Context and concept

Saul Leiter is an American artist and photographer, during his late teens his interest grew for painting shortly moving to New York in 1946 to pursue this. After, He came in contact with an Abstract Expressionist painter Richard Pousette-Dart who was experimenting with photography at the time, to later meeting Eugene Smith, and exhibitions of Henri Cartier Bresson at the museum of modern art in 1947, was what inspired him. His abstract approaches of forms and innovative compositions have a painterly quality that stands out among New York, suggesting this through colour and reflections. Creating this effect of a painted look. Looking at his work I can see his inspirations from these photographers, for example Henri Cartier Bresson, the way the the people are captured in the ‘decisive moment’ so they are unaware they’re being captured.

“I happen to believe in the beauty of simple things. I believe that the most uninteresting thing can be very interesting.”

“I LIKE IT WHEN ONE IS NOT CERTAIN WHAT ONE SEES.” – SAUL LEITER 

https://www.1854.photography/2016/01/ordinary-beauty-saul-leiter/#:~:text=While%20Leiter’s%20early%20black%2Dand,British%20Vogue%2C%20Esquire%20and%20more.

This quote perfectly describes his style of street photography, through the way he captures photos in the decisive moment, meaning that there isn’t much of a subject or meaning behind the photograph, in a way it’s up to you how you perceive the photo. Considering the people are a central focus of the photo, it creates an interesting narrative, as its portraits of them in day to day so so its clear where they are, through expressions and poses but ‘unclear of what one sees.’ His style is seen as a poetic and painterly quality, with a keen eye for colour and composition, leading to an emotional and in-depth response from the viewer. Through each of these contrasting effects created by visual elements, work together giving this warm feeling. Featuring reflections, shadows, blurred objects create this unknown, imaginary look. I want to develop this conecpt further a it creates this surreal characteristic of the photo. It highlights this concept of ‘in the moment’ as your prensted with something unclear leading to your unclear judgement.

Leiter began to explore colour by 1948, with his main subjects being street scenes and his close circle of friends. Looking at streets around New York City 1950, he created a project in which he explored the very busy and hectic hustle and bustle of the streets, showing this through abstract forms and original compositions to street photography. This creates a unique concept behind his approach as he looks

What inspired me of his work is this busy and hectic feel that’s created, through visually seeing his bold compositions displayed through colour, lines, reflections, subjects. This reminds me of magazine covers as images are brought together in ways which portray some kind of story,

I love the abstract look about his photographs, with really bold uses of block colours that outline the structure, shown through shapes and lines. I feel this really creates an interesting and unique photo as we are displayed something different each time because the moment when its captures will never be seen like this again. The unique angles being captured through reflections in windows, to the weather conditions, how people are dressed and presented

Colour Collection

I love the abstract look about his photographs, with really bold uses of block colours that outline the structure, shown through shapes and lines. I feel this really creates an interesting and unique photo as we are displayed something different each time because the moment when its captures will never be seen like this again. The unique angles being captured through reflections in windows, to the weather conditions, how people are dressed and presented, through a whole , creates this intersting conecpt as its a diffeemt unusaul view.

Created collection/ categroires in which he fit his photoshoto into. visual elements – further develope this in my own style

https://www.saulleiterfoundation.org/color

These photos specifically showed contrast that the colours and compositions create

https://www.saulleiterfoundation.org/biography

This photo appeals to me a we are given a montage of people, through reflections.

This photo is part of Leiter’s fashion photography displayed in Harper’s Bazaar, but also a part of ‘Colour’ (one of Saul Leiter’s collection.) I love this photo, and its expressive interesting forms. The way the subjects creates these unique focal points all throughout are shown with three different peoples perspectives. One in the background, second in the mid ground and third in the foreground. This creates an interesting concept. As the main focal point the women in the blue jacket drawns us in straight away to creating interesting silhouette figures, filled with colour.

We straight away see an old yellow car with a woman standing in front looking very fashionable. The natural lighting is used with the rain and wet weather elevating the colours creating unique contrast between the focal points – the yellow car and women in blue coat. I really perfectly describes a unique composition as they create unique shadows, texture, forms emphasising the outlines and silhouettes of people and cars. Alongside this, we are presented with an interesting depth of field that’s not noticeable straight away because your drawn to the contrasting central focus (the car and person in blue dress). But when looking closer at the photo, two more people are actually shown, but only their outline creating this interesting silhouette in the background. With this interesting depth of field, they are still part of the background so not the main focus. They instead create interesting shapes and structure as they’re out of focus. These visual elements overall make a really interesting photo, emphasising even more contrast in colour, showing this structural and defined look. The visual elements of tone, colour, pattern, line, shape, work together to create this interesting compositional photo.

This photo is captured without being staged, showing you the real reality of behind the scenes in a way which you

Saul Leiter creates this interesting perception through visual elements such as colour, tone shape, pattern and composition. This photo displays old cars, people within the streets all that are all different. showing this documentary

In response to Saul leither i am ispired by his compositions and formations show through lines, shapes, structure, shadows, and reflections. I am goijng to incorpoate these elements in my work through looking at

https://www.saulleiterfoundation.org/color

https://independent-photo.com/news/the-unseen-saul-leiter

Lee Friedlander experimented with the American social landscape in 1948, the point of his work was to display a vast amount of visual information in dynamic compositions. In result created humorous and poignant images within chaos of city life or natural dense landscapes. During the early stages of his photography, his career focused on the streets which displayed evidence of the complexity of the American social landscapes producing candid photos in sly compositions of people, buildings, advertisements and reflections. Between the years 1950s and 1970s, continuing working on the streets Friedlander presented jazz, country, and blues performers which later appeared on album covers. Within this time period he produced a series of portraits in 1960s, called the little screens showing television screen in motel room an other spaces pairing others disquieting landscapes of tv images within their mid-century surrounds.

fraenkelgallery.com

https://www.artnet.com/artists/lee-friedlander

Friedlander capture’s store front reflections, structures framed by fences, posters and street signs. With help from the natural environment and architecture to frame the subject. He experiments with unusual camera angles, and inventive lighting which bring life to the photographs challenging the viewers perspective. This involves looking at reflections, shadows, textural elements often displayed through people in everyday life.  “His images encapsulate the common, yet overlooked, moments of life, highlighting their innate beauty and significance.”

Personal Street Photography

Streets:

‘Flattening a dynamic space into a photographic image,’

Lee Friedlander

looking at people who are reflected in windows and mirrors who are framed by lamp posts and doors, which creates these interesting narratives and new relationships. I love this element of the photos, as new formations appear everywhere, making it very interesting and engaging drawing you in. This hectic and busy layout gives you lots to see and look for, creating this gripping dynamic of the relationship between the people and buildings. I think including people you know within this would create an interesting narrative to experiment with, as perhaps to them they could have relationship with this. I also love the more simple approaches like in the bottom right of the four above, as this shows a simple but effective composition. I love this candid look as I feel this alone draws your attention in, to the very few subjects and asymmetrical compositional. I love how this is further expressed through different tones, and high contrasted effects. I want to experiment with this feature during my photoshoots, being assertive and aware of my surroundings that show clear understanding of contrast, that I can further emphasise and develop in lightroom.

I am particularly interested in the photos Friedlander captures of people in reflections where you can see clear shadows and shapes expressed through this. I love how you notice the main photo straight away, noticing the clearly visible subjects, then, another ‘layer’ is revealed, for example reflections in windows, where you can see another scene of silhouettes of people or buildings. Like shown in this photo:

I love how this effect merges two photos together, creating unique compositions. Through these effects new shapes are revealed along with tones and shadow, which complement one another creating unique patterns and lines revealing this gradient of colour that’s produced.

Signs:

Early 1960s, Lee Friedlander focused on signs that describe the American landscape, hand lettered fonts to shop windows and signs. This describes Friedlander’s approach to America, through a poetic and desirable way, shown through what he captures. I found this an interesting concept, as the signs are communicating this message, whilst having this engaging relation with the subjects for example the people. The compositional and textured elements shown in this, overall creates these interesting forms and shapes. I love this connection between these two ‘subjects’ as they connect in ways through what they wear to the backgrounds they’re presented in.

Signs

Lee Friedlander

Baltimore, Maryland displays the high contrast of highlights, tones, structure, and pattern creating this interesting feature. The way the subject of the person is perfectly outlined by the door, looks as if its been staged creating this interesting effect as actually been captured in the moment. Throughout this photo you can see his style coming through of reflections, shadows and textural elements, overall being emphasised by the contrasting tones. Through this, new shapes and patterns are brought out in which you wouldn’t notice before, I feel this really creates this interesting and dramatic effect. Whilst also creating this interesting feature as your eye is naturally drawn to the centre, where lighter tones are shown emphasising the formation of lines and patterns displayed on the buildings, which are again highlighted sublty by darker tones of shapes. The lighting displayed helps to create this contrasting feature within the photo adding to the dramatic effect, leading to a high contrast in tones bringing out unique shapes and patterns that haven’t been seen before. The white balance in the photo is evident, shown to us through he warmer and cooler tones displayed to us in the high contrast. Different highlights are brought out to you through this, specifically in the lighter areas giving it this warm tone. Unique formations are formed, the layering effect that’s created displays interesting contrast between what seems to be two landscapes merged together. I am inspired by this effect, where the darker shadows are displayed, a new landscape or perspective is revealed, through the reflection. The atmosphere created is engaging as all around the photographer is captured, perfectly signifying ‘moments of life, highlighting their innate beauty.’ In relation to the quote, the real beauty is revealed capturing moments, that are revealed through reflections. This could also have something to do with the women we are presented with through the window, which could be describing her world all around her. I find the depth created, explains a deeper meaning as one photo/layer leads perfectly onto the next so you eyes are constantly revealing new landscapes, of interesting formations which are shown through sharp, and bold architectural forms, to graphical signs and lettering.

https://www.moma.org/collection/works/52295?__cf_chl_tk=GC3V75zTU2bYu_63IyVim7dcpyb4b2QYSrWpp81mdE4-1733477164-1.0.1.1-lMZLYS5DUxqxcgOdmnG0_Xpc1RISl_rzMfcbkaLQw1A

• What you want to explore?

Throughout this project I am going to explore the theme ‘Street photography.’ I feel there is much more to explore within street photography, as what usually goes unnoticed is actually the most interesting thing to capture. Through my interest in art and painting, it had inspired me to look differently at what makes up the streets, for example colour to features of buildings, road signs, lights, signage, posters, and letters. I feel like this alone makes the street a much more vibrant and lively place when you look closely into it, revealing alsorts of hidden features. From this I am going further experiment looking closely into visual elements such as colour, shape, texture, composition, pattern, line, and space. Looking at the graphical and structural elements that contrasts each other is what I am interested in exploring. Further developing my photos in lightroom to intensify the original colour, and formations.

o explore this concept of ‘capturing unnoticed,’ as this will not only engage the viewer but reveal something. Exploring this I

• Why it matters to you?

Through knowing different styles of art, I look at the streets in more artistic was paying closer attention to minor details, colours or formations which all work together to create very visually appealing streets. I like admiring colours expressed through graphical signs/ prints and on architectural buildings, to further looking closer at relfections and shadows or people and other interesting objects that make up the street. Fomalism is abstract art. The particular way colours are distinguished between more colours, separated by distinct lines is further represented within the streets whether we notice it or not. This concept really inspires me as I admire this contrasting effect formed through different ways. The graphical prints created by the sold block colours which are further expressed with details create this type of contrast as unusual shapes and outlines are formed through this.

• How you wish to develop your project?

Inspiring artists Saul Leiter and Lee Friedlander, show how they use similar techniques being inspired by formalism. I am going to take various approaches they use, in particular abstraction. This idea of presetting photos in an unrecognisbae way, but engages you through the use of expressive formations and vibrant colours presents a unique perspective of street photography.From for example using popele as subjects withtin the street. This will allow me to create a contrasting feature to explore with overall adding more to the image.

I want to use aspects of street photography within my own work, inspired by Lee Friedlander and Saul Leiter. Then further zooming into aspects that are personal. For example looking at signs, then seeing this in relation to someone within a photo, like getting their expressions and relation to the words. Further developing this by zooming in on how this signing and wording has a relationship with them personally. This will create this documentary and series of photos that express this gripping narrative, and unique approach to street photography. Exploring this through the composition of lines, pattern, space, form to colour, texture and tones, which will help me achieve this high contrast effect between these different elements, working together communicating this engaging and visually appealing narrative.

• Which form you wish to present your study (photobook, film, prints etc)
• When and where you intend to begin your study?

I am going to start off with capturing interesting formations and structured elements that i and interesting and unique, from signs and wording, to reflections of people through windows to buildings which will create this visually appealing composition. When taking the photo I want to have in mind this element of high contrast which I am going to express through the photo; layouts, lines, how the person is displayed within this, overall creating engaging shapes and colours.

how you interpret the themes of ‘OBSERVE, SEEK, CHALLENGE’

Throughout Observe, seek and challenge I am going to explore street photography and people but making it personal through using people I know and places I am familiar with, documenting a story that personal to me, following . Inspired by Saul Leiter, I love his use of bold compositions created by contrasting elements through colours, reflections, lines, shapes. I love this structural look created by colour, shape, texture, composition, pattern, line, space ,

This will overall help me a I feel this approach wiI want to show a journey throughout, creating a sequence of photos.

• I am going to take photos at different points of the day, for example during peak hustle and bustle times of the day, to during the evening and at night.
• At night – capture people going out, in their outfits,
• look at buildings that have a meaning around time then focus in on someone – follow them i the moment

Ideas-

• capture compositional and structured elements with the same subject every time – showing this relationship between the person and the environment being captured in.
• Show a story/ journey/ documentary
• Urban environment, lookign closely at visual elements when capturing the photos, for exakple the colour, contrast, patterns, lines, shapes, outline, space, line
• Focus on colour – high contrast in colour between the subject and background ( building) I want the subject top be popping out at you so their is a clear definition between the subject and background.

Final Idea:

• look closely at the lines and structural elements found within the streets, then looking closely at how this creates a dynamic relationship and connection between one another.
• Within this I am going to explore the way colour is expressed through the forms, pattern and shapes, and how this reveals particular narratives that go unnoticed.
• Formalism– look at the history of Formalism from photographers like Piet Mondrian and inspiring artist that were influenced by this.

• As you can see from the photos above explain how Siegfried Hansen is greatly influenced by formalism, as it is shown to us through the composition, filled with shapes of pigmented colour that is outlined by a structure of bold lines. This ultimetally portrays this abstract, expressive design – shown to us through the colour and formation, – not really giving a particular meaning or narrative behind it as we are just presented with colour.
• Piet Mondrian uses three types of colour, red, yellow, and blue (primary colours) and only works in two ways, horizontal and vertical. – this structured layout is what I want to have in mind when taking photographs and also when presenting my images in my final photobook.
• I feel this gives sharpness and quick expressive marks of colour which overall complements the graphical elements.

Observe

A person who watches and observes people, following such events closely whilst commentating or making some kind of judgement which could be personal or public.

• Spectator
• Witness
• Commentator
• Reporter
• Blogger

Seek

The desire to explore the unknown, look or go after. Leading to a diverse subject matter as constantly in search to find new material or concepts to develop further. Unravel working of human psyche/ nature.

Challenge

Could be described through participating which could be during a competitive situation, leading to superior perceptions in terms of ability or strength.

Photographers:

Saul Leiter

Lee Friedlander

Siegfried Hansen

Robert Frank https://photobookstore.co.uk/products/the-americans?_pos=1&_sid=dab6c47c8&_ss=rLee Friedlander – social landscapes

Garry Winogrand https://fraenkelgallery.com/artists/garry-winogrand how he portrays his U.S life and social issues in mid 20th century – street photogrpahy

Henri Cartier Bresson

Environmental Portraiture

Environmental Portraits depict people in their working environments or environments they are associated with.

They are portraits which are taken in the subjects natural surroundings, such as their home or workplace, that illuminates the subjects life and surroundings.

Arnold Newman

 Pioneer of environmental portrait, while also being known for his still life and abstract photography. He is considered as one of the most influential photographers in the 20th century. Newman’s environmental approach to portraiture was greatly influenced by impressionism and symbolism, which attracts the viewer no matter how well we know what the focus is.

Environmental Portraiture

Chiaroscuro

Chiaroscuro is a high contrast lighting technique, creating contrast between the subject and a dark background. Chiaroscuro portraits first came about during the 15th century, then continued to develop during the 16th century. The dark subjects were lighted by a small source of light, that illuminated parts of the subject, which overall achieved the contrast between light and dark. To create this effect a single light is used to create the brighter effect on the subject, but also stands out from the contrasting dark background.

I found this lighting technique interesting as its creates this dramatic effect as you see sharp shadows and silhouettes of people, which are revealed

The New Topographics

Beginning in the 1970s, a group of photographers including Robert Adams, Lewis Baltz and Nickolas Nixon were associated with the 1975 exhibition New Topographic; this was Photographs of man- altered landscapes. The exhibition displayed their work, it showed how they focused on different kind of landscapes rather than those found naturally or at national parks. They showed landscape photography in a new way, focusing on urban landscape areas around America post-war, such as suburban areas like freeways, gas stations, or industrial parks. This was a new reflection to the suburban world around them, as they began to explore different and new ways of capturing landscapes.

Robert Adams:

Henri Cartier Bresson & The Decisive Moment

When shooting his photos, he captured people as they were relying on his eye to capture the perfect moment, while staying virtually unseen and in the background enabling him to capture the right candid photo . This became effective, as shooting from the background using a smaller lensed camera meant he was unnoticeable. Capturing the perfect composition of the decisive moment was very important. Henri Cartier Bresson viewed his work as a ‘sensual pleasure’ to see shapes and geometry, as these elements were arranged along with human subjects. When taking his photos, he looked for specific details other than the subject in the perfect moment, such as lines, triangles, squares, shadows, curves and shapes.

My Response in St Malo:

Follow these instructions:

1. Read two texts above (John Szarkowski’s introduction and review by Jed Pearl) and select 3 quotes form each that is relevant to your essay.
2. Select two images, one that represent a mirror and another that represents a window as examples to use in your essay.
3. Use some of the key words that you listed above to describe what the mirrors and windows suggest.

Essay plan
Introduction (250 words): Reflect on the origin of photography and describe in your own words the difference between the two photographic processes, Daguerreotype and Calotype. Consider how they could be viewed as either a mirror or a window of the world according to John Szarkowski’s thesis. Choose one quote from Szarkowski’s text and comment if you agree or disagree.

Invented in 1839, Daguerreotype was the name of the process and what the resulting image was called. With this being one of the first commercially available processes was what made it so popular. The process created a very detailed image on a copper plated sheet, which was a positive image that could not be produced . The silver copper plated sheet was polished and treated with fumes making it light sensitive. Within the same year of 1839 Henry fox talbot developed the same process which he named calotype. These stages were called developing, fixing and printing, producing a paper negative which could be printed over and over again. He discovered that actually exposing light for a long time onto photographic paper revealed an image. However after experimenting with this, it revealed an image that was produced after a very short exposure time, but this image was not fixed.- only becoming fixed when removing the light sensitive solution through using a chemical solution meaning the image could be reviewed in bright lights. The resulting image was called the calotype.

Daguerreotype and Calotype could be described as mirror photos, as both processes involved a reflection of the image. The images created are done by a staged process meaning the image doesn’t just reflect on the page straight away, chemicals and fumes are involved to make it light sensitive. Although the exterior world is portrayed throughout this process

John Szarkowski’s theory suggested in 1978 that ‘a photograph could be measured in terms of what people’s conceptions were of what the photograph is; a mirror – that is reflecting a portrait of the artist who made it,’ this could be described through a window, through which one might better know the world?’ Both personal visions

^{Bring in John Szarkowski’s theory around mirrors and windows and provide an overview of how a Daguerreotype could be viewed as a mirror image (reflection of a metal plate, subjects photographed often portraits, rather than landscape. Similarly, with Calotype could be seen as a window)}

Paragraph 1 (250 words): Choose an image that in your view is a mirror and analyse how it is a subjective expression and staged approach to image-making. Choose one quote from Szarkowski’s thesis and another from Jed Pearl’s review which either supports or opposes Szarkowski’s original point of view. Make sure you comment to advance argumentation in providing a critical perspective.

Hannah Starkey ‘reconstructs scenes’ from everyday life staged photographs of women within city environments, her work is primarily created in London. She The photograph portrays a subjective expression as she depicts how women engage with regular routines, like sitting in cafes.

‘a romantic expression of the photographers sensibility as it projects itself on the things and sights of the world.’

https://www.saatchigallery.com/artist/hannah_starkey

Paragraph 2 (250 words): Choose an image that in your view is a window and analyse how it is an objective expression rooted in the notion of realism. Choose one quote from Szarkowski’s thesis and another from Jed Pearl’s review and follow similar procedure as above ie. two opposing points of view and commentary to provide a critical perspective.

Children in Seville, by Henri Cartier Bresson, displays a window view. This is evidently shown through the way in which Bresson has captured the photo, in the ‘Decisive moment.’ The children are unaware they are being captured which expresses the notion of realism throughout. “A window, through which one might better know the world?” John Szarkowski 1978, portrays this unknown story that is displayed, but only you can see it when you look through a window. In relation to Cartier Bresson’s style of the decisive moment , capturing people as they are unaware shows,
In relation to a contemporary style

“a window, through which one might better know the world?” John Szarkowski 1978

Conclusion (250 words): Refer back to the essay question and write a conclusion where you summarise Szarkowski’s theory and Pearl’s review of his thesis. Describe differences and similarities between the two images above and their opposing concepts of objectivity and subjectivity, realism and romanticism, factual and fiction, public and private.

I began to experiment with the front cover, I knew I wanted a simple but engaging front page that would immediately catch your eye, making you want to fick through.

I played around with the layouts having an more zoomed in angle of the photo, while also having the title just off the centre, that aligns with the bouys in the water. The small detail draws you in, as it leads your eyes into the photo as its in a sequencing order.

I then started to experiment with different versions of the same photograph that would be displayed on a double page spread, with one being in black and white- showing an interesting contrast, while the other being in colour – bringing out the interesting colours and highlights. I thought each gave a unique photo, however the colour version really stood out to me because I found the colour schemes went nicely alongside the the first photo – the fishermans boots, as it related more, showing a sequencing story.

Originally I wanted to

Final:

I wanted the portrait of Captain Brian Nibbs, to be the very last photo inside the zine, giving the impression he he was overall incharge of the fishing,

Contact Sheet:

Final:

Contact Sheet:

These images are my final selection, the photographs that are highlighted yellow

Final Selection:

Final images:

During 1928, it was the invention of photography, and was described as ‘fixing the shadows.’ In terms of ‘shadows’ this could imply whatever the subject could have been, and what we see. As the camera was invented the image or shadows we see, were then fixed in terms of they weren’t just there when you looked to see them, instead they were brought to life through the image produced on the camera.

It was the frame around the image that was important, and what was further told beyond, through intuition. Photography turned the ordinary in the extra ordinary, displaying secrets beyond the world from what the people saw giving away specific moments, while keeping secrets from people.

This process created one off images which was described as mirror of the memory. The light operates differently as its being reflected. The images produced where best described as not alive but on edge of being present, taking hours if not days to be produced.

A plate was added to the camera that was polished , print was scratched and later poured with water.

• Camera Obscura & Pinhole photography

It began by using camera obscura, which is essentially a small camera box with a small whole in, which is how the image was created. The small whole is a tight beam of light that pours into the camera box. Light was reflected off of objects in the natural world entering the box through a lens of the small hole, and projected an upside down image on the opposing side. The pinhole was the lens, so if made smaller it achieved s sharper but dimmer image,, however if made too small there would be no image due to diffraction. Later on in practice , a lens was used rather than a pinhole, as this gives a larger aperture, so gives a correct brightness and stable focus.

Camera Obscura has been used since the 16th century, being a popular method used to help with drawings and paintings. The technology was further developed during the 19th century, as the camera box was later used to expose light sensitive objects and materials projecting the image. This method was effectively used to capture solar eclipses, as you weren’t at risk of directly looking at the sun. It produced highly accurate images which could later be used and studied.

• Joseph Nicephore Niepce & Heliography

The photographic process began in France named after Nicephore Niepce. Niepce is well known for making the earliest known photograph by nature that survived.

He new that by using Bitumen de Judea which is an acid resistant natural tar, would harden with exposure to light. So in experiments he use this to coat particular metals such as plates of glass, zinc, copper/ silver surfaced copper plus many more, which resulted in the surface that was exposed to the most light produced lavender oil and petroleum, leaving the uncoated shadow to be revealed through acid etching (acid cut into the metal revealing a design) as well as aquatint (revealed lines and tones, otherwise known for how colour was made).

Having limited success using light sensitive paper and a handmade camera obscura, didn’t however reveal a permanent image. So he adapted the process using low sensitivity estimating the exposure time would be 8 hours.

Below, the photograph is a View from the Window at Le Gras by Nicéphore Niépce, it is a heliographic image also know the oldest surviving image made by a camera.

https://www.hrc.utexas.edu/niepce-heliograph

• Louis Daguerre & Daguerreotype

Invented by Louis Daguerre during1940s and 1950s, ‘Daguerreotype,’ the name of the process and what the end image is called, was the most commonly used photographic process. During this period it was one of the first publicly available process used to make photographs, which is what made it so popular.

This process was created with a very detailed image on a copper plated sheet, then with another thin layer of silver. This was all without the use of a negative, making it only a positive process. To make the image the  daguerreotypist would polish a sheet of silver plated copper until a mirror finish was displayed, treating it with fumes that made it light sensitive, then was highly exposed for as long as it was necessary until a latent image was produced, only visible by fuming it with mercury liquid vapor.

Source

• Henry Fox Talbot & Calotype

Between 1800 – 1877, Talbot developed three primary stages of photography , developing, fixing and printing. He found that exposing light onto photographic paper, would actually produce an image, however this process required a long time to create an image. Soon after, he accidently discovered there was an image produced after a very short exposure – although this was only seen when chemically developed. The image was fixed with a chemical solution, which removed the light-sensitive silver enabling the picture to be viewed in bright lights. Talbot realised he could repeat the process of printing from the negative , allowing this process to make any number of positive prints called ‘calotype.’

• Richard Maddox

During 1871, Richard Maddox was an English photographer who invented ‘the lightweight dry gelatine plate’ process used for photography. Exposure happened while the emulsion was still wet and was further processed immediately, after exposure in the camera.

However his health started to become effected by the wet collodions ether vapour so he started to look for a substitute. So he suggested that chemical such as cadmium bromide and silver nitrate should be coated in a glass process of gelatine. Gelatine became useful when examining things under the microscope, with its specific use of holding and preserving things on a slide under a microscope. So he would trail a number of plates, exposing them through contact printing, by using other negatives and different exposure trials.

An advantage of this was that photographer could use commercial dry plates, which saved them making and preparing their own emulsions in a hand made darkroom. Cameras were later made to be hand held , had fast exposure times leading to snapshot photography leading to cinematography.

Source

• George Eastman

Eastman was an American Entrepreneur founded the Eastman Kodak company. After spending lots of time experimenting in photography he sold a roll film camera which meant that amateur photography was now available to the general public for the first time.

Originally he had worked at a bank, before becoming interested in photography and later became the founder of Eastman Dry plate company which sold plates. In 1885, he experimented on creating flexible film rolls that could replace plates altogether and later given a license allowing him to sell the film roll. Then he switched his focus onto creating a camera where he could use it. In 1888 he was allowed to release, which was called the Kodak camera. Having film which could cover up as many as 100 exposures. After it had been used the camera was then sent back to Eastman Kodak company, where the company would process the film, make a print of each exposure, load another film, then send the camera back to the photographer.

Eastman became aware that most of his revenue came from the camera rolls rather than actual camera. So he primarily focused on selling this making it good quality and affordable to all. He also sold his camera rolls to other manufacturers.

Source

• Kodak (Brownie)

Kodak otherwise known as brownie was a series of camera models made by George Eastman which was first released in the 1900s. Introducing snapshot photography, meant that it was very expensive costing families their wage for that whole month. A basic cardboard box camera with a very simple convex-concave lens (disperses a light beam by diffraction). It was invented for the Eastman Kodak Company, initially it was aimed at children, aiming for them to popularise photography. However the very simple design and operation meant it could produce very good results under the right conditions, therefore making it popular for all audiences.

Many iconic shot were taken on the Brownie. Bernice Palmer used Kodak Brownie 2A model A to photograph the iceberg that sunk the titanic, the survivors, the ship Palmer travelled on. Also they were taken to war used by soldiers.

Source

• Film/Print photography

Film/Print photography is a strip of a transparent film base, with one side coated with gelatine emulsion with small microscopically light sensitive crystals. The sizes of the crystals determines the the sensitivity, contrast and resolution of the film. Each frame on the film separates each photograph.

Black and white photographic film consist of only one layer of silver halide crystals, which when exposed to light the silver halide is converted to metallic silver. This blocks the light, appearing as the black part of the film negative. Colour film has three sensitising layers, combining three sensitising dyes, the first layer is blue, followed by they yellow which stops any blue dye from mixing with the below layers. Again just like the black and white film, the silver crystals are converted to a metallic silver. The by products are combined with the chemicals which produce the coloured dyes.

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• Digital Photogrpahy

Digital Photography uses cameras that contain arrays of electronic photodetector which interface to an analogue converter which produces images that are focused by a lens rather than the exposure on a photographic film. Digital images are created mostly by computer, without having to process the image in chemicals. Originally chemicals were used in the process to create the image as this would develop and stabilise it.

During the early 20th century digital photography had started becoming more mainstream, with smaller developments being made.

Digital cameras were marketed in the late 1990s, where professionals slowly started to use the cameras as much of their work required using digital files as demand was high. Then digital camera’s were made on phones.

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• Robert Cornelius & self-portraiture

Robert Cornelius was an American photographer. His daguerreotype self-portrait was was taken in 1839 and was know for being the first accepted portrait taken in the United States. A portrait is a representation of a person in which the face is always the main focus, the person is often looking at the photographer which successfully engages the subject with the viewer. The photo isn’t a sap shot, it is a composed image of person that displays potential characteristics for the viewer such as their personality, mood, and likeness.

• Julia Margeret Cameron & Pictorialism

Inspired by illustrative images from mythology, Christianity and literature, she depicts this through her soft focus close-up images of famous Victorian men. ‘Soft Focus’ is an effect made when fine textures are blurred making sharp edges across the high contrasted areas.

With connections to pictorialism

Pictorialism is an art movement strongest between 1885 and 1915. There was no true meaning behind pictorialism, it was best described as a ‘focused on the beauty of subject matter and the perfection of composition rather than the documentation of the world as it is‘