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The Encyclopedia of Nineteenth-Century Photography is the first comprehensive encyclopedia of world photography up to the beginning of the twentieth century. It sets out to be the standard, definitive reference work on the subject for years to come. Its coverage is global – an important ‘first’ in that authorities from all over the world have contributed their expertise and scholarship towards making this a truly comprehensive publication. The Encyclopedia presents new and ground-breaking research alongside accounts of the major established figures in the nineteenth century arena. Coverage includes all the key people, processes, equipment, movements, styles, debates and groupings which helped photography develop from being ‘a solution in search of a problem’ when first invented, to the essential communication tool, creative medium, and recorder of everyday life which it had become by the dawn of the twentieth century. The sheer breadth of coverage in the 1200 essays makes the Encyclopedia of Nineteenth-Century Photography an essential reference source for academics, students, researchers and libraries worldwide.
The advertising campaigns launched by Kodak in the early years of snapshot photography stand at the center of a shift in American domestic life that goes deeper than technological innovations in cameras and film. Before the advent of Kodak advertising in 1888, writes Nancy Martha West, Americans were much more willing to allow sorrow into the space of the domestic photograph, as evidenced by the popularity of postmortem photography in the mid-nineteenth century. Through the taking of snapshots, Kodak taught Americans to see their experiences as objects of nostalgia, to arrange their lives in such a way that painful or unpleasant aspects were systematically erased. West looks at a wide assortment of Kodak's most popular inventions and marketing strategies, including the "Kodak Girl," the momentous invention of the Brownie camera in 1900, the "Story Campaign" during World War I, and even the Vanity Kodak Ensemble, a camera introduced in 1926 that came fully equipped with lipstick. At the beginning of its campaign, Kodak advertising primarily sold the fun of taking pictures. Ads from this period celebrate the sheer pleasure of snapshot photography--the delight of handling a diminutive camera, of not worrying about developing and printing, of capturing subjects in candid moments. But after 1900, a crucial shift began to take place in the company's marketing strategy. The preservation of domestic memories became Kodak's most important mission. With the introduction of the Brownie camera at the turn of the century, the importance of home began to replace leisure activity as the subject of ads, and at the end of World War I, Americans seemed desperately to need photographs to confirm familial unity. By 1932, Kodak had become so intoxicated with the power of its own marketing that it came up with the most bizarre idea of all, the "Death Campaign." Initiated but never published, this campaign based on pictures of dead loved ones brought Kodak advertising full circle. Having launched one of the most successful campaigns in advertising history, the company did not seem to notice that selling a painful subject might be more difficult than selling momentary pleasure or nostalgia. Enhanced with over 50 reproductions of the ads themselves, 16 of them in color, Kodak and the Lens of Nostalgia vividly illustrates the fundamental changes in American culture and the function of memory in the formative years of the twentieth century.
From its earliest days, photography could not escape the pictorial traditions that had gone before it. This book, the first comprehensive study of Pictorialism in Europe, analyses the remarkable diversity of approaches taken by photographers across the continent whose practice was infused with contemporary debate about photography's relationship to art. Written by an international team of art and photography historians, Impressionist Camera examines the ways in which practitioners realized their pictorial vision, from the re-creation of Academic painting in photography to the use of soft focus to lend images an impressionistic quality. Also explored are the cross-currents with photography in America - where Pictorialism went on to flourish - including the seminal work of Alfred Stieglitz.
A History of Photography in 50 Cameras explores the 180-year story of perhaps the most widely used device ever built. It covers cameras in all forms, revealing the origins and development of each model and tracing the stories of the photographers who used and popularized them. Illustrated throughout with studio shots of all fifty cameras and a selection of iconic photographs made using them, it is the perfect companion guide for camera and photography enthusiasts alike. The cameras include: The Nikon F, the "hockey puck" that saved photographer Don McCullin's life when it stopped a sniper's bullet during the Vietnam War. Its indestructibility, reliability and interchangeable lenses made it a favored workhorse of photojournalists. The Leica M3-D was also favored by war photographers, including David Duncan Douglas, who used the camera during his coverage of the Korean and Vietnam Wars. In 2012, one of his four customized Leica cameras sold at auction for nearly $2 million. A Speed Graphic was used to take Sam Shere's widely published photograph of the 1937 Hindenburg disaster, "the world's most famous news photograph ever taken." With few shots left and no time to get the camera to his eye, he shot his Pulitzer Prize-winning image "literally from the hip. It was over so fast there was nothing else to do." The camera phone has transformed picture-taking technology most profoundly since the invention of cameras. The "selfie" has become a new genre of photography practiced by everyone, and shared globally. This is an ideal book for camera collectors as well as anyone researching the history and art of photography.
"This book provides essential documentation of all known Edison films made between 1890 and 1900. Thomas Edison and his associates at the Edison Laboratory in West Orange, New Jersey, invented the first system of commercial motion pictures." "Making the historical framework predominant while retaining traditional cataloging features, Edison Motion Pictures, 18901900 is of value to a wide range of scholars interested in American life at the turn of the century - those working in performance studies, film and media studies, cultural history, ethnic studies, and social and political history. Documentary filmmakers, film programmers, archivists, and librarians can also benefit from using this catalog." "Edison films from the end of the nineteenth century offer a unique visual record of American entertainment and popular culture - moving images that become much more interesting and useful when they can be examined in conjunction with pertinent documentation." "Scholars concerned with portrayals of war, depictions of the American presidency, and many other topics in the nation's political history will find much useful information."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
This volume is a complete revision of the 1996 third edition, shares the ever-changing breadth of photographic topics with a special emphasis on digital imaging and contemporary issues. Produced by an international team of photographic and imaging experts with collaboration from the George Eastman House (the world's oldest photography museum), this fourth edition contains essays and photographic reproductions sharing information where photography and imaging serve a primary role, ranging from the atomic to the cosmic.
In a world where nearly everyone has a cellphone camera capable of zapping countless instant photos, it can be a challenge to remember just how special and transformative Polaroid photography was in its day. And yet, there’s still something magical for those of us who recall waiting for a Polaroid picture to develop. Writing in the context of two Polaroid Corporation bankruptcies, not to mention the obsolescence of its film, Peter Buse argues that Polaroid was, and is, distinguished by its process—by the fact that, as the New York Times put it in 1947, “the camera does the rest.” Polaroid was often dismissed as a toy, but Buse takes it seriously, showing how it encouraged photographic play as well as new forms of artistic practice. Drawing on unprecedented access to the archives of the Polaroid Corporation, Buse reveals Polaroid as photography at its most intimate, where the photographer, photograph, and subject sit in close proximity in both time and space—making Polaroid not only the perfect party camera but also the tool for frankly salacious pictures taking. Along the way, Buse tells the story of the Polaroid Corporation and its ultimately doomed hard-copy wager against the rising tide of digital imaging technology. He explores the continuities and the differences between Polaroid and digital, reflecting on what Polaroid can tell us about how we snap photos today. Richly illustrated, The Camera Does the Rest will delight historians, art critics, analog fanatics, photographers, and all those who miss the thrill of waiting to see what develops.
Essays examining the relationships between culture, film, and the audience around the turn of the twentieth century. The current digital revolution has sparked a renewed interest in the origins and trajectory of modern media, particularly in the years around 1900 when the technology was rapidly developing. This collection aims to broaden our understanding of early cinema as a significant innovation in media history. Joining traditional scholarship with fresh insights from a variety of disciplines, this book explains the aesthetic and institutional characteristics in early cinema within the context of the contemporary media landscape. It also addresses transcultural developments such as scientific revolutions, industrialization, urbanization, and globalization, as well as differing attitudes toward modernization. Film 1900 is an important reassessment of early cinema’s position in cultural history. “The capable Ligensa and Kreimeier invited a coterie of renowned Continental scholars and thinkers to reflect on issues of modernity and cinema by harking back to the fin de siècle. . . . Summing Up: Highly recommended. Graduate students, researchers, faculty.” —T. Lindval, Choice
Illustrates and describes over 300 timeless cameras--from early plate cameras to the pocket cameras of today--with dates of production, specifications, and current values. A helpful introduction provides information about the history of photographic technology and important manufacturers, plus tips for the care, repair, and preservation of classic cameras.