873 suddenly made it possible to add sensitivity to green, yellow and even red. Improved color sensitizers and ongoing improvements in the overall sensitivity of emulsions steadily reduced the once-prohibitive long exposure times required for color, bringing it ever closer to commercial viability. Autochrome, the first commercially successful color process, was introduced by the Lumière brothers in 1907. Autochrome plates incorporated a mosaic color filter layer made of dyed grains of potato starch, which allowed the three color components to be recorded as adjacent microscopic image fragments. After an Autochrome plate was reversal processed to produce a positive transparency, the starch grains served to illuminate each fragment with the correct color and the tiny colored points blended together in the eye, synthesizing the color of the subject by the additive method. Autochrome plates were one of several varieties of additive color screen plates and films marketed between the 1890s and the 1950s. Kodachrome, the first modern "integral tripack" or "monopack" color film, was introduced by Kodak in 1935. It captured the three color components in a multi-layer emulsion. One layer was sensitized to record the red-dominated part of the spectrum, another layer recorded only the green part and a third recorded only the blue. Without special film processing, the result would simply be three superimposed black-and-white images, but complementary cyan, magenta, and yellow dye images were created in those layers by adding color couplers during a complex processing procedure. Agfa's similarly structured Agfacolor Neu was introduced in 1936. Unlike Kodachrome, the color couplers in Agfacolor Neu were incorporated into the emulsion layers during manufacture, which greatly simplified the processing. Currently, available color films still employ a multi-layer emulsion and the same principles, most closely resembling Agfa's product. Instant color film, used in a special camera which yielded a unique finished color print only a minute or two after the exposure, was introduced by Polaroid in 1963. Color photography may form images as positive transparencies, which can be used in a slide projector, or as color negatives intended for use in creating positive color enlargements on specially coated paper. The latter is now the most common form of film (non-digital) color photography owing to the introduction of automated photo printing equipment. After a transition period centered around 1995–2005, color film was relegated to a niche market by inexpensive multi-megapixel digital cameras. Film continues to be the preference of some photographers because of its distinctive "look. Digital [ edit] Kodak DCS 100, based on a Nikon F3 body with Digital Storage Unit In 1981, Sony unveiled the first consumer camera to use a charge-coupled device for imaging, eliminating the need for film: the Sony Mavica. While the Mavica saved images to disk, the images were displayed on television, and the camera was not fully digital. The first digital camera to both record and save images in a digital format was the Fujix DS-1P created by Fujfilm in 1988. [41] In 1991, Kodak unveiled the DCS 100, the first commercially available digital single lens reflex camera. Although its high cost precluded uses other than photojournalism and professional photography, commercial digital photography was born. Digital imaging uses an electronic image sensor to record the image as a set of electronic data rather than as chemical changes on film. [42] An important difference between digital and chemical photography is that chemical photography resists photo manipulation because it involves film and photographic paper, while digital imaging is a highly manipulative medium. This difference allows for a degree of image post-processing that is comparatively difficult in film-based photography and permits different communicative potentials and applications. Digital photography dominates the 21st century. More than 99% of photographs taken around the world are through digital cameras, increasingly through smartphones. Synthesis [ edit] Synthesis photography is part of computer-generated imagery (CGI) where the shooting process is modeled on real photography. The CGI, creating digital copies of real universe, requires a visual representation process of these universes. Synthesis photography is the application of analog and digital photography in digital space. With the characteristics of the real photography but not being constrained by the physical limits of real world, synthesis photography allows artists to move into areas beyond the grasp of real photography. [43] Techniques [ edit] Angles such as vertical, horizontal, or as pictured here diagonal are considered important photographic techniques A large variety of photographic techniques and media are used in the process of capturing images for photography. These include the camera; stereoscopy; dualphotography; full-spectrum, ultraviolet and infrared media; light field photography; and other imaging techniques. Cameras [ edit] The camera is the image-forming device, and a photographic plate, photographic film or a silicon electronic image sensor is the capture medium. The respective recording medium can be the plate or film itself, or a digital magnetic or electronic memory. [44] Photographers control the camera and lens to "expose" the light recording material to the required amount of light to form a " latent image. on plate or film) or RAW file (in digital cameras) which, after appropriate processing, is converted to a usable image. Digital cameras use an electronic image sensor based on light-sensitive electronics such as charge-coupled device (CCD) or complementary metal-oxide-semiconductor (CMOS) technology. The resulting digital image is stored electronically, but can be reproduced on a paper. The camera (or ' camera obscura. is a dark room or chamber from which, as far as possible, all light is excluded except the light that forms the image. It was discovered and used in the 16th century by painters. The subject being photographed, however, must be illuminated. Cameras can range from small to very large, a whole room that is kept dark while the object to be photographed is in another room where it is properly illuminated. This was common for reproduction photography of flat copy when large film negatives were used (see Process camera. As soon as photographic materials became "fast" sensitive) enough for taking candid or surreptitious pictures, small "detective" cameras were made, some actually disguised as a book or handbag or pocket watch (the Ticka camera) or even worn hidden behind an Ascot necktie with a tie pin that was really the lens. The movie camera is a type of photographic camera which takes a rapid sequence of photographs on recording medium. In contrast to a still camera, which captures a single snapshot at a time, the movie camera takes a series of images, each called a "frame. This is accomplished through an intermittent mechanism. The frames are later played back in a movie projector at a specific speed, called the "frame rate" number of frames per second. While viewing, a person's eyes and brain merge the separate pictures to create the illusion of motion. [45] Stereoscopic [ edit] Photographs, both monochrome and color, can be captured and displayed through two side-by-side images that emulate human stereoscopic vision. Stereoscopic photography was the first that captured figures in motion. [46] While known colloquially as "3-D" photography, the more accurate term is stereoscopy. Such cameras have long been realized by using film and more recently in digital electronic methods (including cell phone cameras. Dualphotography [ edit] An example of a dualphoto using a smartphone based app Dualphotography consists of photographing a scene from both sides of a photographic device at once (e. g. camera for back-to-back dualphotography, or two networked cameras for portal-plane dualphotography. The dualphoto apparatus can be used to simultaneously capture both the subject and the photographer, or both sides of a geographical place at once, thus adding a supplementary narrative layer to that of a single image. [47] Full-spectrum, ultraviolet and infrared [ edit] Ultraviolet and infrared films have been available for many decades and employed in a variety of photographic avenues since the 1960s. New technological trends in digital photography have opened a new direction in full spectrum photography, where careful filtering choices across the ultraviolet, visible and infrared lead to new artistic visions. Modified digital cameras can detect some ultraviolet, all of the visible and much of the near infrared spectrum, as most digital imaging sensors are sensitive from about 350 nm to 1000 nm. An off-the-shelf digital camera contains an infrared hot mirror filter that blocks most of the infrared and a bit of the ultraviolet that would otherwise be detected by the sensor, narrowing the accepted range from about 400 nm to 700 nm. [48] Replacing a hot mirror or infrared blocking filter with an infrared pass or a wide spectrally transmitting filter allows the camera to detect the wider spectrum light at greater sensitivity. Without the hot-mirror, the red, green and blue (or cyan, yellow and magenta) colored micro-filters placed over the sensor elements pass varying amounts of ultraviolet (blue window) and infrared (primarily red and somewhat lesser the green and blue micro-filters. Uses of full spectrum photography are for fine art photography, geology, forensics and law enforcement. Light field [ edit] Digital methods of image capture and display processing have enabled the new technology of "light field photography" also known as synthetic aperture photography. This process allows focusing at various depths of field to be selected after the photograph has been captured. [49] As explained by Michael Faraday in 1846, the " light field " is understood as 5-dimensional, with each point in 3-D space having attributes of two more angles that define the direction of each ray passing through that point. These additional vector attributes can be captured optically through the use of microlenses at each pixel point within the 2-dimensional image sensor. Every pixel of the final image is actually a selection from each sub-array located under each microlens, as identified by a post-image capture focus algorithm. Other [ edit] Besides the camera, other methods of forming images with light are available. For instance, a photocopy or xerography machine forms permanent images but uses the transfer of static electrical charges rather than photographic medium, hence the term electrophotography. Photograms are images produced by the shadows of objects cast on the photographic paper, without the use of a camera. Objects can also be placed directly on the glass of an image scanner to produce digital pictures. Types of photography [ edit] Amateur [ edit] An amateur photographer is one who practices photography as a hobby / passion and not necessarily for profit. The quality of some amateur work is comparable to that of many professionals and may be highly specialized or eclectic in choice of subjects. Amateur photography is often pre-eminent in photographic subjects which have little prospect of commercial use or reward. Amateur photography grew during the late 19th century due to the popularization of the hand-held camera. [50] Nowadays it has spread widely through social media and is carried out throughout different platforms and equipment, switching to the use of cell phone. Good pictures can now be taken with a cell phone which is a key tool for making photography more accessible to everyone. [51] Commercial [ edit] Commercial photography is probably best defined as any photography for which the photographer is paid for images rather than works of art. In this light, money could be paid for the subject of the photograph or the photograph itself. Wholesale, retail, and professional uses of photography would fall under this definition. The commercial photographic world could include: Advertising photography: photographs made to illustrate and usually sell a service or product. These images, such as packshots, are generally done with an advertising agency, design firm or with an in-house corporate design team. Fashion and glamour photography usually incorporates models and is a form of advertising photography. Fashion photography, like the work featured in Harper's Bazaar, emphasizes clothes and other products; glamour emphasizes the model and body form. Glamour photography is popular in advertising and men's magazines. Models in glamour photography sometimes work nude. 360 product photography displays a series of photos to give the impression of a rotating object. This technique is commonly used by ecommerce websites to help shoppers visualise products. Concert photography focuses on capturing candid images of both the artist or band as well as the atmosphere (including the crowd. Many of these photographers work freelance and are contracted through an artist or their management to cover a specific show. Concert photographs are often used to promote the artist or band in addition to the venue. Crime scene photography consists of photographing scenes of crime such as robberies and murders. A black and white camera or an infrared camera may be used to capture specific details. Still life photography usually depicts inanimate subject matter, typically commonplace objects which may be either natural or man-made. Still life is a broader category for food and some natural photography and can be used for advertising purposes. Real Estate photography focuses on the production of photographs showcasing a property that is for sale, such photographs requires the use of wide-lens and extensive knowledge in High-dynamic-range imaging photography. Example of a studio-made food photograph. Food photography can be used for editorial, packaging or advertising use. Food photography is similar to still life photography but requires some special skills. Photojournalism can be considered a subset of editorial photography. Photographs made in this context are accepted as a documentation of a news story. Paparazzi is a form of photojournalism in which the photographer captures candid images of athletes, celebrities, politicians, and other prominent people. Portrait and wedding photography: photographs made and sold directly to the end user of the images. Landscape photography depicts locations. Wildlife photography demonstrates the life of animals. Art [ edit] During the 20th century, both fine art photography and documentary photography became accepted by the English-speaking art world and the gallery system. In the United States, a handful of photographers, including Alfred Stieglitz, Edward Steichen, John Szarkowski, F. Holland Day, and Edward Weston, spent their lives advocating for photography as a fine art. At first, fine art photographers tried to imitate painting styles. This movement is called Pictorialism, often using soft focus for a dreamy, romantic' look. In reaction to that, Weston, Ansel Adams, and others formed the Group f/64 to advocate ' straight photography. the photograph as a (sharply focused) thing in itself and not an imitation of something else. The aesthetics of photography is a matter that continues to be discussed regularly, especially in artistic circles. Many artists argued that photography was the mechanical reproduction of an image. If photography is authentically art, then photography in the context of art would need redefinition, such as determining what component of a photograph makes it beautiful to the viewer. The controversy began with the earliest images "written with light" Nicéphore Niépce, Louis Daguerre, and others among the very earliest photographers were met with acclaim, but some questioned if their work met the definitions and purposes of art. Clive Bell in his classic essay Art states that only "significant form" can distinguish art from what is not art. There must be some one quality without which a work of art cannot exist; possessing which, in the least degree, no work is altogether worthless. What is this quality? What quality is shared by all objects that provoke our aesthetic emotions? What quality is common to Sta. Sophia and the windows at Chartres, Mexican sculpture, a Persian bowl, Chinese carpets, Giotto's frescoes at Padua, and the masterpieces of Poussin, Piero della Francesca, and Cezanne? Only one answer seems possible – significant form. In each, lines and colors combined in a particular way, certain forms and relations of forms, stir our aesthetic emotions. [52] On 7 February 2007, Sotheby's London sold the 2001 photograph 99 Cent II Diptychon for an unprecedented 3, 346, 456 to an anonymous bidder, making it the most expensive at the time. [53] Conceptual photography turns a concept or idea into a photograph. Even though what is depicted in the photographs are real objects, the subject is strictly abstract. Photojournalism [ edit] Photojournalism is a particular form of photography (the collecting, editing, and presenting of news material for publication or broadcast) that employs images in order to tell a news story. It is now usually understood to refer only to still images, but in some cases the term also refers to video used in broadcast journalism. Photojournalism is distinguished from other close branches of photography (e. g., documentary photography, social documentary photography, street photography or celebrity photography) by complying with a rigid ethical framework which demands that the work be both honest and impartial whilst telling the story in strictly journalistic terms. Photojournalists create pictures that contribute to the news media, and help communities connect with one other. Photojournalists must be well informed and knowledgeable about events happening right outside their door. They deliver news in a creative format that is not only informative, but also entertaining. Science and forensics [ edit] The camera has a long and distinguished history as a means of recording scientific phenomena from the first use by Daguerre and Fox-Talbot, such as astronomical events ( eclipses for example) small creatures and plants when the camera was attached to the eyepiece of microscopes (in photomicroscopy) and for macro photography of larger specimens. The camera also proved useful in recording crime scenes and the scenes of accidents, such as the Wootton bridge collapse in 1861. The methods used in analysing photographs for use in legal cases are collectively known as forensic photography. Crime scene photos are taken from three vantage point. The vantage points are overview, mid-range, and close-up. [54] In 1845 Francis Ronalds, the Honorary Director of the Kew Observatory, invented the first successful camera to make continuous recordings of meteorological and geomagnetic parameters. Different machines produced 12- or 24- hour photographic traces of the minute-by-minute variations of atmospheric pressure, temperature, humidity, atmospheric electricity, and the three components of geomagnetic forces. The cameras were supplied to numerous observatories around the world and some remained in use until well into the 20th century. [55] 56] Charles Brooke a little later developed similar instruments for the Greenwich Observatory. [57] Science uses image technology that has derived from the design of the Pin Hole camera. X-Ray machines are similar in design to Pin Hole cameras with high-grade filters and laser radiation. [58] Photography has become universal in recording events and data in science and engineering, and at crime scenes or accident scenes. The method has been much extended by using other wavelengths, such as infrared photography and ultraviolet photography, as well as spectroscopy. Those methods were first used in the Victorian era and improved much further since that time. [59] The first photographed atom was discovered in 2012 by physicists at Griffith University, Australia. They used an electric field to trap an "Ion" of the element, Ytterbium. The image was recorded on a CCD, an electronic photographic film. [60] Social and cultural implications [ edit] There are many ongoing questions about different aspects of photography. In her On Photography (1977) Susan Sontag dismisses the objectivity of photography. This is a highly debated subject within the photographic community. [61] Sontag argues, To photograph is to appropriate the thing photographed. It means putting one's self into a certain relation to the world that feels like knowledge, and therefore like power. 62] Photographers decide what to take a photo of, what elements to exclude and what angle to frame the photo, and these factors may reflect a particular socio-historical context. Along these lines, it can be argued that photography is a subjective form of representation. Modern photography has raised a number of concerns on its effect on society. In Alfred Hitchcock 's Rear Window (1954) the camera is presented as promoting voyeurism. 'Although the camera is an observation station, the act of photographing is more than passive observing. 62] The camera doesn't rape or even possess, though it may presume, intrude, trespass, distort, exploit, and, at the farthest reach of metaphor, assassinate – all activities that, unlike the sexual push and shove, can be conducted from a distance, and with some detachment. [62] Digital imaging has raised ethical concerns because of the ease of manipulating digital photographs in post-processing. Many photojournalists have declared they will not crop their pictures or are forbidden from combining elements of multiple photos to make " photomontages. passing them as "real" photographs. Today's technology has made image editing relatively simple for even the novice photographer. However, recent changes of in-camera processing allow digital fingerprinting of photos to detect tampering for purposes of forensic photography. Photography is one of the new media forms that changes perception and changes the structure of society. [63] Further unease has been caused around cameras in regards to desensitization. Fears that disturbing or explicit images are widely accessible to children and society at large have been raised. Particularly, photos of war and pornography are causing a stir. Sontag is concerned that "to photograph is to turn people into objects that can be symbolically possessed. Desensitization discussion goes hand in hand with debates about censored images. Sontag writes of her concern that the ability to censor pictures means the photographer has the ability to construct reality. [62] One of the practices through which photography constitutes society is tourism. Tourism and photography combine to create a "tourist gaze" 64] in which local inhabitants are positioned and defined by the camera lens. However, it has also been argued that there exists a "reverse gaze" 65] through which indigenous photographees can position the tourist photographer as a shallow consumer of images. Additionally, photography has been the topic of many songs in popular culture. Law [ edit] Photography is both restricted as well as protected by the law in many jurisdictions. Protection of photographs is typically achieved through the granting of copyright or moral rights to the photographer. In the United States, photography is protected as a First Amendment right and anyone is free to photograph anything seen in public spaces as long as it is in plain view. [66] In the UK a recent law (Counter-Terrorism Act 2008) increases the power of the police to prevent people, even press photographers, from taking pictures in public places. [67] In South Africa, any person may photograph any other person, without their permission, in public spaces and the only specific restriction placed on what may not be photographed by government is related to anything classed as national security. Each country has different laws. See also [ edit] Outline of photography Science of photography List of photographers Astrophotography Image editing Photolab and minilab Visual arts References [ edit] Spencer, D A (1973. The Focal Dictionary of Photographic Technologies. Focal Press. p. 454. ISBN   978-0-13-322719-2. ^ φάος Archived 25 May 2013 at the Wayback Machine, Henry George Liddell, Robert Scott, A Greek-English Lexicon, on Perseus ^ γραφή Archived 25 May 2013 at the Wayback Machine, Henry George Liddell, Robert Scott, A Greek-English Lexicon, on Perseus ^ Harper, Douglas. "photograph. Online Etymology Dictionary. ^ Boris Kossoy (2004. Hercule Florence: El descubrimiento de la fotografía en Brasil. Instituto Nacional de Antropología e Historia. ISBN   978-968-03-0020-4. Archived from the original on 28 April 2016. Retrieved 13 December 2015. ^ Boris Kossoy (1980. Hercule Florence: a descoberta isolada da fotografia no Brasil. São Paulo: Duas Cidades... The Science of Photography: Appreciation through Understanding. Archived from the original on 18 January 2017. Retrieved 25 June 2019. ^ Mathur, P, K & S (6 March 2014. Developments and Changes in Science Based Technologies. Partridge Publishing. p. 50. Retrieved 25 June 2019. ^ a b Eder, J. (1945) 1932. 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PMID   11721819. ^ a b Plott, John C. (1984. Global History of Philosophy: The Period of scholasticism (part one. p. 460. ISBN   978-0-89581-678-8. According to Nazir Ahmed if only Ibn-Haitham's fellow-workers and students had been as alert as he, they might even have invented the art of photography since al-Haitham's experiments with convex and concave mirrors and his invention of the "pinhole camera" whereby the inverted image of a candle-flame is projected were among his many successes in experimentation. One might likewise almost claim that he had anticipated much that the nineteenth century Fechner did in experimentation with after-images. ^ a b Belbachir, Ahmed Nabil (2009. Smart Cameras. Springer Science & Business Media. ISBN   978-1-4419-0953-4. The invention of the camera can be traced back to the 10th century when the Arab scientist Al-Hasan Ibn al-Haytham alias Alhacen provided the first clear description and correct analysis of the (human) vision process. Although the effects of single light passing through the pinhole have alrady been described by the Chinese Mozi (Lat. Micius) 5th century B) the Greek Aristotle (4th century BC) and the Arab ^ Wade, Nicholas J. Finger, Stanley (2001. The eye as an optical instrument: from camera obscura to Helmholtz's perspective" Perception, 30 (10) 1157–1177, doi: 10. 1068/p3210, PMID   11721819, The principles of the camera obscura first began to be correctly analysed in the eleventh century, when they were outlined by Ibn al-Haytham. ^ Needham, Joseph. Science and Civilization in China, vol. IV, part 1: Physics and Physical Technology (PDF. p. 98. Archived from the original (PDF) on 3 July 2017. Retrieved 5 September 2016. Alhazen used the camera obscura particularly for observing solar eclipses, as indeed Aristotle is said to have done, and it seems that, like Shen Kua, he had predecessors in its study, since he did not claim it as any new finding of his own. But his treatment of it was competently geometrical and quantitative for the first time. ^ Who Invented Camera Obscura. Photography History Facts. All these scientists experimented with a small hole and light but none of them suggested that a screen is used so an image from one side of a hole in surface could be projected at the screen on the other. First one to do so was Alhazen (also known as Ibn al-Haytham) in 11th century. ^ Needham, Joseph. p. 99. The genius of Shen Kua's insight into the relation of focal point and pinhole can better be appreciated when we read in Singer that this was first understood in Europe by Leonardo da Vinci. 1452 to + 1519) almost five hundred years later. A diagram showing the relation occurs in the Codice Atlantico, Leonardo thought that the lens of the eye reversed the pinhole effect, so that the image did not appear inverted on the retina; though in fact it does. 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Seizing the light: a history of photography. McGraw-Hill. ISBN   978-0-697-14361-7. Archived from the original on 29 April 2016. Retrieved 13 December 2015. ^ William Henry Fox Talbot (1800–1877) Archived 3 October 2010 at the Wayback Machine. BBC ^ Feldman, Anthony and Ford, Peter (1989) Scientists & inventors. Bloomsbury Books, p. 128, ISBN   1-870630-23-8. ^ Fox Talbot, William Henry and Jammes, André (1973) William H. Fox Talbot, inventor of the negative-positive process, Macmillan, p. 95. ^ Hippolyte Bayard (French, 1801–1887) Getty Museum. Archived from the original on 24 October 2013. Retrieved 21 April 2019. ^ History of Kodak, Milestones-chronology: 1878–1929 Archived 10 February 2012 at the Wayback Machine. ^ Peres, Michael R. (2008. The Concise Focal Encyclopedia of Photography: from the first photo on paper to the digital revolution. Burlington, MA: Focal Press/Elsevier. p. 75. ISBN   978-0-240-80998-4. ^ H&D curve of film vs digital" Forum Discussion. 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Gupta, P. D. (2006. Development of single frame X-ray framing camera for pulsed plasma experiments. Sadhana. 31 (5) 613. CiteSeerX   10. 1. 570. 172. 1007/BF02715917. ^ Blitzer, Herbert L. Stein-Ferguson, Karen; Huang, Jeffrey (2008. Understanding forensic digital imaging. Academic Press. pp. 8–9. ISBN   978-0-12-370451-1. Retrieved 13 December 2015. ^ Glenday, Craig (2013. Guinness Book of Records 2014. p.  192. ISBN   978-1-908843-15-9. ^ Bissell, K. "A Return to 'Mr. Gates' Photography and Objectivity. Newspaper Research Journal. 21 (3) 81–93. 1177/073953290002100307. ^ a b c d Sontag, S. (1977) On Photography, Penguin, London, pp. 3–24, ISBN   0-312-42009-9. ^ Levinson, P. (1997) The Soft Edge: a Natural History and Future of the Information Revolution, Routledge, London and New York, pp. 37–48, ISBN   0-415-15785-4. ^ Urry, John (2002. The tourist gaze (2nd ed. London: Sage. ISBN   978-0-7619-7347-8. ^ Gillespie, Alex. "Tourist Photography and the Reverse Gaze. ^ You Have Every Right to Photograph That Cop. American Civil Liberties Union. Archived from the original on 25 February 2016. Retrieved 18 February 2016. ^ Jail for photographing police. British Journal of Photography. 28 January 2009. Archived from the original on 27 March 2010. Further reading [ edit] Introduction [ edit] Barrett, T 2012, Criticizing Photographs: an introduction to understanding images, 5th edn, McGraw-Hill, New York. Bate, D. (2009) Photography: The Key Concepts, Bloomsbury, New York. Berger, J. (Dyer, G. ed. 2013) Understanding a Photograph, Penguin Classics, London. Bright, S 2011, Art Photography Now, Thames & Hudson, London. Cotton, C. (2015) The Photograph as Contemporary Art, 3rd edn, Thames & Hudson, New York. Heiferman, M. (2013) Photography Changes Everything, Aperture Foundation, US. Shore, S. (2015) The Nature of Photographs, 2nd ed. Phaidon, New York. Wells, L. (2004) Photography. A Critical Introduction [Paperback] 3rd ed. Routledge, London. ISBN   0-415-30704-X A New History of Photography, ed. by Michel Frizot, Köln: Könemann, 1998 Franz-Xaver Schlegel, Das Leben der toten Dinge – Studien zur modernen Sachfotografie in den USA 1914–1935, 2 Bände, Stuttgart/Germany: Art in Life 1999, ISBN   3-00-004407-8. Reference works [ edit] Tom Ang (2002. Dictionary of Photography and Digital Imaging: The Essential Reference for the Modern Photographer. Watson-Guptill. ISBN   978-0-8174-3789-3. Hans-Michael Koetzle: Das Lexikon der Fotografen: 1900 bis heute, Munich: Knaur 2002, 512 p., ISBN   3-426-66479-8 John Hannavy (ed. Encyclopedia of Nineteenth-Century Photography, 1736 p., New York: Routledge 2005 ISBN   978-0-415-97235-2 Lynne Warren (Hrsg. Encyclopedia of Twentieth-Century Photography, 1719 p., New York: Routledge, 2006 The Oxford Companion to the Photograph, ed. by Robin Lenman, Oxford University Press 2005 "The Focal Encyclopedia of Photography" Richard Zakia, Leslie Stroebel, Focal Press 1993, ISBN   0-240-51417-3 Stroebel, Leslie (2000. Basic Photographic Materials and Processes. et al. Boston: Focal Press. ISBN   978-0-240-80405-7. Other books [ edit] Photography and The Art of Seeing by Freeman Patterson, Key Porter Books 1989, ISBN   1-55013-099-4. The Art of Photography: An Approach to Personal Expression by Bruce Barnbaum, Rocky Nook 2010, ISBN   1-933952-68-7. Image Clarity: High Resolution Photography by John B. Williams, Focal Press 1990, ISBN   0-240-80033-8. External links [ edit] World History of Photography From The History of Art. Daguerreotype to Digital: A Brief History of the Photographic Process From the State Library & Archives of Florida.

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The Photograph is a lush, beautiful romantic drama, with the love story carried well by its two excellent leads, Issa Rae and Lakeith Stanfield. February is the month of romance dramas and romantic comedies, as studios release their movies celebrating love to tap into the theme of Valentine's Day. This year is no different, with the major theatrical romance film being Universal Pictures' The Photograph. Written and directed by Stella Meghie ( Everything, Everything) the movie tells a love story about people weighted down by their pasts and their futures and whether they'll be able to work up the courage it takes to be vulnerable enough to actually find love and hold onto it.  The Photograph is a lush, beautiful romantic drama, with the love story carried well by its two excellent leads, Issa Rae and Lakeith Stanfield. Meghie's The Photograph intertwines two love stories, one we know early on is doomed to fail and another whose future is yet to be determined. There's Mae Morton (Rae) a young museum curator who meets journalist Michael Block (Stanfield) when he's profiling a man who had a relationship with Mae's mom. In flashback, The Photograph also follows Mae's mom Christina's (Chante Adams) relationship with Isaac Jefferson (Y'lan Noel) and how she left him behind in Louisiana, moving to New York City to start a photography career. In present day, Michael profiles an older Isaac (Rob Morgan) who's plagued by regrets about how his relationship with Christina ended, forcing Michael to confront how he approaches his own romantic relationships. Meanwhile, Mae is mourning her recently passed mother, especially as their own relationship was difficult due to Christina's way of loving those closest to her. Though Mae and Michael find each other, it remains to be seen if they'll have the strength to pursue a meaningful relationship. Y'lan Noel and Chante Adams in The Photograph Themes of love and tragedy are prevalent in Meghie's script, which is strengthened by following both Mae and Michael's blossoming relationship and Christina and Isaac's doomed one. The tragedy of Christina and Isaac only serves to highlight the true stakes of Michael and Mae's romance, with the potential to haunt them for the rest of their lives if they don't take it seriously and if they don't open themselves up to the possibilities of their relationship. It makes for an incredibly engaging love story in The Photograph, which is further bolstered by Meghie's direction. The filmmaker takes the story from the austere streets of New York City to the verdant countryside of Louisiana. In the end, Meghie's whole vision comes together to create an equally charming and tragic multi-generational story of love and what must be sacrificed and overcome in order to find some kind of happily ever after. As for Rae and Stanfield, they're a wonderfully appealing romantic pair, each charismatic in their own right so that when they work together in a scene, it's difficult to pull your eyes away from them. But, as in Mae and Michael's relationship, Rae and Stanfield are best when they're being vulnerable, as the characters open themselves up to each other because the movie never lets audiences forget what's at stake - tragedy versus happiness. The other supporting leads, Adams and Noel as young Christina and Isaac, are similarly captivating, with their story perhaps all the more compelling because we know how it ends and yet audiences will root for them to somehow rewrite history. The Photograph is an embarrassment of riches in terms of its acting talent, and every couple is compelling in their own way, from the tentative vulnerability of Rae and Stanfield to the warm affection of Adams and Noel - not to mention the other present day supporting actors who fill out the world of The Photograph with even more loving and entertaining couples. Lakeith Stanfield and Issa Rae in The Photograph Ultimately, Meghie and the movie's cast unite to create a stunning love story in The Photograph. There are moments when the unabashed earnestness of the movie may veer into blatant cheesiness for some viewers, but Meghie, Rae and Stanfield manage to keep much of the movie grounded in reality so that the romance of The Photograph never feels too unbelievable. Meghie goes all in on the lush, escapist nature of romance movies, even as The Photograph tackles the very real downside of love and romance. So if viewers are able to let themselves get sucked into the emotion of The Photograph, it makes for a wholly entertaining and compelling romantic drama. As such, The Photograph is a perfect Valentine's Day movie for fans of romance. Its story is made all the more compelling by the tinge of tragedy serves to contrast the beauty of love when it's found and the strength it takes to hold onto. That's a message that will appeal not only to couples, but to groups of friends who are looking for something to watch together. And those lured into The Photograph by Rae and Stanfield won't be disappointed in the least, as both performers have turned their charm up to an 11; it'll be easy for audiences to fall in love with both of them. Altogether, moviegoers looking for something romantic and entertaining to catch on Valentine's Day weekend (or even later on in February) won't go wrong with The Photograph. Next: The Photograph Movie Trailer The Photograph starts playing in U. S. theaters Thursday evening February 13th. It is 106 minutes long and rated PG-13 for sexuality and brief strong language. Let us know what you thought of the film in the comments section. Our Rating: 3. 5 out of 5 (Very Good) Key Release Dates The Photograph (2020) release date: Feb 14, 2020 Email Fast & Furious: The Actor Who Almost Played Dom About The Author Molly Freeman is the lead news editor of Screen Rant and one of Screen Rants Rotten Tomatoes Tomatometer-approved movie critics. Shes been writing for Screen Rant since 2014 and has appeared on the Total Geekall podcast. Previously, shes written entertainment news for Bustle and had personal essays published on HelloGiggles and Femsplain. A graduate of Ithaca Colleges Journalism program, Molly originally planned to be a music journalist before moving into entertainment journalism after spending so much of her downtime binge-watching all manner of movies and TV during her formative years. Still, she enjoys every chance to put her music and musical theater knowledge to good use, particularly when it intersects with her love of superhero movies. Beyond that, Molly spends her free time reading young adult and romance novels, rooting for the New York Rangers hockey team (LGR. and going out to brunch. Follow Molly on Twitter and Instagram @mollyrockit, or contact her directly: molly(at)screenrant(dot)com. More About Molly Freeman.

The Photograph Free full article on foot. The Photograph Free full article on maxi. Welcome to The Photograph. After many years of wedding and portrait photography Im still learning. Ive had some amazing experiences learning from some of the great internationally acclaimed photographers like Jerry Ghionis, Yervant and Roberto valenzuela. Its always an inspiring experience talking to some of these great photographers. If I have some small nuggets of information Id like to pass them on, and in my own small way help other people improve their own photography. A couple of my favourite Ansel Adams quotes: “Sometimes I do get to places just when Gods ready to have somebody click the shutter. ”  Ansel Adams “It is my intention to present – through the medium of photography – intuitive observations of the natural world which may have meaning to the spectators. ” Ansel Adams My Travel photos. I had my Canon A1 film camera for many years, but Swapped my trusty film camera for a new digital camera in 2007. My prints and negs will probably now remain in the draw, but highlights from all my new digital ( non-commercial) pictures will go up here. This gallery site was created in 2007, when I first started taking digital pictures of the beautiful scenery of New Zealand ( a few other places and subjects have now been added. As a student I was inspired by some of the great names in landscape photography and hopefully I have created a collection of photographs that can be displayed on this site and enjoyed by others ( but please dont use the photos without contacting me first. BTW if you are interested you can see my wedding pictures here Paul Michaels Wedding Photography, and my portraits here Studio9 portrait photography. After recieving several requests to purchase limited edition prints from the pictures displayed on this site, I have decided to add a small number of images that can be purchased here. Please continue to send me your feedback, my details can be found on the Contact page, or you can use the Enquiry screen to get in touch.

The photograph free full body. The Photograph free full text. LEANNE COLE Leanne is a middle-aged photographer trying to make a difference in the world with her images. An ordinary woman trying to live an extraordinary life. She is sponsored by 3 Legged Thing FUJIFILM Australia Formatt Hitech. A-Photograph WITH A-PHOTOGRAPH design photography about contact client login 3:05 Hesitating Beauty. Photograph freely. Home / Photography 18 Famous First Photographs in History: From the Oldest Photo Ever to the Worlds First Instagram This still life, shot in 1837, is the worlds earliest reliably dated daguerreotype. While the term photography was coined in the early 19th-century, Greek mathematicians had been making pinhole cameras since the 4th century BCE. The history of photography has always been filled with innovation, as imagery has continued to develop along with the technology photographers have on hand. With such a long history, its no surprise that photography is full of important firsts, from the worlds oldest photograph to the first photo uploaded to Instagram. Most early photos used the daguerreotype process invented by Louis Daguerre, but technical inventions have created endless possibilities for photographers. Lets take a stroll down memory lane to learn about some of the famous first photographs that have changed how we view the world. First Photograph Ever The worlds first photograph —or at least the oldest surviving photo—was taken by Joseph Nicéphore Niépce in 1826 or 1827. Captured using a technique known as heliography, the shot was taken from an upstairs window at Niépces estate in Burgundy. As heliography produces one-of-a-kind images, there are no duplicates of the piece, which is now part of the permanent collection at the University of Texas-Austin. Worlds First Self-Portrait We may be used to selfies now, but its Robert Corneliuss 1839 image that lays claim to the first self-portrait. Taken in Philadelphia, Cornelius sat for a little over one minute before covering the lens. Oldest Photo of New York This 1848 daguerreotype of Manhattans Upper West side is the oldest surviving photo of New York. In 2009, it was sold at Sothebys for 62, 500. Unfortunately, the first photo of New York, which shows the Unitarian Church, is now lost. First Photograph of the Moon This daguerreotype by John W. Draper from 1840 is the first photo of the moon. Taken from his rooftop observatory at New York University, the image has since sustained extensive damage. First Photo with People Louis Daguerre—the inventor of daguerreotype—shot what is not only the worlds oldest photograph of Paris, but also the first photo with humans. The 10-minute long exposure was taken in 1839 in Place de la République and its just possible to make out two blurry figures in the left-hand corner. First Photo of War Carol Popp de Szathmari is the first known war photographer, capturing hundreds of images of the Crimean War. But its this image from 1870 that is thought to be the first photograph of an actual battle. Showing a line of Prussian troops as they advance, the photographer shot the image as he stood with French defenders. First Photo of a President John Quincy Adams holds the distinction of being the first U. S. president photographed, though he wasnt in office at the time. Captured at his home in Quincy, Massachusetts in 1843, fourteen years after he left office, the daguerreotype was shot by Philip Haas. The first photograph of a sitting president was taken in 1841, but has now been lost. It depicted short-lived president William Henry Harrison before he passed away from pneumonia just 31 days after taking office. Oldest Photograph of the Sun Just five years after the first photo of the moon, in 1845, French physicists Louis Fizeau and Leon Foucault took the first photograph of the sun. Even with just a 1/60th exposure, its possible to see sunspots. First Photo of a Tornado It only seems fitting that the first known photograph of a tornado was taken in Kansas. On April 26, 1884, a tornado moved slowly across Anderson county, which allowed amateur photographer A. A. Adams to set up his box camera. A pioneering image in meteorology, Adams image is a pre-cursor to the storm chasers we still see today. Oldest Aerial Photo In the age of drones, aerial photography is often taken for granted, but this 1860 image actually pioneered the technique. Showing Boston from over 2, 000 feet in the air, this aerial photograph was taken by  James Wallace Black and Samuel Archer King. Unfortunately, the first aerial image, which was taken by French photographer and balloonist Gaspard-Félix Tournachon, has been lost. First Photograph of Earth from the Moon On August 23, 1966, a lunar orbiter snapped this image of Earth from the Moon. The incredible image was captured during the orbiters 16th lap around the Moon. Oldest Color Photograph Physicist James Clerk Maxwell is responsible for taking the worlds first color photograph. In 1855, Maxwell developed a three-color method, with the actual shutter being pressed by Thomas Sutton in 1861. The subject of the image? A colored ribbon, also known as a tartan ribbon. First Color Underwater Photo In 1926  National Geographic  photographer Charles Martin and botanist William Longley took the first underwater photograph in color. Taken off the Florida Keys, it shows a hogfish. The duo took this pioneering shot by encasing cameras in waterproof housing and using a magnesium-powered flash. First Digital Photo The first digital photo was taken earlier than you may have thought. Almost 20 years before the original Kodak digital camera, in 1957, this square image of Russell Kirschs son was taken. The photo is a digital scan of a film image, resulting in a square photograph that makes it Instagram ready. First Digital Photo of a President It was only in 2009 that a digital camera was used to photograph POTUS. Official photographer Pete Souza holds the honor with his portrait of Barack Obama. Taken with a Canon 5D Mark II and no flash, the image shows the shifting gears of technology that have reached the White House. First Photo on Instagram On July 16, 2010, Instagram co-founder Kevin Systrom uploaded the first post on Instagram. Actually, it was uploaded using an app called Codename, which three months later became the app we all know and love. Its only fitting—given how many pets have become famous from the app—that the first photo on Instagram shows Systroms cute pup sitting at a taco stand in Mexico. First Photo Inside the Suns Corona Photo: NASA/Naval Research Laboratory/Parker Solar Probe On November 8, 2018, NASAs Parker Solar Probe took a groundbreaking photograph at 16. 9 million miles from the Sun. Thats incredibly close when one considers that Earth is located 91 million miles from the Sun. This first-ever photo from inside the Suns corona is a breakthrough in the field of heliophysics and researchers are hopeful it will help us learn more about this giant star. First Photo of a Black Hole Photo: Event Horizon Telescope Collaboration In April 2019, NASA released the first known image of a black hole. This mysterious entity sits in the center of the Messier 87 galaxy—55 million light years from Earth—and was captured by the Event Horizon Telescope. The luminous disk we see is actually the black holes accretion disk, where hot gases swirl around the vacuous space. All images via Wikipedia except where noted. This article has been edited and updated. Related Articles: Tintype Photography: The Vintage Photo Technique Thats Making a Comeback Oldest Known Photos of 20+ Beloved Cities Around the World Mathew Brady, the Story of the Man Who Photographed the Civil War The History of Photojournalism. How Photography Changed the Way We Receive News. Want to become a My Modern Met Member? Find out how by becoming a Patron. Check out the exclusive rewards,  here.

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Advertisement Youve likely heard the reason people never smile in very old photographs. Early photography could be an excruciatingly slow process. With exposure times of up to 15 minutes, portrait subjects found it impossible to hold a grin, which could easily slip into a pained grimace and ruin the picture. A few minutes represented marked improvement on the time it took to make the very first photograph, Nicéphore Niépces 1826 “heliograph. ” Capturing the shapes of light and shadow outside his window, Niépces image “required an eight-hour exposure, ” notes the Christian Science Monitor, “long enough that the sunlight reflects off both sides of the buildings. ” Niépces business and inventing partner is much more well-known:  Louis-Jacques-Mandé Daguerre, who went on after Niépces death in 1833 to develop the Daguerreotype process, patenting it in 1839. That same year, the first selfie was born. And the year prior Daguerre himself took what most believe to be the very first photograph of a human, in a street scene of the Boulevard du Temple in Paris. The image shows us one of Daguerres early successful attempts at image-making, in which, writes NPRs Robert Krulwich, “he exposed a chemically treated metal plate for ten minutes. Others were walking or riding in carriages down that busy street that day, but because they moved, they didnt show up. ” Visible, however, in the lower left quadrant is a man standing with his hands behind his back, one leg perched on a platform. A closer look reveals the fuzzy outline of the person shining his boots. A much finer-grained analysis of the photograph shows what may be other, less distinct figures, including what looks like two women with a cart or pram, a childs face in a window, and various other passersby. The photograph marks a historically important period in the development of the medium, one in which photography passed from curiosity to revolutionary technology for both artists and scientists. Although Daguerre had been working on a reliable method since the 1820s, it wasnt until 1838, the Metropolitan Museum of Art explains, that his “continued experiments progressed to the point where he felt comfortable showing examples of the new medium to selected artists and scientists in the hope of lining up investors. ” Photographys most popular 19th century use—perhaps then as now—was as a means of capturing faces. But Daguerres earliest plates “were still life compositions of plaster casts after antique sculpture, ” lending “the ‘aura of art to pictures made by mechanical means. ” He also took photographs of shells and fossils, demonstrating the mediums utility for scientific purposes. If portraits were perhaps less interesting to Daguerres investors, they were essential to his successors and admirers. Candid shots of people moving about their daily lives as in this Paris street scene, however, proved next to impossible for several more decades. What was formerly believed to be the oldest such photograph, an 1848 image from Cincinnati, shows what appears to be two men standing at the edge of the Ohio River. It seems as though theyve come to fetch water, but they must have been standing very still to have appeared so clearly. Photography seemed to stop time, freezing a static moment forever in physical form. Blurred images of people moving through the frame expose the illusion. Even in the stillest, stiffest of images, there is movement, an insight Eadweard Muybridge would make central to his experiments in motion photography just a few decades after Daguerre debuted his world-famous method. Related Content: The First Photograph Ever Taken (1826) See The First “Selfie” In History Taken by Robert Cornelius, a Philadelphia Chemist, in 1839 Eadweard Muybridges Motion Photography Experiments from the 1870s Presented in 93 Animated Gifs Josh Jones  is a writer and musician based in Durham, NC. Follow him at  @jdmagness.

The Girl in the Photograph by Kate Riordan Open Preview See a Problem? Wed love your help. Let us know whats wrong with this preview of The Girl in the Photograph by Kate Riordan. Thanks for telling us about the problem. To ask other readers questions about The Girl in the Photograph, please sign up. Popular Answered Questions Sandra Puzzle solved! The paperback was listed for around 60. 00 US on Amazon! I just downloaded Fiercombe Manor for 7. 99! Thank you, Robin! 4, 491 ratings 632 reviews Start your review of The Girl in the Photograph Jan 28, 2017 Lisa rated it really liked it The Girl In The Photograph by Kate Riordan was a beautifully written historical fiction novel that grabbed my attention from the very beginning, the characters of Alice & Elizabeth were well crated & written. Set in two different eras, Alice in 1933 & Elizabeth in 1898 tell the story of 2 women in the same circumstances centuries apart Alice gets pregnant by John Elton a married man, her mother is so shocked by what her daughter has done she sends her to Firecombe Manor in the The Girl In The Photograph by Kate Riordan was a beautifully written historical fiction novel that grabbed my attention from the very beginning, the characters of Alice & Elizabeth were well crated & written. Set in two different eras, Alice in 1933 & Elizabeth in 1898 tell the story of 2 women in the same circumstances centuries apart Alice gets pregnant by John Elton a married man, her mother is so shocked by what her daughter has done she sends her to Firecombe Manor in the Cotswolds where she meets Mrs jelfs her mothers old friend who looks after Firecombe it is very secluded & out of the way. as Alice settles in she senses an eeriness about the place that makes her a bit nervous, as she is looking around she finds a diary she reads it & finds out about Elizabeth who lived at Stanton house & Fire combe she starts reading it & starts to ask Mrs Jelfs about her she goes quiet, wanting to know more she reads more & finds out something so terrible it becomes an obsession. What she finds out could be the end to her own life or will Alice meet the same fate... 3. 5 An old manor house, a hidden journal, a summer house with a secret room, a glass house falling apart and a 40 year old mystery. These are the things that Alice finds when she is sent to Fiercombe manor in 1933. Sent by her mother after a one night sexual relationship, leaves her pregnant. Love the gothic tone of this novel, the slowness of the story and the secrets and the way they are revealed. What did happen to Elizabeth Stanton and her daughter Isabelle? In alternate voices, we hear from 3. What did happen to Elizabeth Stanton and her daughter Isabelle? In alternate voices, we hear from Elizabeth, her pregnancies ending in sadness, her faltering relationship with her husband, Edward, her deepest fears and terrible memories. We watch as Alice attempts to piece together all the things she uncovers along with the many things she senses. A good, entertaining novel, perfect for the dark days of winter. ARC from publisher... I requested The Girl in the Photograph from Netgalley and then I found an interesting book called Fiercombe Manor on Edelweiss and requested it. A while later when I had been granted access to them both did I realize that it was the same book. The Girl in the Photograph is the English book and Fiercombe Manor is the title for the book in US and Canada. I chose to read the Fiercombe Manor because the text was formatted better in that version. The year is 1933 and twenty-two-year-old Alice arrives I requested The Girl in the Photograph from Netgalley and then I found an interesting book called Fiercombe Manor on Edelweiss and requested it. The year is 1933 and twenty-two-year-old Alice arrives at Fiercombe Manor in rural Gloucestershire, pregnant and unwed. She has been sent there from London by her mother to hide the shame and the housekeeper Mrs. Jelphs, who is an old friend of her mother, will look after her. The family who residents there lives abroad. Alice discovers, during the hot sunny summer days that some thirty years before something happened to the lady in the house, Lady Elizabeth Stanton, who like Alice also was expecting a child. This is the kind of book I like, a historical fiction/mystery. I love reading parallel stories, and in this book, we get to follow both Alice and Elizabeth and as the story proceeds we get to know what happened to Elizabeth in the past at the same time as Alice in the present discover it. Now, the book wasn't that great that I had hoped it would be, but it was a good read and above all, it was interesting even though I felt that story dragged on a bit in the middle, but I was probably just a bit impatient. I also liked the characters, I didn't even mind the budding romance between Alice and Tom Stanton. So if you like historical fiction/mystery books then this is a book for you! Thank you Netgalley/Edelweiss for providing me with a free copy for an honest review... This is definitely a book Kate Morton fans will inhale. I'm having a tough time putting it down. Update: This turned out to be a fun gothic romp and I was riveted for the most part and a little creeped out in places. Riordan has written a delicious homage to Victoria Holt (creepy English manor setting with a smidge from the "Had-I-But- Known" school thrown in) Kate Morton (dual storyline and dark secrets) Sarah Waters (spooky ghostly touch- which may or may not be real) and Daphne du Maurier This is definitely a book Kate Morton fans will inhale. Riordan has written a delicious homage to Victoria Holt (creepy English manor setting with a smidge from the "Had-I-But- Known" school thrown in) Kate Morton (dual storyline and dark secrets) Sarah Waters (spooky ghostly touch- which may or may not be real) and Daphne du Maurier (vibe of madness. The ending was fairly well expected but on the whole it was a satisfying read and will keep my gothic craving at bay until Kate Morton releases another book. Also, I was glad I read the acknowledgements at the end before I started the book as the author credits Owlpen Manor in England for the inspiration of Fiercombe Manor. Google it so you can have a picture in your head of the house and grounds. Recommended for readers of any of the above authors. Thanks to Edelweiss for providing the e-galley... Oct 21, 2014 Elaine liked it It is 1932 and when Alice finds herself unmarried and pregnant, she is sent on a long visit to Fiercombe Manor in the Cotswolds, a lonely mansion in the bottom of a remote valley, where the housekeeper, Mrs Jelphs is an old friend of her mothers. Under the pretence of being widowed she is to stay there until the birth of her child and then return to London. Alice is immediately drawn to Fiercombe in this atmospheric and haunting read. In particular she feels compelled to learn about its history, It is 1932 and when Alice finds herself unmarried and pregnant, she is sent on a long visit to Fiercombe Manor in the Cotswolds, a lonely mansion in the bottom of a remote valley, where the housekeeper, Mrs Jelphs is an old friend of her mothers. In particular she feels compelled to learn about its history, and especially that of the mysterious and enigmatic Elizabeth Stanton – a woman who lived there at the end of the 19th century and whose fate is shrouded in mystery. Mrs Jelphs certainly knows what happened but is reluctant to reveal her knowledge. The story is told from the viewpoints of both Alice and Elizabeth. The story is very slow moving and very descriptive, the author really does instil the feeling of a long hot sticky summer on the reader. I did think sometimes it was a bit too descriptive, getting in the way of the story somewhat. I thought at one point that the story was going to be much more ghostly than it actually turned out to be, the tale didnt really develop along those lines, just hinted at it now and again. What it does turn out to be is a very good relating of mental health issues in the late 19th century – I felt that aspect of the story to be really well done and riveting. On the whole I did enjoy the read, although would have preferred it to be a bit more fast moving and a touch more haunting. Many thanks to the publishers for the review copy... Aug 09, 2019 Gill Paul it was amazing I meant to read this novel when it first came out back in 2013 because the reviews were intriguing, but its been a treat worth waiting for. Kate Riordan cleverly weaves the stories of two women: Alice in the early 1930s, pregnant after a brief affair with a married man, and Elizabeth in the 1890s, married to a cold, controlling man. They live in two houses in a lush valley – Fiercombe Manor and Stanton Hall – and these become almost like characters in their own right. Strange things happen in I meant to read this novel when it first came out back in 2013 because the reviews were intriguing, but its been a treat worth waiting for. Strange things happen in those parts: shadows seen out of the corner of the eye, rustlings in the trees and rhododendrons that bloom long after they should have. The summer heat is draining and oppressive: is that causing delusions or could there be something supernatural going on? Alice keeps stumbling across clues to Elizabeths life and tries to find out more but she is blocked at every turn by Mrs Jelphs, the housekeeper, and Ruck, the gardener. Strangely, as she explores the estate, events in Alices life begin to mirror Elizabeths, almost as if she is reaching out across the decades. What happened to her and the little daughter who left behind a velveteen rabbit? Is Alice set to share their fate? The novel is subtle and atmospheric, the two stories beautifully balanced. I was astonished to realize this was Kate Riordans first novel because it is rich and accomplished, a mesmerising read about two women who got pregnant with the wrong men... Time separates two women linked through similar challenges. Dark secrets revealed, a journal discovered. Richly atmospheric, enough of a mild gothic edge to add a chillingly eerie feel as the mystery is unraveled. Riordan does an outstanding job providing details of the manor both inside and outside. The lush grounds, the vast interior of the manor all captured in the readers mind. As you travel alternately through the past and present you are aware of social propriety, the oppression women Time separates two women linked through similar challenges. As you travel alternately through the past and present you are aware of social propriety, the oppression women faced during these sexist times. I found Alice and Elizabeth equally compelling, leaning towards Elizabeth more. Alice was so niaeve, easily impressionable, I felt for her predicament. Elizabeths story was heartbreaking, so tragic especially when it is fully disclosed. A few twists caught me off guard which I enjoyed. The slow pace was welcoming, allowing for characters to become personable and intimate with the peruser, igniting your curiosity as to what happened to Elizabeth and what will become of Alice. Riordan presents a stark glimpse into the poor treatment of women, pregnancy, mental health, women under the controlling thumb of men, secrets, marriage, love. Entertaining read, I only wish it possessed a stronger gothic presence. On the fence with the ending... Two women, each of them pregnant. Alice is a 22 year old typist living with her parents in the year 1932. Alice is wondering when her real life will begin when she falls pregnant to a married man and is sent to live at Fiercombe Manor (Fiercombe Estate) in Gloucestershire, where an old friend of Alices mother is the housekeeper. The other woman is Elizabeth, she is pregnant and it is1898. She is the wife of the sixth Baronet of Fiercombe Estate - Edward Stanton. Edward has built Stanton House on Two women, each of them pregnant. Edward has built Stanton House on the Estate choosing not to live in the old Manor. Elizabeth and Edward have a daughter Isabel, and Elizabeth has suffered some miscarriages. Edward desperately desires for the unborn child to be a son. The chapters alternate between the two women. Questions are raised. ‘What happened to Stanton House. ‘Where did Elizabeth and Isabel go. ‘What is this illness of Elizabeths that is alluded to. ‘What is the housekeeper hiding. Being pregnant ends up not being the only connection that Alice and Elizabeth share. The Girl in the Photograph is quite a substantial read being over 400 pages. There was some lovely writing throughout, though I did at times find it to be a bit novel made me stop and consider historical attitudes towards women in pregnancy and their mental health. Overall it was an entertaining read. Thankyou to NetGalley and the publisher for my copy to read and review... Nov 13, 2014 Liz Barnsley Just finished this and it was such a good emotional evocative read. Full review will be published (along with an author Q&A) around time of release. For now though you can find out about the inspiration behind the novel from one of my recent blog posts. Nov 30, 2014 Susan It is 1932 and Alice is a young woman feeling constrained by life. Despite making her father proud by doing well at school and getting a good office job, her mother is disapproving about her lack of possible husbands and insists that she will be left on the shelf. Unfortunately, the one man Alice is interested in is already married. Young and naïve, she believes his tales of divorcing his wife and finds herself pregnant and alone. If her mother was disapproving before, now she is shocked and It is 1932 and Alice is a young woman feeling constrained by life. If her mother was disapproving before, now she is shocked and disappointed. However, she manages to find a possible solution – a childhood friend is now housekeeper at Fiercombe and Elizabeth is hastily packed off there with a tale of being widowed and needing time to recover, so she can have the child is secret. Secrets are familiar things at Fiercombe and, before long, Alice is fascinated by the previous Lady of the manor, Elizabeth Stanton. Although, she soon discovers that Elizabeth was mistress of the much grander Stanton Hall, which stood nearby. Possibly to take her mind off of her predicament, Alice begins to uncover the mystery of what happened to Elizabeth Stanton, who came to Stanton Hall in 1898. Although this uses the, now familiar, plot device of two different time lines, this novel works better than most. Mrs Jelphs, the housekeeper, ties both the stories together. Now housekeeper, she was once Elizabeth Stantons lady maid and staunchest defender. Elizabeth needed friends, as her marriage descended into the desperate desire by her husband for a male heir and the disappointment which ensued. With both Alice and Elizabeths stories revolving around the bearing of children, this is an emotional, but skilfully woven tale, of desire, despair and maternal love. A very evocative and well written novel, which manages to be moving, rather than over sentimental. Lastly, I received a copy of this book from the publisher, via NetGalley, for review... Jan 13, 2015 Carolyn This is a story of two women told in two time periods and the events that occur are a result of the societal attitudes of the time. It is also a story of the relationship between mothers and daughters. Both women, Elizabeth in 1898 and Alice in 1933, are expecting a child. Elizabeth already has a daughter, Isabel, but after suffering two miscarriages is hoping this pregnancy will result in a baby boy to provide her husband Edward with his much longer for heir. Alice, a secretary, was seduced by a This is a story of two women told in two time periods and the events that occur are a result of the societal attitudes of the time. Alice, a secretary, was seduced by a married man and is sent away in shame by her mother to an old friend, Edith Jelphs who works on a country estate, Fiercombe Manor. To maintain Alice's respectability, her mother concocts the story that she is recently widowed and needs somewhere restful to have her baby. Alice soon discovers that there is a mystery at Fiercombe. A new grand mansion built for Edward and Elizabeth in 1898 has all but disappeared and the old crumbling estate now belongs to his brother Charles who lives in France. Edith Jelphs, as the current housekeeper at Fiercombe and Elizabeth's maid when she was young, is the link between the two stories, but she holds her secrets close and Alice soon learns is reluctant to talk about Elizabeth. However, after she finds a journal of Elizabeth's in the summerhouse she gradually pieces together the story behind the disappearance of the family with help from an old historian in town and Tom, the handsome but troubled heir to the estate. The author uses the two women's experiences of pregnancy to highlight society's treatment of women and childbirth in former times. Both women feel confined and trapped by their family's and society's expectations of them. Elizabeth must produce a boy to earn her husband's love and respect and Alice is expected to quietly give her baby up for adoption to keep her place in society and have any chance of particular the author explores the attitude to female madness and postnatal depression in the 19th century and the way in which decisions about women's lives were controlled by men. Elizabeth's attitude and relationship to her daughter Isabel is also central to the story, as to a lesser extent is Alice's relationship with her mother. The writing is strong and wonderfully descriptive and the characters are well depicted and real. Although I felt the novel was perhaps a little too long, it works well in describing the events over the gradual build up of a long hot summer with tension mounting that can only be released by the onslaught of a massive storm and resolution of the mystery. There are hints that the estate might be haunted, by ghosts of the family as well as more ancient ghosts, and although this is never strongly developed it adds to the slightly spooky atmosphere of the estate and the story. With thanks to Netgalley for a copy of the book to read and review... Jan 27, 2015 Thebooktrail Why the booktrail? Even the title is mysterious – just who is the girl in the photo? We wanted to know straight away! Story in a nutshell The Girl in the Photograph is a haunting and atmospheric novel that tells the tales of women in two different eras – the 1890s and 1930s – and how their lives seem to be entwined by fate. Place and setting Fiercombe Manor in Gloucestershire where Alice arrives at in disgrace is a beautiful house but one which is to hide her shame from society and keep her within Why the booktrail? Even the title is mysterious – just who is the girl in the photo? We wanted to know straight away! Story in a nutshell The Girl in the Photograph is a haunting and atmospheric novel that tells the tales of women in two different eras – the 1890s and 1930s – and how their lives seem to be entwined by fate. Place and setting Fiercombe Manor in Gloucestershire where Alice arrives at in disgrace is a beautiful house but one which is to hide her shame from society and keep her within its walls. Its a fictional place but there are many mentions of neighbouring towns and villages to help set the scene. Gloucestershire in all its glory and rather chilling landscape is brought to life. The landscape, a major character in the novel is at once ‘ impassable, ‘ dark and intimidating. Certainly for Alice who is sent away to start a new and difficult life. Banished to Gloucestershire and to the old and mysterious Fiercombe Manor. The valley is described as being ‘crowded with ghosts and ‘saturated with the past and as the action flits between 1930s and 1890s, then the sepia tone is added and we see the change how the valleys state reflects that of either Elizabeth or Alice. The mysterious Fiercombe manor is a creaky and intimidating place – whispers in the corridors and candles which refuse to go out. The inspiration for this was a real, stunning if not a bit spooky manor house called OwlPen Manor in Gloucestershire. Is this a salvation for Alice or her downfall? Thoughts You will hear and feel every creak and whisper in the walls when you read this book. I immediately wanted to go to Owlpen manor but would be rather afraid to meet a Mrs Jelphs. She was the lady at the house who receives Alice and she has such a formidable presence that I was both intrigued and nervous around her. She provides many of the answers to Alices questions – about the past and the tragic Lady Elizabeth Stanton who lived there years ago. The mix of past and present was neatly and artfully done rather like placing a sepia tone picture over the Valley only to remove it as Alice came onto the scene. It cleared as she discovered more and more about Elizabeth, and the fate of the two women, what they went through and how they coped with their pressures was heartbreaking to read about. The place of women in society, hidden and secretive pregnancies, post natal depression are all subjects dealt with here and it makes you grateful that you werent born then. The constraints placed on them by society were shocking and as the full picture was revealed in the novel, I was held captive... ‘Fiercombe is a place of secrets. They fret among the uppermost branches of the beech trees and brood at the cold bottom of the stream that cleaves the valley in two. The past has seeped into the soil here like spilt blood. In 1932, twenty-two year old Alice Eveleigh finds herself pregnant by a man she thought she loved but is already married to another. In an attempt to spare the family scandal, her mother sends her to stay with an old friend, Mrs. Jelphs, at Fiercombe Manor in the English ‘Fiercombe is a place of secrets. In 1932, twenty-two year old Alice Eveleigh finds herself pregnant by a man she thought she loved but is already married to another. Jelphs, at Fiercombe Manor in the English countryside until the baby is born and they can give it up for adoption. With nothing to do to keep her occupied, Alice gets drawn into the curious history of the Stanton family and the previous residents of Fiercombe that seemingly disappeared without a trace. Discovering a diary kept by Elizabeth Stanton which details her pregnancy only increases her curiosity and the more she finds out about her, the more she fears shes destined for the same fate. ‘Elizabeth. That was the first time I saw her name. What did I think, if anything? Im sure I traced the letters with my finger; perhaps I even whispered it under my breath, the hiss of the second syllable, the sigh of the last. But that was all. My interest in her and the estates history was fleeting then – a faint glimmer of intrigue that glowed and then dimmed again, though not before it had lodged itself at the back of my mind, ready to be brought out later. This book had everything going for it: Gothic setting in the English countryside, the dual-narratives/timelines that inevitably collide with one another in the end, and even a creepy Rebecca-esque housekeeper. It was everything I should have loved, and I did, for the most part. The issue I have with most dual narratives is the fact that one is most generally always more interesting than the other, as is the case with Fiercombe. Elizabeths narrative set in the late 1800s centered around the common affliction that was terribly misunderstood of puerperal insanity, a form of postpartum depression. Its always difficult reading about medical issues being misconstrued in the past resulting in far worse instances than should have occurred. But Elizabeths narrative was not only terribly sad but it was gripping and truly haunting. Alices narrative involved her trying to uncover information about Elizabeth, having formed something of a mental kinship to her from her diary since most of Elizabeths writings were during the time when she too was pregnant. The attempt to join the two narratives together wasnt exactly convincing, and Alices fears were tame in comparison to Elizabeths genuine ones, although my interest in finding out what happened to both women never seemed to wane. Fiercombe Manor kept me fully invested to the very end with atmospheric writing and a haunting past revealed piece by piece. I received this book free from TLC Book Tours in exchange for an honest review. This does not affect my opinion of the book or the content of my review... For someone who isnt a fan of ghostly elements in books it is amazing how I have now read three books in quick succession that feature them in various degrees, although the ghosts in this book are in many ways ephemeral beings. For Alice Eveleigh newly resident at Fiercombe Manor the feeling that the house was host to those whod lived before that made the former Lady of the Manor, Elizabeth Stantons life so intriguing and a welcome distraction for the exiled pregnant young woman who had been For someone who isnt a fan of ghostly elements in books it is amazing how I have now read three books in quick succession that feature them in various degrees, although the ghosts in this book are in many ways ephemeral beings. For Alice Eveleigh newly resident at Fiercombe Manor the feeling that the house was host to those whod lived before that made the former Lady of the Manor, Elizabeth Stantons life so intriguing and a welcome distraction for the exiled pregnant young woman who had been sent away in disgrace. Told as a dual narrative between Alice in 1933 and Elizabeth in the last years of the nineteenth century in the beautiful setting of Gloucestershire. Although the story is set in the fictional village of Fiercombe it is nearby the actual village of Painswick and the descriptions of this village often cut off from the outside world by floods were certainly evocative, more so perhaps as this reader spent her formative years in Gloucestershire. Bluebells glos wildlife trust Picture of Bluebell woods courtesy of Gloucestershire Wildlife Trust With both women pregnant albeit under very different circumstances the reader is drawn into comparisons of the two womens lives as their pregnancies prove to be a difficult time for both of them. Both Alice and Elizabeths characters are well-developed as are the secondary characters of Mrs Jelph the housekeeper and Ruck the groundsman at Fiercombe Manor. The beauty of the two narratives being less than forty years apart enables Kate Riordan to weave many of the characters into both stories which lends a feeling of continuity that can be lost or contrived during these dual time tales. The issues facing both women are well-researched which helps keep the story rooted in the time its set in although I think this was more successful for Elizabeth than Alice whose life was more isolated until the heir to the manor, Tom, returns to carry out some estate work, but Tom has his own burden and Alice is intrigued to have another Stanton mystery to uncover. For once it was the more recent story that grabbed my attention and I wanted all to turn out well for Alice, a bright and inquisitive young lady who having left her busy London life with her job, her friends and her parents behind doesnt dwell on her own misfortune but instead uses her banishment to learn more about Elizabeth aided by a diary and the local historian Hugh Morton she finds pictures of houses, gardens and finally a picture of Elizabeth. This book has a melancholy feel to it and the author doesnt try to make everything all better so if you decide to read this one prepare to have a lump in your throat as you realise how much easier womens lives are today than the times depicted in this novel. Id like to say a big thank you to Real Readers who sent me this book in the hope that I would enjoy it and write a review. How could I not enjoy a well-researched historical novel that deals with the issues it tells in a realistic but not overly sensational manner... Nov 19, 2014 Christine Thanks to the publishers and Netgalley for my review copy. It is England in the 1930s. It is not the done thing to be become pregnant outside of wedlock. Alice is packed away, to stay with her mothers old friend, Mrs Jelps, in the country and to give birth to her illegitimate baby. Mrs Jelps is the housekeeper at Fiercombe Manor. Alice becomes fascinated with stories of the past concerning Elizabeth. Mrs Jelps used to be Elizabeths personal maid. Elizabeth is quite an enigma and Alice finds Thanks to the publishers and Netgalley for my review copy. Elizabeth is quite an enigma and Alice finds herself playing the detective trying to work her out. We meet a young Elizabeth, as the story alternates between the 1930s and the 1890s. This is a moody, supernatural, historical mystery. The two main female characters, Elizabeth and Alice seem to have little in the way of choice and are at the mercy of their families. Although they are very different in terms of class, they both seem to be in a similar situation and this draws Alice to Elizabeth. Alice is banished from her family, for foolishly falling in love with the wrong man. Elizabeth is trying to seek approval from her husband, in a life of constant miscarriages and post natal depression. Both seem to show that being female is hard. There is a lovely mental health theme running through it, that kept me fascinated with Elizabeth. We see how Elizabeth is shunned by her husband, when depression hits her and grief. Elizabeth is demonized as she comes under the control of the medical profession and locked away. Her child is taken away from her and no one listens to her. I really enjoyed this read. It was sad, but at the same time it was strangely uplifting. It made me think about mental distress within a historical context and the position of women in society... Dec 28, 2014 Jane I find it difficult to resist period romances set in country houses, especially when theres a hint of suspense or a touch of the gothic, and ‘The Girl in the Photograph promised all of that. This is a story is told in retrospect, recalling events that had happened just a few years earlier. ‘I could never have imagined all that would happen in those few short months and how, by the end of them, my life would have altered irrevocably and for ever In 1932 Alice was young, and she was holding down a I find it difficult to resist period romances set in country houses, especially when theres a hint of suspense or a touch of the gothic, and ‘The Girl in the Photograph promised all of that. ‘I could never have imagined all that would happen in those few short months and how, by the end of them, my life would have altered irrevocably and for ever In 1932 Alice was young, and she was holding down a good job while she waited, quite passively, for when ‘her life – her real life – would begin. That made her susceptible to a charming older man she met at work. She thought that he was the great love of her life, but he seduced and abandoned her. Alices mother was horrified when she found that her daughter was pregnant, but she was practical and she took matters out of Alices hands. She arranged for her daughter to stay with an old friend who was the housekeeper and custodian of Fiercombe Manor, in the depths of Gloucestershire, while she waited to give birth. She told Alice that she must present herself as a widow, whose husband had died in an accident not long after the wedding, and that when the child was born it would be put up for adoption, so that Alice could resume her old life without shame or stigma. The story was well told, and it rang true. I believed in Alices fall, and in her mothers response. I understood how each of them must have felt The old acquaintance in the country – close enough to offer such help but not so close that she might have any idea that the story she was told was untrue – seemed a little convenient, but the story was engaging and it held such promise. “Firecombe is a place of secrets. The past has seeped into the soil here, like spilt blood. If you listen closely enough you can almost hear whats gone before, particularly on the stillest days. Sometimes the very air seems to hum with anticipation. At other times its as though a collective breath has been drawn in and held. It waits, or so it seems to me. ” When Alice arrives at Fiercombe Manor she is uncomfortable with the story she has to tell, and the unwarranted sympathy that she receives. And at night, when the house is silent, she feels another presence in her room. She wonders if the house is haunted, if that is why the family who own the house but who never visit, if there might be a story to be uncovered. ‘I felt intrigued and almost excited, as though a mystery had presented itself to be solved. Delving into the past was just the sort of distraction I needed to take me away from my own present. She asks Mrs Jelphs, the housekeeper about the history of the house and about Lady Elizabeth Stanton, the last lady of the manor. Mrs Jelphs had been concerned, helpful and supportive of Alice, she became evasive. Even though she knew that Alice knew that she might have told her a great deal; because years ago she had been Elizabeths maid. Elizabeths she recalls the summer of 1898 when she too is awaiting the birth of her child. She lived in Stanton House which was nearby to Fiercombe Manor, but was there no more. Like Alice, she is pregnant, she is alone and yet not alone, and she is apprehensive about what will happen when her baby is born. The Girl in the Photograph tells Alice and Elizabeths stories, until one of them comes to a dramatic, shocking end. The story with beautifully told. The house lived and breathed; the atmosphere, the mystery and intrigue, were pitch perfect; and the gothic overtones were so very well done. But though I loved Elizabeths story, which broke my heart in the end, I was less taken and less moved by Alice. I found her gauche and self-absorbed, and when I came to the end of the story and thought back to her words in the prologue …. well, that confirmed my feelings... The writing is gorgeous, the story is readable, and Im sorry that it doesnt quite live up to that writing and that it has no more than the writing to set it apart from many other stories like this... Karen When in the late spring of 1933, 20 year Alice Eveleigh arrives at Fiercombe Manor in a Gloucestershire valley she is nearly 6 months pregnant by her married boyfriend. She has been sent there in disgrace from London by her parents. The housekeeper Mrs Jelphs is an old school friend of Alices mother and has been told that Alice is newly widowed and needs some peace and quiet for the duration of her confinement. From her first arrival at Fiercombe, Alice feels a disturbing presence and a sadness When in the late spring of 1933, 20 year Alice Eveleigh arrives at Fiercombe Manor in a Gloucestershire valley she is nearly 6 months pregnant by her married boyfriend. From her first arrival at Fiercombe, Alice feels a disturbing presence and a sadness that pervades the walls of the manor. Mrs Jelphs has been at Fiercombe for decades but for some reason is reluctant to talk to Alice about the previous owners, Edward and Elizabeth Stanton which makes Alice even keener to find out more. This is a dual narrative story told by Alice in the early 1930s and Elizabeth Stanton in 1898. Despite the decades between their stories, there are similarities in both women. Both are pregnant and both are constrained by the attitudes and traditions of their time. Alice has bought shame on her family and has to be hidden away. Elizabeth is married to the cold hearted Edward Stanton. Although they have a little girl, Isabel, Edward makes no secret of his wish for a son to carry on his title and estate. Elizabeth has suffered badly with what we now know as post natal depression however in those times this was seen as madness and Elizabeths husband took full advantage of the rights he had over her. The lack of womens rights, particularly on mental health issues, was very much highlighted in this novel and was quite shocking. Once you are married you sign away your money and your life to your husband – such a marked difference to how we live now. This is quite a long and detailed story which leads to a gradual reveal of past events. Throughout it is very descriptive and atmospheric and has clearly been well researched. It is not a traditional ghost story but there is a supernatural element – the old manor definitely has echoes of the past and the unhappiness of the previous occupants can be felt by Alice. To fill her time, Alice explores the manor and the surrounding grounds and discovers a secret journal kept by Elizabeth and gradually we learn of her story. Personally I enjoyed Elizabeths narration more than Alices and whenever Alice was the main focus, I was impatient to get back to Elizabeth. I felt that Elizabeth had a bit more of a spark to her when compared to Alice and I was intrigued to learn what had happened to her and why the fate of the Stantons was clouded in mystery. I'm a big fan of this type of historical fiction and did enjoy the dual time aspect and mysterious background to the story. I would certainly like to read more by this author. There were times when I felt the descriptive text slowed down the story (although that could just be me being impatient to know what happens next. but I cant fault the writing for the atmospheric and evocative detail, particularly with regard to the old manor house and for bringing to life the searing heat of the summer and the oppressive feel of the valley where watches and clocks refused to work... FIERCOMBE MANOR Kate Riordan FIERCOMBE MANOR is the story of two women of different eras living in the manor house. One woman is depicted in the 1930s and the other in the 1890s and they have pregnancy in common. The book is described as haunting and will appeal to readers who loved REBECCA. I, personally, am very tired of reviews that use the beloved REBECCA as a selling point and especially when the book or books dont even come close to the comparison! The novel has a housekeeper (probably the FIERCOMBE MANOR Kate Riordan FIERCOMBE MANOR is the story of two women of different eras living in the manor house. I, personally, am very tired of reviews that use the beloved REBECCA as a selling point and especially when the book or books dont even come close to the comparison! The novel has a housekeeper (probably the comparison to Mrs. Danvers) who is the keeper of the secrets of the house and the family to herself. A predicable ending... May 18, 2018 Siobhan Kate Riordans The Shadow Hour was one of the books that convinced me to dig deeper into the historical fiction genre, convincing me it was a genre I needed to pay more attention to rather than reading it sporadically. I have read more of the genre since then, but mostly its been novella length stories with only the occasional full-length novel thrown in. When I saw Kate Riordans The Girl in the Photograph on offer, I decided it was time for another full-length historical fiction novel. In Kate Riordans The Shadow Hour was one of the books that convinced me to dig deeper into the historical fiction genre, convincing me it was a genre I needed to pay more attention to rather than reading it sporadically. In truth, my rating for this one is more of a three-point-five-star rating. I considered rounding it up, but in the end I opted to round down. This is because I gave The Shadow Hour a four-star rating, and in comparison The Girl in the Photograph felt a bit flat. It was certainly an enjoyable read, but it wasnt quite on the same level as my prior Kate Riordan read – it certainly had four-star moments, but it wasnt a consistent four-star read, as I had been hoping for. As with my prior Kate Riordan read, The Girl in the Photograph offers us a dual timeline tale, one that slowly unfolds as we work our way deeper into the story. Filled with family drama and mystery, there is plenty in both storylines that will leave you desperate for more, curious to see how the two become intertwined. With so much going on, youll be turning the pages, eager to see how all the details are brought together. The reason I didnt enjoy this one quite as much is because of the pacing. I felt as though some part of the story went by too slowly, that we were buried under information that was given more attention than it should have been. With so much going on, there were some things I feel were more deserving of attention and these things sometimes missed out. Overall, though, The Girl in the Photograph was another enjoyable read from Kate Riordan... There's just something about stories set in old manors and houses that draws me in like a fly to honey. I really loved the descriptions of Fiercombe Manor and the Stanton House, and though I went in expecting this to be a haunted house story, I wasn't disappointed when it wasn't. I feel as though I read a good number of books with alternating storylines, and, once again, I enjoyed that aspect of the narration. Like Alice, I found myself looking forward to reading Elizabeth's journal entries. There's just something about stories set in old manors and houses that draws me in like a fly to honey. Like Alice, I found myself looking forward to reading Elizabeth's journal entries. This book wasn't perfect for me, and it felt like it was just missing a spark, so it probably won't be one I remember for very long, but I did thoroughly enjoy reading it. A solid 3. 5-4 star read for me... Jan 24, 2016 Vanessa "The Girl In The Photograph" is one of those books that creeps up on you slowly and then refuses to let you go. I liked it from the beginning, but it wasn't until the second half of the book that I found myself unable to put this book down anymore. There are two main stories: That of Alice, a young woman living in London in the 1930s, and that of Elizabeth, another young woman living on an estate in rural England thirty years earlier. When Alice becomes pregnant after a short-lived (and "The Girl In The Photograph" is one of those books that creeps up on you slowly and then refuses to let you go. When Alice becomes pregnant after a short-lived (and ill-fated) affair with a married man, her mother sends her off to the country to have the baby in order to avoid the scandal of having an unmarried pregnant daughter. Fiercombe Manor, Alice's new home for the duration of her pregnancy, is an old estate in a lonesome valley without any immediate neighbors. Only the housekeeper, Mrs. Jelphs, and a groundskeeper still live there. From the beginning Alice feels drawn to the past of Fiercombe Manor and Stanton House - the huge mansion that stood on the estate in the 1890s, and which was completely torn down at the turn of the century. There are many secrets surrounding Elizabeth Stanton, the beautiful young woman who was married to the lord of the estate. The woman who seemed to have disappeared into thin air one fateful summer, and whose fate no one seems to know. The story is told in alternating chapters through both Alice's and Elizabeth's perspectives. While Alice's part is told in the first person, Elizabeth's story (excepting her diary entries) is told in the third person. I found both Alice and Elizabeth to be interesting characters, and their stories engaging from start to finish. But it was Elizabeth's story that was the more compelling one of the two, though that probably had a lot to do with the subject matter (of which I don't want to say much since it would spoil the overall effect of the book. It was also the more tragic one. Throughout the entire book I kept hoping for some miraculous happy end to her story, all the while knowing that it was hurdling closer to disaster. Kate Riordan's writing is wonderfully vivid, and I saw the whole story come to life before my eyes while I was reading. I think it would make a good movie, actually. There were a few moments throughout the book that were a little creepy, but that might have just been because I read those parts late at night. The ghosts of the past are certainly present in this story, but I wouldn't go so far as to call this a real ghost story. Perhaps "athmospheric and occasionally a little unsettling" would be a better way to describe it. I'd recommend "The Girl In The Photograph" wholeheartedly to fans of Kate Morton and Susanna Kearsley, and to anyone else who enjoys well-written historical fiction with engaging characters and a dash of mystery... ‘The Girl in the Photograph by Kate Riordan began with great promise but I thought the pace a little bit too slow and that it wound up fizzling out a bit towards the end. The story is told by two women, Alice in 1933 and Elizabeth in 1898, who both live at the Gothic and secluded English country estate, Firecombe Manor. When Alice became pregnant to her married boyfriend her mother sent her away to stay with her childhood friend, Edith Jelphs, who works as a maid at Firecomb Manor. Alice soon ‘The Girl in the Photograph by Kate Riordan began with great promise but I thought the pace a little bit too slow and that it wound up fizzling out a bit towards the end. Alice soon discovers Elizabeths old diaries and begins a quest to discover all of the mysteries that Firecombe Manor holds. Even though Edith worked for Elizabeth she is reluctant to speak about the past, so Alice is left to do most of the investigating on her own, with a bit of help from a local historian. I particularly enjoyed the chapters of ‘The Girl in the Photograph which were told from Elizabeths perspective. They had a real mysterious and Gothic feel to them and I was really interested to find out what happened to her and her children. I did feel though that Alices chapters dragged on a bit and that the ending was rather anticlimactic, but these are all very likely just a matter of my own personal preferences. The story was well written and the mysteries are subtly, although slowly, revealed in a way that will appeal to readers who enjoy Gothic mysteries. The Girl in the Photograph was published in the USA under the title Firecombe Manor. Originally posted at. Feb 10, 2017 Learnin Curve did not like it Maudlin, trite, slow. Takes itself so seriously heaven forfend there be any moments of levity. The idea behind it is good but you can't transplant modern ideas and thinking into the mind of historical characters. Bottle it up, stiff upper lip, wasn't just what British people were told it's what they *believed* You can't just transplant someone with attitudes from what looks to be the 1990s into the 1930s. What utterly strips this of all it's stars is that the author is a absolute chuffing Maudlin, trite, slow. What utterly strips this of all it's stars is that the author is a absolute chuffing imbecile. There were no workhouses in 1930. Honestly both time periods are wrong, especially the 1930s one, she didn't take into account the sweeping social chance with both attitudes and government benefits/housing post 1909. Set the 1930s story in 1890 and the 1890s story in 1850 and it would be accurate. People rating this highly needs to read more history, as does Kate Riordan... May 27, 2015 { U n s o l v e d M y s t e r y} review of another edition Recommends it for: Mystery lovers Recommended to { U n s o l v e d M y s t e r y} by: Given to me for a honest review - My Description - The year is 1933. Alice Eveleigh is in love with the man of her dreams, or so she thinks. John is married. He tells her he plans on leaving his wife for her. (Never ever believe that, girlfriend. Lol) After a brief tryst, Alice discovers she's pregnant. He informs her he's changed his mind and is not leaving his wife. Alice decides not to tell John about the baby. Young Alice is unmarried and pregnant. This was quite the stigma for young women back then. (view spoiler) Alice - My Description - The year is 1933. (view spoiler) Alice almost goes through with an abortion, but the "clinic" isn't really sterile. She chickens out. (hide spoiler) She tells her parents. Her mom knows of a place that is taken care of by an old friend, Edith. Her mom has the idea of the duration of her pregnancy to stay at Fiercombe Manor. After the baby arrives, the baby will be put up for adoption. A lie is set into motion. Alice's mother informs Edith that Alice is recently widowed and pregnant. This lie will save Alice and her mother's reputations. This is all a superb plan. Alice arrives at this hauntingly beautiful mansion. She discovers many mysteries within its walls. My Review - This started off a little shaky for me. I really just wasn't "getting" it. After page 30, it seemed to even out. For one thing: The writer just didn't capture the era. I wasn't being transported to the 1930's. Another thing: Alice is pregnant. She wasn't taking care of herself for the baby's sake. Edith informs her of a set of stairs never to take. Did Alice listen? NO! She was rattling around the manor like a Nancy Drew. It was so irritating. I wanted to scream. The manor had a library. Grab a book, freaking lay on a bed and REST! Eat when you're supposed to eat. Alice had a problem doing this too. Maybe I'm being a Nervous Nelly, but she made me nervous and pissed off. When someone tells her something for her own good, she needed to listen. All the mysteries in this house, and she wants to investigate. I get it. She's bored, and mysteries are hard to ignore. But when you're preggo, the best you can manage is being an armchair detective... The atmosphere in this book is perfect; the way that Riordan tugs the story out into the open is unhurried and neatly; and the emotional turmoil is there from the beginning, tugging at the reader. This is the heartbreaking story of a very real feminine plight that so often one turns a blind eye on. Alice is a strong but not overpowering female lead, easy to like and easy to follow in her curiosity to seek out the answer to the mystery of Elizabeth, and later little Isabel. The life of Elizabeth, The atmosphere in this book is perfect; the way that Riordan tugs the story out into the open is unhurried and neatly; and the emotional turmoil is there from the beginning, tugging at the reader. The life of Elizabeth, itself, and that of her husband is wreaked in turmoil and sadness despite the perfect façade that is portrayed. Her voice, though muted by that of her husband, is still very strong as it pours out of the pages of her dairy tear at the heart. Both women are so seemingly different, and yet at the core incredibly similar in their states. This is one of my referred to as quiet books. It doesnt seem to hold much content because there are no big explosive incidents and things go about in a rather steady pace. But everything leads to a really dramatic conclusion, and the settling of a mystery that has needed to be solved so that two souls could find their peace. I rather enjoyed it... Feb 19, 2015 Caitlin I love stories that go back and forth in time, with creepy old houses, secrets and best of all-asylums! However, this book did not fully live up to its potential, sadly. The book was slow for the first half, then only moderately picked up pace in the second. I like when an author takes on a topic that is not very openly discussed or made aware. In this case, post-partum depression and anxiety were a very present subject of the story. It was so sad to read, what I already knew to be true, of how I love stories that go back and forth in time, with creepy old houses, secrets and best of all-asylums! However, this book did not fully live up to its potential, sadly. It was so sad to read, what I already knew to be true, of how women who suffered from these mental illnesses were treated. They were treated as maniacs- locked away in asylums, kept from their babies, and often times underwent horrific unproven psychiatric treatments. It makes me very grateful that now days we have a better grip on how to treat mental illness. As far as a book of family secrets, this one was not one of the more interesting or strong reads that I have come across. It was worth the read, just a bit of a snore at times... Meh. It was fine. It was predictable. I read it, and that is all the energy I'm going to put into it. My! What a book. There were parts in it which were dismal and depressing but the atmosphere of eeriness was so real that one started getting it inside one's own skin. So were the characters all portrayed with their flaws and sins and not too apologetic about it. The main character a young girl ends up in a remote Manor due to certain unfortunate circumstances in her life. There she unravels the life of the old mistress of the Manor who had lived there half a century before. Both their fates My! What a book. There were parts in it which were dismal and depressing but the atmosphere of eeriness was so real that one started getting it inside one's own skin. Both their fates seem to get entangled. And for the rest just read it. Will read more from this author... There's something about cold weather that makes me want to pick up books about stately manor homes that hold secrets. I managed to sneak this one in before the end of 2014, and while it wasn't a page turner, it somewhat hit the spot. To be honest, I'd almost given up on this genre after some pretty awful reads in the past year, but I'm glad I gave Fiercombe Manor a shot. Unwed and pregnant, Alice finds herself exiled to the Gloucestershire countryside and the care of a family friend who also There's something about cold weather that makes me want to pick up books about stately manor homes that hold secrets. Unwed and pregnant, Alice finds herself exiled to the Gloucestershire countryside and the care of a family friend who also doubles as the housekeeper for Fiercombe Manor. While awaiting the birth of her child, Alice discovers that all may not be as it seems when it comes to the manor's absentee owners and sets upon investigating what exactly happened to the house's previous mistress. Pros. Characters that were interesting, but not always likeable. I wasn't particularly attached to any of them, but for the most part they avoided falling into stereotypical buckets. A memorable estate with lots of nooks and crannies for the story to take place in. Riordan does a nice job with her description and one can envision Fiercombe in all of its glory. Flashbacks, a mysterious journal. all the requirements for a book about an old estate with a past shrouded in secrecy. Cons. With all of the novels that have flooded the market in this genre during the past few years it's pretty hard to get original. The plot was rather predictable, though the journey still managed to be enjoyable. Totally random, but also didn't think the 1933 setting was very realistic. If you're going to pick such an interesting time in British history at least do something with it. or set your book in another time. Length. the story gets a little long in the tooth in parts and could have benefited from a tighter edit. Nothing ground breaking, but if you're looking for something to solve your old house/family secrets craving, I'd recommend picking this one up. Disclaimer: I received an advance copy of this novel for review courtesy of the publisher... Kate Riordan is a writer and journalist from England. Her first job was as an editorial assistant at the Guardian newspaper, followed by a stint as deputy editor for the lifestyle section of London bible, Time Out magazine. After becoming a freelancer, she left London behind and moved to the beautiful Cotswolds in order to write her first novel, Birdcage Walk. Her second novel, a haunting dual Kate Riordan is a writer and journalist from England. Her second novel, a haunting dual narrative story set in the 1930s and 1890s will be published by Penguin in January 2015 as 'The Girl in the Photograph. In February, HarperCollins will publish the same book as 'Fiercombe Manor' in the US and Canada. She is now at work on her third novel, another dual narrative story full of intrigue and secrets, but this time set in the 1870s and 1920s, and about the lives of two very different governesses... Welcome back. Just a moment while we sign you in to your Goodreads account.

The photograph free full form. The Photograph free falling. The photograph free full length. Photography free logos. Photography free logos and advertisements. History of photography, method of recording the image of an object through the action of light, or related radiation, on a light-sensitive material. The word, derived from the Greek photos (“light”) and graphein (“to draw”) was first used in the 1830s. stereoscope Pocket stereoscope with original test image; the instrument is used by the military to examine 3-D aerial photographs. Joaquim Alves Gaspar This article treats the historical and aesthetic aspects of still photography. For a discussion of the technical aspects of the medium, see photography, technology of. For a treatment of motion-picture photography, or cinematography, see motion picture, history of, and motion-picture technology. General considerations As a means of visual communication and expression, photography has distinct aesthetic capabilities. In order to understand them, one must first understand the characteristics of the process itself. One of the most important characteristics is immediacy. Usually, but not necessarily, the image that is recorded is formed by a lens in a camera. Upon exposure to the light forming the image, the sensitive material undergoes changes in its structure, a latent (but reversed) image usually called a negative is formed, and the image becomes visible by development and permanent by fixing with sodium thiosulfate, called “hypo. ” With modern materials, the processing may take place immediately or may be delayed for weeks or months. The essential elements of the image are usually established immediately at the time of exposure. This characteristic is unique to photography and sets it apart from other ways of picture making. The seemingly automatic recording of an image by photography has given the process a sense of authenticity shared by no other picture-making technique. The photograph possesses, in the popular mind, such apparent accuracy that the adage “the camera does not lie” has become an accepted, if erroneous, cliché. Get exclusive access to content from our 1768 First Edition with your subscription. Subscribe today This understanding of photographys supposed objectivity has dominated evaluations of its role in the arts. In the early part of its history, photography was sometimes belittled as a mechanical art because of its dependence on technology. In truth, however, photography is not the automatic process that is implied by the use of a camera. Although the camera usually limits the photographer to depicting existing objects rather than imaginary or interpretive views, the skilled photographer can introduce creativity into the mechanical reproduction process. The image can be modified by different lenses and filters. The type of sensitive material used to record the image is a further control, and the contrast between highlight and shadow can be changed by variations in development. In printing the negative, the photographer has a wide choice in the physical surface of the paper, the tonal contrast, and the image colour. The photographer also may set up a completely artificial scene to photograph. The most important control is, of course, the creative photographers vision. He or she chooses the vantage point and the exact moment of exposure. The photographer perceives the essential qualities of the subject and interprets it according to his or her judgment, taste, and involvement. An effective photograph can disseminate information about humanity and nature, record the visible world, and extend human knowledge and understanding. For all these reasons, photography has aptly been called the most important invention since the printing press. Inventing the medium Antecedents The forerunner of the camera was the camera obscura, a dark chamber or room with a hole (later a lens) in one wall, through which images of objects outside the room were projected on the opposite wall. The principle was probably known to the Chinese and to ancient Greeks such as Aristotle more than 2, 000 years ago. Late in the 16th century, the Italian scientist and writer Giambattista della Porta demonstrated and described in detail the use of a camera obscura with a lens. While artists in subsequent centuries commonly used variations on the camera obscura to create images they could trace, the results from these devices depended on the artists drawing skills, and so scientists continued to search for a method to reproduce images completely mechanically. In 1727 the German professor of anatomy Johann Heinrich Schulze proved that the darkening of silver salts, a phenomenon known since the 16th century and possibly earlier, was caused by light and not heat. He demonstrated the fact by using sunlight to record words on the salts, but he made no attempt to preserve the images permanently. His discovery, in combination with the camera obscura, provided the basic technology necessary for photography. It was not until the early 19th century, however, that photography actually came into being. Early experiments Heliography Nicéphore Niépce, an amateur inventor living near Chalon-sur-Saône, a city 189 miles (304 km) southeast of Paris, was interested in lithography, a process in which drawings are copied or drawn by hand onto lithographic stone and then printed in ink. Not artistically trained, Niépce devised a method by which light could draw the pictures he needed. He oiled an engraving to make it transparent and then placed it on a plate coated with a light-sensitive solution of bitumen of Judea (a type of asphalt) and lavender oil and exposed the setup to sunlight. After a few hours, the solution under the light areas of the engraving hardened, while that under the dark areas remained soft and could be washed away, leaving a permanent, accurate copy of the engraving. Calling the process heliography (“sun drawing”) Niépce succeeded from 1822 onward in copying oiled engravings onto lithographic stone, glass, and zinc and from 1826 onto pewter plates. In 1826/27, using a camera obscura fitted with a pewter plate, Niépce produced the first successful photograph from nature, a view of the courtyard of his country estate, Gras, from an upper window of the house. The exposure time was about eight hours, during which the sun moved from east to west so that it appears to shine on both sides of the building. Niépce produced his most successful copy of an engraving, a portrait of Cardinal dAmboise, in 1826. It was exposed in about three hours, and in February 1827 he had the pewter plate etched to form a printing plate and had two prints pulled. Paper prints were the final aim of Niépces heliographic process, yet all his other attempts, whether made by using a camera or by means of engravings, were underexposed and too weak to be etched. Nevertheless, Niépces discoveries showed the path that others were to follow with more success.

The Photograph free full version. Photograph free download. The photograph free full moon. The photograph free full size. İnsan sevdiğini olduğu gibi sever, O lmasını istediği gibi değil. /Tolstoy “Ne zaman zemheri ayazında, Bacası tütmeyen bir ev görsem. Bilirim ki. Ya evde kimse yoktur Yada evdekilerin kimsesi yoktur... ” A titmouse yelling at me for being on my porch Tufted Titmouse ( Baeolophus bicolor) February 12, 2020 Southeastern Pennsylvania Niye izin vermiyorsun yoluna kuş konmasına Niye izin vermiyorum yoluma kuş konmasına Niye kimseler izin vermez yollarına kuş konmasına. Öyle güzelsin ki! Kuş koysunlar yollarına… Nilgün Marmara 🖤 Juniper and berries after the snowstorm: riverwindphotography, February, 2020 Just another day in paradise Neden kurtardın beni? Neden ölecekken kendine aşık ettin beni? ⚡🌛⭐ Gisele ma Belle - GQ magazine (2008) Gisele Bundchen by Inez & Vinoodh Jattends toujours ma bagnole. Yosemite National Park, United States A wide view from Emstruleið (F261) The best of the recent lot Southwest Harbor, Maine photo: David Castenson.

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The photograph free full name. The photograph free full hd. The photograph free full video. The photograph free full episodes. The photograph free full album. Photography free lens. A small selection of images from recent events. More in our Galleries Announcements Event Rules Changes The PAGB Executive has reviewed and agreed changes to the General Conditions for all events, the Monochrome definition and the Nature definition. The rules for each event and the guidance on image repetition have been updated to match the changes. The object is to make compliance by entrant federations and clubs and photographers easier to understand, and so reduce problems arising between entrants and event organisers. See the individual documents via the competitions page. Advice at The Photography Show Advice for the PAGB Awards is available at The Photography Show, NEC, 14th-17th March. POSTER with the details required to book advice. masters of print 2019 POSTER with details of the Exhibition tour. First at Smethwick PS and then in Liverpool. Thank you for visiting our website. In the last week there have been  2462 visitors.

 

 

 

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