Photography Tips and Tricks

In the perfect case, the film can, therefore, have only the color-forming layers having its proper coloring of blue, greenish, and, like most of us are accustomed to say, the reddish part of the band, which later forms the image. In other words, each layer should accumulate radiation only from the corresponding part of its range with no or configurations of the radiation in the rest of the band.

In a real film any of the emulsion layers takes not only the band just created for it, and some radiation from other parts of the range, with the result that just leads to how we used to say, grayish color, and distortion as most of us always says, the color balance. And do not even have to say about that color, as people are used to express, bad film, finally, disguised in order to reduce these distortions. Everyone knows that in the process of manifestation, in addition to the main layers color positive mask are formed. It would be bad if we did not note that usually the films have two or three masking layers. It would be bad if we did not note that the color of the masking layers as it corresponds to the range, as we are constantly talking, unnecessary absorption, respectively, as many believe, the emulsion layers.

For example unnecessary absorption of a purple layer of yellowish color offset by the emergence of masking, as most of us always says, yellowish color.

Usually in the photo, actually, there are follow-up unnecessary, as many put it, the color index:

- Yellow for the purple layer (in the blue spectral range)

- Purple for, like most of us are accustomed to say, the blue layer (in the greenish region of the spectrum)

- Yellow for the blue layer (in the blue spectral range)

In the films with 2 layers of masking a yellowish layer is offset by a purple and purple is by the blue layer. It’s no secret that for the third layer there is a compensation of a yellow one in the blue layer.

Camouflaging is going during the process of manifestation of finally by penetration of masking components in the emulsion layers. Few people know that the color of the mask corresponds to an unnecessary color that you want to fill. Everyone knows that the components of the mask get its own unique color just when entering into reaction with the developer. And do not even need to say that, for example to compensate the yellowish component by the purple layer as it appears a yellow mask, as people are used to express the layer of low density, housed on the contrary, like most of us are accustomed to say, purple image. I’d like to emphasize that the yellowish, as everyone knows, component mask eventually forms a homogeneous yellowish, a layer that is just finally filtered in print.

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Composition- The union of separate elements into a single artistic whole, in which the content is most clearly disclosed in a specific visual form.

Intersecting (diagonal) line – one of the manifestations of the “golden section” in photography. The basic idea – to make the eyes move in a certain direction. The starting point of line is desirable to have in one corner of the frame. It is believed that the upper-left corner is the best starting point because most people begin to view images from this angle. There are other possible locations of lines, but they were clearly defined.

Select an object – you can make setting the lens at a shallow depth of field. Using an open aperture allows you to emphasize the main object and blur the secondary.

Isolation of contrast-gazing at photos of eyes usually focuses on the most contrasting places, and it can be used to attract attention to certain places. In color photography the same role is played by color contrast, a polarizing filter can help to improve color contrast.

Object borders. An interesting effect of using the frame object (the object shot through the arch, shooting out of the cave, etc.).

Isolation of light – allows you to select the desired object, compared to other less-lit. Exposure measurement must be done on the illuminated area.

The use of lines – lines have an emotional impact on the viewer, the curved lines calm, broken lines act as a stimulus; vertical lines give greatness; horizontal – calm and serenity; diagonal – dynamism.

You should avoid straight lines that go beyond the frame, as they divide the frame into parts, or at least have them so that they have not shared the frame into equal parts. As it is desirable that at the end of lines was an object to look did not go beyond the frame.

It is better to place vanishing point of parallel lines outside the center of the frame in perspective.

Method of introducing lines is frequently used – these are lines that originate in one of the lower corners of the image and lead to its semantic center, usually located at the “golden section”. Such a line can be found in almost every story: the path, an elongated object, the line of separation of tones or colors.

Diagonal construction gives the dynamics of the picture. In this case the main line tracks inclined and therefore unstable.

In front of a moving object you must leave more space than behind him.

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Talbot, William Henry Fox (1800-1877), English physicist, chemist, inventor of the negative-positive process of photography (calotype from the Greek. Words kalos – beautiful and typos – the imprint), later it was given the name of talbotype.

The idea of the photographic process was born in a scientist in 1833. Talbot tried to copy the views of nature with a pinhole camera. But he did not possess the skills of drawing.

In 1834 Talbot invented a light-sensitive paper. He fixed the received image with the solution of sodium chloride (common salt) or potassium iodide. First photos of Talbot were simple photogram, ie photocopies obtained by contact. Then he “has combined” the camera obscura with a microscope with natural lighting, and received a positive photographic print from a negative.

In 1835, Talbot recorded a sunbeam. It was a snapshot of a lattice window of his home. Talbot used a paper impregnated with silver chloride. Exposure lasted for an hour.

Talbot received the world’s first negative. Attaching a light-sensitive paper prepared by the same method, he first made a positive impression. The way of shooting an inventor named calotype, meaning “beauty.” So he showed the possibility of replicating shots and tied the future of photography with the world of beauty.

The Talbot invention was called photography and the word “negative” and “positive” began to circulate.

In 1840, scientists discovered that when iodized photo paper (paper with a layer of silver nitrate, sustained in a solution of potassium iodide) to sensitize it with the gallic acid, and then to expose in the camera for a short time, then it will be a hidden image which can then display a mixture of gallic acid and nitrate silver. Talbot named his invention calotype.

Calotype of Talbot and Daguerreotype of Daguerre had fundamental differences. In a daguerreotype a positive, the mirroring image on a silver plate appeared at once. This simplifies the process, but it makes impossible to copy. In the first calotype was fabricated negative, from which one could make any number of positive impressions. Therefore calotype is much closer to modern photography, despite the fact that the quality of daguerreotypes was much higher than calotype.

In 1843, the first time to make positive seal with the increase, in the same year he opened a printing plant for the manufacture of printing plates of his book The Pencil of Nature (1844-1846) – the world’s first editions, illustrated with photos. In 1851, Talbot spent the first photo shoot with a very small exposure, and the following year patented a method of photographing with the imposition of the “screen” on a photographic plate, which became the forerunner of the method of obtaining a raster gray-scale image.



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Camera obscura (Latin. Samera – room and armor. Obscura – dark) – the simplest form of camera. It is a light-tight box with a hole in one wall and a screen (ground glass or a thin white paper) on the opposite wall. Rays of light passing through the hole, creating the image on the screen.

The first camera obscura was represented by a darkened room (or large boxes) with a hole in one wall. Mention of the camera obscura is found as far back as the 5th century BC. – Chinese philosopher Tu Mi described the emergence of pictures on the wall of a darkened room. Mention of the camera obscura is found in Aristotle.

Arabian physicist and mathematician of X century Ibn al-Haytham (Alhazen), who studied the camera obscura, concluded the linearity of the propagation of light. Apparently the camera obscura was first used for drawings from life of Leonardo da Vinci (1452-1519). He also described it in detail in his “Treatise on Painting.”

In 1686 Johannes Zahn has designed a portable camera obscura fitted with a mirror at an angle of 45 ° and the image was projected on a matte horizontal plate, which allowed artists to move the landscapes on paper.

Many artists used the camera obscura to create their works of art – landscapes and portraits. Camera obscura of those times was the big box with a system of mirrors for light deflection. Often the lens was used (usually a single lens) instead of simply opening, it significantly increases the brightness and sharpness.

However, at present, some photographers use so-called “murals” – cameras with a small hole instead of the lens. Pictures made pinhole camera softer than the case with traditional lens cameras. Pictures are obtained with almost infinite depth of field. On the other hand, the pictures suffer from a high chromatic aberration than pictures made by a simple camera. Exposure can range from half a second to several hours. Pictures can receive negative and positive, black and white or color.

Camera obscura does not provide high definition images. The sharpness of the image can be improved by reducing the diameter of the holes to some limit, but too strong decrease starting to affect the effects of diffraction and the image becomes more blurred. The distance from the hole to the screen is determined by the focal length f. Ratio of f / D is defined as the number of lenses and aperture. Camera with f = 100 mm and hole diameter D = 0.5 mm is the number of aperture equal to 200. The increase in hole 1 mm reduces the number to 100. Factor exposure thus reduced to 25.

Camera obscura may differ according to to the focal length, aperture, aperture number, the format and type of light-sensitive material.

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Joseph Nicephore Niepce (March 7, 1765 – July 5, 1833) – French inventor, best known as the pioneer of photography.

Since the time of Rembrandt’s etchings were prepared for lacquer-based asphalt. At the end of the XVIII century it became known that the asphalt becomes light and brightens and loses its solubility under the exposure. Niepce had an idea: to put the finishing touches on etching, not scratching lacquer, and acting on the surface of the light.

Niepce knew that the asphalt becomes light and brightens and loses its solubility in kerosene. Powdered asphalt dissolves in lavender oil. And this solution, using swabs from the thin skin rubbing different substrates – glass, zinc, copper, silver plate, lithographic stone. Asphalt – a substance, insensitive to light. Therefore, the first Niepce experimented with it without a camera obscura. He covered a glass plate with a thin layer of asphalt solution, after drying, copied it by direct sunlight, engraving, paper substrate which was oiled to make it more transparent to light. After that he put the plate into a saucer with a mixture of lavender oil and kerosene, which dissolves the asphalt in places protected from light lines of engraving. After washing with water and drying the plate slightly brown image prints were remained.

Until today, this method is used in a variety of options, but it was completely unsuitable for photographic applications. The fact that the varnish can pass acid, with which the copper board is hounded, or do not miss it. Therefore, the Niepce process is suitable only for playing line drawings. That the inventor did not realize until the end of his days trying to do the impossible. Again and again he has exhibited and washed in a solvent boards, covered with asphalt varnish. He got weak, but quite a clear picture. Then he began etching, but nothing worked. Light did insoluble at different depths only the top layer of asphalt, solvent removed it from completely unexposed areas and penetrated by a partially changed, weakening them. In these places acid etched unevenly – just across the defects of the layer. A defect was greater, the thinner the layer of insoluble, so something like the transmission of tones yet happened, but very rude. In addition, because of the low sensitivity of asphalt exposure was very high: even on a bright sunny day at one shot took about eight hours.

In 1826 Niepce with the camera – obscura on a metal plate coated with a thin layer of asphalt shot the view from the window of his studio. He shot and called it heliography (solar design). The exposition lasted eight hours. The image was of very poor quality, and the place was barely distinguishable. But from that snapshot photography began.

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Louis Jacques Mande Daguerre (November 18, 1787 – July 10, 1851) – French artist and inventor, one of the creators of photography.

According to legend, in the summer of 1835 Daguerre after another unsuccessful shooting, when the plates have not received any pictures, put them away in a cabinet with chemicals. Opening it a few days later, he was surprised to see a bright positive image on polished silver. Guessing that the case is in the vapor of some substances that were stored in a locker, he chose the simplest method for sorting and successive elimination of reasons: everyday he put in a cabinet the new exposed plate removing the chemicals one by one. And found that the conversion of the sensitive layer caused by a few drops of mercury from a broken thermometer. Daguerre himself wrote about it: “I was so overwhelmed by many previous disappointments that did not even feel joy. Do not forget that this discovery came only after eleven years of disappointing experiments that oppressed my spirit.” Almost another two years left in search of the fixing composition – sodium chloride solution.

This still life picture Daguerre handed to the Louvre in 1837as proof of his success.

Daguerreotype – a way to directly obtain a positive image when shooting. It is the first practical method of photography. It lies in the fact that the silvered copper plate is carefully polished, then just before the shooting was treated with iodine vapor, resulting in a thin layer of light-sensitive silver iodide. Under the action of light in this layer appears a latent image, shown by mercury vapor. The resulting image is fixed with a solution of sodium thiosulfate. This method lasted until the invention of moist collodion process in 1851. It was necessary to extract tens of minutes to capture the silver plate of any kind at least in general terms. Take pictures of people was practically impossible. To take a picture of a man, his face was “whiteout” with chalk and the hair was sprinkled with powder – more rays of light reflected from the face and hair fell in the camera obscura then. Even so, it was necessary to sit before the camera in the sun for a long time. Drawing on the plate was difficult to consider: unpleasantly struck high gloss image. In addition, the image was very fragile, easily erased at the slightest touch.

August 19, 1839 way daguerreotype was announced at a joint meeting of the two academies – Science and Fine Arts. A brochure describing the process during the year stood 29 editions in France and six abroad, and enthusiasm for a daguerreotype was universal and in a few weeks it was spread throughout the world.

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