Background to Photography: the Diorama and Virtual Reality

Daguerre - The Effect of Fog and Snow Seen
through a Ruined Gothic Colonnade, 1826
Oil on canvas, L. J. M. Daguerre, in Gerard Levy Collection
Reproduced in Panoramania! by Ralph Hyde, London:
Trefoil Publications / Barbican Art Gallery 1988,
catalogue item No.99 on p.119 with colour illustration on p. 168
source: The Diorama: some images
compiled by R. Derek Wood
http://www.midley.co.uk/

Ticket signed by Daguerre in 1830 for complimentary
visit of two persons to his Diorama in Paris
Reproduced from H. & A. Gernsheim L. J. M. Daguerre,
fig. 26, Secker & Warburg: London 1956
source: The Diorama: some images
compiled by R. Derek Wood
http://www.midley.co.uk/

Photographed by R. D. Wood (July 2001)
The diorama painted by Daguerre in 1842 in the church
at Bry-sur-Marne, poorly surviving there after 159 years.
source: The Diorama: some images
compiled by R. Derek Wood
http://www.midley.co.uk/

Diorama by Daguerre in the church
at Bry-sur-Marne c. 1840 (in process of restoration)
source: http://www.daguerre-bry.com/index_french.htm

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Group f/64 Manifesto (1932)

Ansel Adams by Dorothea Lange Group f/64 Manifesto The name of this Group is derived from a diaphragm number of the photographic lens. It signifies to a large extent the qualities of clearness and definition of the photographic image which is an important element in the work of members of this Group. The chief object of the Group is to present in frequent shows what it considers the best contemporary photography of the West; in addition to the showing of the work of its members, it will include prints from other photographers who evidence tendencies in their work similar to that of the Group. Group f/64 is not pretending to cover the entire of photography or to indicate through its selection of members any deprecating opinion of the photographers who are not included in its shows. There are great number of serious workers in photography whose style and technique does not relate to the metier of the Group. Group f/64 limits its members and invitational names to those worke

Post-photography

"The job of the photographer in the 21st century has become increasingly challenging as the practice is an overwhelmingly populist business. Anyone who has access to a camera has the power to become an artist, leaving a plethora of cached evidence on the internet for public consumption. This “found” internet content serves as a vast laboratory for major experimentation, underpinning the concept of post-photography, with endless possibilities for artists to recreate original works using avant-garde techniques drawn from both the digital and analogue eras." Fiona Martin (short presentation of the book Post-Photography: The Artist with a Camera by Robert Shore) http://www.aestheticamagazine.com/post-photography / Perhaps there is less novelty here, regarding the context of photography transformed by the new image technologies developed in the late 20th century, in the particular sense that the early impact of photography itself transformed the regimes of vision and impact

Calotype process

"The calotype negative process was sometimes called the Talbotype , after its inventor. It was not Talbot's first photographic process (introduced in 1839), but it is the one for which he became most known. Henry Talbot devised the calotype in the autumn of 1840, perfected it by the time of its public introduction in mid-1841, and made it the subject of a patent (the patent did not extend to Scotland). The base of a calotype negative, rather than the glass or film to which we have become accustomed, was high quality writing paper. The sheet of paper was carefully selected to have a smooth and uniform texture and, wherever possible, to avoid the watermark. The first stage, conducted in candlelight, was to prepare what Talbot called his iodized paper. The paper was washed over with a solution of silver nitrate and dried by gentle heat. When nearly dr

Introduction to the History of Photography

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