Mods & Rockers Film Festival Starts Another British Invasion

While Americans were celebrating the Fourth of July this summer, the English were celebrating another British Invasion. A British Invasion of Los Angeles, that is.

The English chose Independence Day 2006 to kick off the eighth annual “Mods & Rockers” summer film festival at Hollywood’s elaborate Egyptian Theatre. The date marked the 40th anniversary of the British Invasion of pop music upon American shores. The American Cinematheque, a film group dedicated to the preservation and screening of rare and classic movies, opened the festivities by showing a time capsule gem titled “Go-Go Mania!” Way, way before MTV, this music revue featured made-for-broadcast performances by British groups like The Animals, Herman’s Hermits, Peter and Gordon, Billy J. Kramer and The Dakotas, The Fourmost and The Spencer Davis Group.

In lieu of American celebratory fireworks, the Brits spiced up the screening with a live concert in the theatre courtyard featuring Spencer Davis and Gordon Waller (of Peter and Gordon fame) backed up by The Ravers. The Spencer Davis Group was one of the British Invasion bands that grabbed hold of blues styles. They had international hits with “Gimme Some Lovin” (1966) and “I’m A Man” (1967). Peter and Gordon were often compared to the Everly Brothers and had great success with ballads written for them by Paul McCartney and John Lennon. They scored on the charts with “A World Without Love” in 1964.

Joining Davis and Waller on stage was American songwriter Stephen Bishop, best known for the ballad “On and On” and the theme song for the film “Tootsie.” Bishop ad libbed a wicked imitation of John Lennon trying to explain the colossally misunderstood Jesus Christ comment in his best Liverpudlian. A surprise guest for the evening was Rod Stewart’s bassist, Phil Chen, who has played with Donovan, Jeff Beck, Jackson Browne and Pete Townshend.

When all four of the rockers were waling away on their guitars deep into an improvised version of “I’m A Man,” they blew out the power on the courtyard stage. After a few jokes about Yankee sabotage, American ingenuity soon got the musicians plugged back in for more music.

The British also reveled in another 40th anniversary by celebrating the 1966 World Cup victory of the English football team. The achievement was honored with the screening of the award winning documentary titled “Goal! World Cup 1966.” Just imagine it. Swinging London was in full bloom. The British Invasion of music and fashion was at its zenith. England was hosting the World Cup games for the first time ever. To top it off, England beats Germany in a harrowing overtime championship game attended by Queen Elizabeth. Hail, Britannia.

The American Cinematheque continues the “Mods & Rockers” festival of rare, goofy and cult films from the 1960s in two theatres in the Los Angeles area throughout August.

The Art of Paul Klee

When I was about 15, I hung a reproduction of a Paul Klee painting of a head on the wall at the foot of my bed. Paul Klee shared my walls with Van Gogh and Marlin Brando but it was Klee that I saw the first thing in the morning and the last thing at night. The painting seemed simple enough, even childlike, but it continued to fascinate me.

Paul Klee was born near Bern, Swizterland. His father, a German, was a musician and Klee was drawn to both art and music and, though he ultimately chose art, he played violin for a time in the Bern Symphony.
Klee attended an art academy in Munich and then traveled throughout Europe where he saw the latest in art and thus was exposed to all the current art movements.

Primitive art, surrealism, expressionism, cubism, and children’s art influence the work of Paul Klee but he does not belong to any one movement. He has blended all these influences into his own unique art and he is one of a kind.

In 1914, Klee traveled to Tunisia where he had an almost mystical experience with the light there. “Color has seized me. I no longer need to pursue it; it has seized me forever, I know. That is the revelation of this blessed moment. Color and I are one. I am a painter.”

At first glance Paul Klee’s work seems very simple and can provoke statement like, “I could do that,” or “a child could do that.” But this simplicity is deceptive. Colors are layered over each other, juxtaposed, and re-arranged by sissors. Mysterious symbols, ransacked from conventional symbol systems like pictographs, diagrams, graphs, and cartoons, are yanked from their original settings to land mysteriously in a Klee work. Klee has said, “Art does not reproduce the visible; rather, it makes visible.” Works have whimsical titles like “Twittering Machine,”“Fish Magic,” and ”Dance, Monster, to my Soft Song.”

Klee was extremely prolific, producing over 10,000 pieces, most of them small drawings, paintings, or prints. He created new methods, often painting water colors on oil or chalk grounds applied to fabric or cardboard. He painted within oil transfer drawings applied to paper, sprayed watercolors around stencils, and combined oil and watercolor.

In 1933 Klee was teaching in Munich. The Nazis came to power and his art was declared “degenerate” and he lost his position and any possibility of exhibiting his work. He left Germany for Switzerland.
Klee died in 1940 of scleroderma.
When I was about 15, I hung a reproduction of a Paul Klee painting of a head on the wall at the foot of my bed. Paul Klee shared my walls with Van Gogh and Marlin Brando but it was Klee that I saw the first thing in the morning and the last thing at night. The painting seemed simple enough, even childlike, but it continued to fascinate me.

Paul Klee was born near Bern, Swizterland. His father, a German, was a musician and Klee was drawn to both art and music and, though he ultimately chose art, he played violin for a time in the Bern Symphony.
Klee attended an art academy in Munich and then traveled throughout Europe where he saw the latest in art and thus was exposed to all the current art movements.

Primitive art, surrealism, expressionism, cubism, and children’s art influence the work of Paul Klee but he does not belong to any one movement. He has blended all these influences into his own unique art and he is one of a kind.

In 1914, Klee traveled to Tunisia where he had an almost mystical experience with the light there. “Color has seized me. I no longer need to pursue it; it has seized me forever, I know. That is the revelation of this blessed moment. Color and I are one. I am a painter.”

At first glance Paul Klee’s work seems very simple and can provoke statement like, “I could do that,” or “a child could do that.” But this simplicity is deceptive. Colors are layered over each other, juxtaposed, and re-arranged by sissors. Mysterious symbols, ransacked from conventional symbol systems like pictographs, diagrams, graphs, and cartoons, are yanked from their original settings to land mysteriously in a Klee work. Klee has said, “Art does not reproduce the visible; rather, it makes visible.” Works have whimsical titles like “Twittering Machine,”“Fish Magic,” and ”Dance, Monster, to my Soft Song.”

Klee was extremely prolific, producing over 10,000 pieces, most of them small drawings, paintings, or prints. He created new methods, often painting water colors on oil or chalk grounds applied to fabric or cardboard. He painted within oil transfer drawings applied to paper, sprayed watercolors around stencils, and combined oil and watercolor.

In 1933 Klee was teaching in Munich. The Nazis came to power and his art was declared “degenerate” and he lost his position and any possibility of exhibiting his work. He left Germany for Switzerland.
Klee died in 1940 of scleroderma.

Camera Buffs: Why Are You Still Using Film? Go Digital With Rechargable Batteries

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If you're one of those people caught riding the fence between using your favorite standard camera and the new digital camera you have sitting around, it's time to climb down off your mount. Unless you're one of the rare people who makes a living snapping photos or you do almost exclusively very artsy types of photography, your standard film camera may not offer you anywhere near as many advantages as even a lower-end digital camera of today.

But, whether you realize it or not, the failure to move to almost exclusive use of your digital camera is costing you - and the environment around you - in far more ways than one. Actually, the list of differences between the two platforms can go on for pages, but let's tackle the ones apt to make the most positive difference to you.

1. The cost of film - and the limited number of pictures possible per roll - often limit the number of shots you take. Think about it: how many times have you missed a great scene just because you wanted to save room for more pictures later? The same holds true for film processing; we avoid taking all the pictures we could because we don't want to make the costs to develop our vacation pictures cost more than the trip itself.

2. Related to the first issue, many cameras let you take anywhere from 30 to 100 shots before you either have to transfer the images into your computer or change your Flash or other storage medium card. Also, it's usually much faster and easier to change the card than it is to insert a new roll of 35 mm film.

3. Film only lasts so long. While we often try to be prepared by keeping an extra roll or two in our bags, we may not realize that extremes of heat or cold - or other less than ideal situational factors - have made the film and the pictures we take with it sub-par. Plus we have no idea how long a roll of film has been sitting on a store shelf when we buy it. Sure, the film usually has a date on the package, but if we rarely check that date when buying food, what's the chance we'll double-check it before we use the film?

4. If your big excuse for not moving entirely to digital is that you know such a camera eats batteries faster than a chocoholic can consume her way through a Ghiradelli shop, think rechargeable. Good quality rechargeable batteries and a proper recharger are much less expensive than they were a few years ago and can save you a fortune (as much as a $100 per month per household).

5. It's much easier, as well as more cost efficient, to store a huge volume of digital images than it is to store developed photographs. Your recordable CD or DVD drive can become your best friend for archiving your photos or making a quick album you can share with friends and family.

6. Without having to worry about the cost of film, you can experiment with your photography to your heart's content. This will help you develop your talent far faster than being nickel and dimed having to process bad shots taken with a standard camera.

7. Software available for use with your camera - including third party commercial packages like Microsoft Digital Image - let you do some very interesting alterations to your photos. You can retouch, enhance, crop, rotate, and add special effects at the click of a mouse.

8. Even more inexpensive digital cameras offer corrective features like red eye reduction and auto focus that you normally have to become skilled to overcome with a standard camera. Many also automatically adjust for light levels better than standard cameras can.

9. Film-produced photos can age rapidly; colors fade and the image can crack. Even storage of negatives can be a problem. But a digital image you can all up and reprint again and again.

10. Not only is the cost of film development quite expensive, the chemicals used are toxic. All too frequently, these toxins end up in waterways or pollute the ground water. Use rechargeable batteries with a digital camera, however, and the environment will (practically) thank you.

And the final bonus? You can just delete your really bad shots. No one ever has to see them or gets the opportunity to tease you about them. That's a great plus all by itself.

Making Sure Mom Gets What She Needs at Her Baby Shower

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When throwing a baby shower one of the main concerns of the host is whether or not the mom to be will get what she needs. There are several different ways that you can ensure that she will get everything that she needs. This article will discuss those options. First you could purchase all of the gifts yourself, but that is really being unrealistic, since most people just do not have that type of money. The bet ways is to make sure that the mom to be registers for all of the items she wants or needs. 

There are really dozens of different registries that you can choose from. One of the most popular ones is Babies R Us. What makes there registry so good is that anyone can purchase something for you no matter where they live. Also their staff is very helpful, but in store and online. Once she registers you will want to make sure, that all of the guest know that she is registered and where she is registered at. You can do this by putting it on the invitations. Then once everyone calls to rsvp, you can really stress the fact that she would love to get the items she really needs off of her baby registry. 

Another option is to have everyone go in on a group gift. What you do is have all of the guests make a min contribution of about twenty dollars. This way they can still get their own gift, and they will be included in the group gift as well. This has worked very well for me in the past. We were actually able to get just about everything on the mom to be's list. In addition she will also get a lot of other nice items. You will see how much it really is appreciated when she is able to get just abut everything that she requested. Also make sure that in addition to what she put on her registry, you get something just for her. Most people will get spa kits for mom, or even a spa gift certificate. This way either before or after the baby comes she can get a day of rest and relaxation. What mom does not want and deserve that? 

When it comes to making sure that the mom to be gets everything she needs it really is up to you the hostess to make sure that this happens. It really is not as difficult as it sounds, although it will take a little more work on your part, it definitely is something that can be done.

Wildlife Photography: Tips to Learn the Basics of Wildlife Photography

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If you really want to learn the art of wildlife photography, then you should be aware of the basics of wildlife photography. It is rightly said that wildlife photography is one of the most challenging but rewarding hobby or career. It takes honest practice, persistence and hard work to master the real art of wildlife photography.

For mastering wildlife photography you have to have the basic knowledge of camera handling. As majority of the photos you take will be captured with the help of telephoto lens. This will test your patience and dedication as you have to wait a much longer time for the animal to come in the range and taking right pictures through right angles before that wild animal leaves from the site. Many of the times the animals you want to shoot will be yards away from you so that you have to take your pictures with more precision and care with zoom lenses.

While shooting wildlife you always have to watch out for minute movements happening around you. And for that purpose you have to be attentive for the longer time. The sunlight also plays a very important role in taking these wildlife pictures. For this purpose your camera should have the proper adjustments according to the various angles of sunlight so that pictures will be much clearer without any fuzz.

Also wildlife photography is all about capturing a particular moment of the wildlife. It makes or breaks your photography style. Many of the best wildlife photographers out there are really skillful in shooting the exact speed and momentum of the particular animal they are watching. But to be the best wildlife photographer out there you should first master the basics and you can begin this process by starting to shoot your own home pets. If you learn to shoot their natural movements and habits in their natural style then you can say that you are ready for outdoor wildlife photography.

There are no shortcuts to learn the basics of wildlife photography. Rather you have to practice it religiously and with full devotion. You should have to pay a special attention to your cameras. You have to take care that your camera has a quick shutter speed which is very necessary to take more than one shot as you roam around the wildlife to take pictures. In this type of photography most of the times you have to follow your subject to shoot many pictures at a time in one shot. This process is mainly known as "panning" which consists of taking faster pictures in one snap as you mover closer to a particular animal you want to shoot.

Thus wildlife photography is all about your patience, persistence and shooting skill where you need to wait a longer time to take the perfect picture. But at the end of the day it is also the most satisfying art where you get the really thrilling and enjoyable experience to cherish for.

Whoever Said a Picture is Worth a Thousand Words Probably Didn't Use Positive Images Photography

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Well I've come to terms with the fact I'm no Denzel Washington... and I'm okay with that. All I really wanted to do was to take some good quality pictures I could use as profile headshots for my internet businesses and for my business cards, brochures, etc. This was important since I had a deadline coming up that I needed pictures for.

Based on my photography needs, I had wondered was there a photographer where the average looking person can go to get reasonably priced, almost "Star Quality" pictures taken. Also, I preferred that they were local too because I wanted a photographer that I could do business with again on future projects. Just imagine my delight when I found out that there was such a photographer located in Oakland at Positive Images Photography.

The owner is Gisele Bonds (no relation to Barry) and she not only consulted with me on the objectives of my project, she also happened to be a pleasure to talk to. She is very knowledgable. She definitely won points when she suggested that I go home to retrieve a few darker outfits to round out my photoshoot after I mistakenly arrived with all lighter colored outfits. She then explained why and how the darker colored outfits could be used to my advantage in the photoshoot.

As we took pictures she instructed me to pose at various angles and again she told me why those angles were important based on the numerous ways we discussed I could to utilize those pictures in my marketing mix. For instance, some of my pictures were taken with my business' branding in mind so that my company's logo or other images could be easily incorporated into those pictures. Nice!

For someone who's camera shy, I can honestly say I did enjoy Gisele's professionalism and creativity. After what felt to me like a thousand pictures and almost an eternity, we finally finished! At that point my mind started thinking, I hope these pictures look okay. I have to admit, I felt a little self-concious about the prospect of seeing the finished product because I have like many people, facial blemishes. When I mentioned this concern to Gisele she said not to worrry the pictures are going to look good.

Gisele invited me to come in and take a look at all the pictures we took and choose the ones I wanted. She gave me some positive feedback that was helpful and then I selected my favorites.

Later, when I received my Picture Disc I was happy to see that she was so right, my pictures did look good and my facial blemishes were gone... at least in my pictures! Interestingly, I'm told her specialty is working with high school aged students. Her studio is filled with with a plethora of graduation and prom pictures, etc.

She mentors students by providing intern opportunities at her studio and one of her past interns who is in college currently, still works at the studio which to me says alot about the kind of person Gisele is. I think that Positive Images Photography is aptly named and if you're looking for high quality photos, Gisele is the person you need to see. You may soon find that your pictures will be worth much more than a thousand words if you do!

The History of Photography

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Capturing and commemorating precious moments in time has been a need for humans since ancient times. All over the world Prehistoric men have meticulously painted countless cave walls depicting either hunting and sporting events or other significant moments of their time. Later civilizations across the globe operated in similar fashions constructing either elaborate paintings or laborious sculptures. Each painting or sculpture afterward would strive to appear more and more detailed as if attempting to attain that life-like quality of each moment being projected. Battlefield paintings are littered throughout countless history books and journals in multiple languages with the sole purpose of endeavoring to convey a message in which words alone could not express. It is impossible to imagine how much information has been lost in translation throughout time without the truly marvelous invention of the camera and photography. If important events such as the signing of the Declaration of Independence or the pilgrim's first Thanksgiving feast with Native Americans had been captured on film would they hold more important places in the minds and hearts than they do now? People may never know, but the importance and raw power of photography cannot be denied. Whether viewing a portrait or just a moment caught in time, never has the imagination been captured nor have emotions been pulled to the surface as by the captivating image of a photo.

It is important and necessary to understand and explore the origins, the historical figures, and advancements involved in photography's history before people can appreciate just how far this field moved and exceeded all expectations.

"Photography" is derived from the Greek words photos ("light") and graphein ("to draw"). The word was first used by the scientist Sir John F.W. Herschel in 1839. It is a method of recording images by the action of light or related radiation, on a sensitive material (Bellis, n.d.). Photography has played a crucial role in various societies the world over not only as an intricate art form but also as a significant part in our way of life. From its early beginnings to its key figures of inventors and innovators who ushered in the critical and the amazing technical advancements which have made photography the phenomenon it is today.

William M. Ivins was Curator of Prints at the metropolitan Museum of Art in New York from 1916 until 1946 and published a documentary on photography in 1953 which distinguished between the relationship of traditional techniques of hand-drawn printmaking (the woodcut, metal and wood engravings and lithograph) and photography. Ivins noted that historically, printmaking was not usually practiced as an art form as they are practiced today, but as a means of distributing visual information. Ivins argued that once you begin to examine prints (or pictures) in functional terms you discover that without them very few modern sciences would exist; technologies, archaeologies, and ethnologies. Each of these is dependent upon information conveyed by exactly repeatable pictorial statements (Crawford, 1948).

The idea of photography existed long before the camera was invented. The human urge to produce pictures that amplified the faculty of memory by capturing time is at the theoretical base of photography. Artist and inventors have sought after ways to expedite the picture making process and ultimately concentrated on how to repeatedly capture an image directly formed by light since ancient times. Around the fifth century the Chinese philosopher Mo Ti discovered that light reflecting from an illuminated object and passing through a pinhole into a darkened area would form an exact, but inverted, image of that object, offering a prototype of the pinhole camera. By the 10th century the Arabian mathematician Alhazen demonstrated how the pinhole could be an instrument and that images formed through the aperture became sharper when the opening was made smaller.

Leonardo da Vinci noted in 1490 the earliest surviving description of the camera obscura (dark chamber), which was a device designed to reproduce linear perspective. This was a prototype of the photographic camera and essentially a large dark room in which an artist physically entered. Light would emit through a small hole in one of its four walls and produce a distinct but inverted image onto the opposite wall which could be traced. The camera obscura was popular with artist because it could automatically modify a scene by compressing form and emphasizing tonal mass according to pictorial standards (Hirsch, 2000). In 1589 it was discussed that the use of mirrors could theoretically reverse the image that was reflected backwards into the camera obscura which is now the basis for modern-day single lens-reflex camera. By the 17th century camera obscuras were in frequent use by artist and also made portable in the form of sedan chairs (Bellis, n.d.).

Early in the 18th century the rising commercial class longed to procure the status of being commemorated in much the same pictorial style as of the rich. Multiple inventors had commercial incentives to harness the camera to portrait making, as less training would decrease the costs of making a picture. Machine-based systems for multiple copy production were on the threshold of replacing the outdated handmade methods. One such machine was the physionotrace invented by Gilles Louis Chretien in 1786. This device combined two inexpensive methods of portraiture, the cutout silhouette and the engraving. The operator would trace a profile on a glass using a stylus connected to an engraving tool which duplicated the gestures of the stylus onto a copper plate at a smaller scale. Although it was not a camera, the physionotrace reduced portrait making to a systematic mechanical operation and inevitably expanded the portrait market to the middle class.

In regards to the actual process of photography it was in 1727 Professor J. Schulze surmised that by mixing chalk, nitric acid and silver into a flask images would begin to appear in the presence of sunlight. He noticed a darkening on the sides of the flask which were exposed to direct sunlight and purely by accident was the initial creation of the first photo-sensitive compound (Bellis, n.d.).The first to experiment with in the production of images was Thomas Wedgwood from 1800 to 1802 using white leather impregnated with silver nitrate. It was known at that time that most chemical compounds of silver darkened on exposure to light. Wedgwood was able to produce reversed impressions of objects but was unable to make his pictures permanent by removing the unused silver salts after exposure. Joseph Nicéphore Niépce was the next experimenter and in 1816, even though he was able to produce reversed prints on this material and faint pictures on it in a camera obscura, he had little more success due to the paper eventually darkening. In 1822 he directed his attention to the problem of sensitizing metal plates. Niépce discovered that by coating a pewter plate with a varnish he could produce copies of engravings by placing them in contact with strong light and his coated plates and enabled him to etch his plates and them for printing. This process was later improved by his partner Louis-Jacques-Mandé Daguerre who, after Niépce's death in 1833, established a workable process by exposure to the vapor of heated mercury.

"I have found a way of fixing the images of the camera! I have seized the fleeting light and imprisoned it! I have forced the sun to paint pictures for me!" These were the historical words of L. J. M. Daguerre spoken to Charles Chevalier at his Paris optical shop and reflect the driving desire to make permanent images through the action of light. (Hirsch, 2000, 10). Louis-Jacques-Mandé Daguerre, inventor of the first practical process of photography, was born near Paris, France on November 18, 1789. A professional scene painter for the opera, Daguerre began experimenting with the effects of light upon translucent paintings in the 1820s. In 1829, he formed a joint venture with Joseph Nicéphore Niépce to improve the process Niépce had developed to take the first permanent photograph in 1826-1827.

After several years of experimentation, Daguerre developed a more convenient and effective method of photography, naming it after himself - the daguerreotype. In 1839, he and Niépce's son sold the rights for the daguerreotype to the French government and published a booklet describing the process. The invention was announced to the public on August 19, 1839 at a meeting of the French Academy of Sciences in Paris and his process was used widely in Europe and in the United States. Daguerre's daguerreotype process required long exposure time and made portraits virtually impossible until in 1840 John Goddard cut exposure time in half by treating the plates with bromine and iodine. With this innovation and the development of new lens designs, made possible the idea commercial portraiture. The daguerreotype process went out of use to the general public in the 1850s due to tight patent restrictions which affected application and eventually became obsolete by 1860 (Coe, 1978).

During this time an English scientist, William Henry Fox Talbot, independently devised a camera based imagining process in 1834 using the light sensitivity of silver salts. He invented the salted paper print which was a printing-out process that allowed him to make images without the use of a camera of botanical specimens engravings, pieces of lace, and even solar photomicrographs. By first coating sheets of ordinary writing paper with sodium chloride, letting them dry, and then recoating them with silver nitrate he formed silver chloride which was more highly sensitive to sunlight and reduced exposure time tremendously producing spontaneous images without chemical development. In 1841 Talbot accidentally discovered a process for negative development that he patent under the name calotype. In this process, an exposed sheet of iodized paper was transferred to a darkroom and brushed with gallic acid until a potent negative was developed. It was then that the negative was contact-printed onto unexposed, salted paper in sunlight to form a positive. This process formed the foundation for silver-based photographic systems still in use today.

The negative-positive principle of the calotype process designed by Talbot and the popular daguerreotype were both truly remarkable for their times but not without limitations. A new process evolved from both but without their limitations and would eventually take their place and was referred to as wet-plate photography. It was a photographer's axiom that paper negatives advantages were outweighed by their disadvantages with their resolution limited of fine detail. It was realized that if glass was used the problem would not exist but it simply was not absorbent to carry the coating of light sensitive salts. In 1839 Sir John Herschel was able to produce an image on glass by precipitating silver chloride onto a glass plate and was later perfected by Abel Niépce de Saint-Victor in 1847 by using egg white albumen coated on the glass providing a suitable medium for sensitive salts. A new material for development called collodion was discovered by Frederick Scott Archer in 1851 formed through dissolving a form of gun-cotton in ether. A glass plate was covered with collodion and plunged into silver nitrate and then the wet-plate was loaded into and exposed in a camera. Immediately after exposure the plate was developed, fixed and washed. The collodion negative could record fine detail and subtle tones and also had the advantage of being more highly sensitive than either the daguerreotype and calotype processes. In contrast the gelatin dry plate was first developed by Dr. Richard Leach Maddox who used gelatin instead of ether vapor of the wet collodion plate due to his poor health. It was later perfected by Charles Bennett in 1878 by reducing exposure times drastically, retaining their properties, being easily manufactured and very sensitive.

Pertaining to film and photo depth, one of the most popular photographic novelties which went on display at the Great Exhibition in London in 1851 was the stereoscopic photograph. The mildly dissimilar vantage points provided by the eyes are combined in the brain to give an image in depth. If two photographs of a scene are taken from points of view separated by two about two inches, and are then viewed so that each eye receives only the image appropriated to it, the result is an apparently three-dimensional picture. This principle was first introduced by Sir Charles Wheatstone in 1832 but was not until Sir David Brewster in 1849 introduced an improved device using lenses that the stereoscope became really practical (Coe, 1977).

Another important milestone in photography is that of the photography of action. The early photographic processes were all relatively insensitive. It was impossible at that time to record moving objects without producing a blur on the plate. Specially designed lenses were utilized by Thomas Skaife in his cameras to pass 200 times more light than conventional landscape lenses. Skaife's 'Pistolgraph' camera was introduced in 1856 and after adding the required lens and a shutter powered by a rubber band allowed permitted exposures sufficiently brief to stop the action of slowly moving subjects. Sir John Herschel's name is synonymous with the term 'snapshot' which describes an instantaneous photograph. But it was Eadweard Muybridge who pioneered the process of motion picture photography using gelatin dry plates in the 1880s and eventually led the likes of Professor Etienne Marey and Ottomar Anschutz to document true animals in action. These individuals were often referred to as chronophotographers (Rosenblum, 1997).

Around the mid 1890s public interest began to peak over the publication of the results of chronophotography. This brought about the demand for the development of hand held cameras to replace the traditional and larger stand cameras. Even though small hand held 'detective' cameras were in circulation they were quite awkward and still required multiple cumbersome pieces of hardware that were an inconvenience to everyone but the most enthusiastic of photographers. Even though the dry plate relieved photographers from making their own plates they still had to process and print them requiring knowledge and necessary skills for the dark room. This was answered by the American bank clerk George Eastman who invented the Kodak camera. Eastman felt that photography was too complicated and stated that; "It seems that one ought to be able to carry less than a pack horse load."(Coe, 1978, 13). Though there were some 'detective' cameras that were reasonably small most were bulky. He developed a rolling mechanism and combined it with lightweight sensitive material and decided to construct a camera that would be small and simple to use. In 1888 the first Kodak camera with a celluloid roll-film was developed.

Around the 1850s, photography was viewed by some as a new medium of communication and became hard to discern between art and industry. Eventually it became apparent that photography was considered a business with a widening division of purpose between amateurs and professionals. The latter were motivated by market forces to develop profitable products while the amateurs pursued their personal inclinations and claimed the moral high ground of art, beauty, truth, relegating the professionals to the corner of crass commercialism. Many of England's most notable photographers abandoned their amateur status and turned professional. During the 19th century realism became a force in the arts. Realism sought to counter the idealized subject matter of Romantic and Neoclassical painting with direct and frank views of everyday life. As the public became acquainted with photography's veracity and ability to give significance to everyday experiences, their expectations about how reality should be represented and what subjects were worthy of depiction changed. Ironically photographs became artistic when they looked less photographic by utilizing retouching methods to appear more like a painting. Paintings, on the other hand, were thought to be more artistic if they portrayed more photographic detail. This contradiction resulted in neither medium being valued for its own inherent qualities. (Hirsch, 2000).

The evolution of the camera has advanced beyond all expectations from the digital mega pixel masterpieces we have today to their most earliest ancestors, the camera obscura. Dating back to ancient times, the camera obscura consisted of a pinhole in a contained box. The pinhole would allow light to pass through and project an image on the adjacent wall thus allowing artist to trace the captured image as it appeared at that moment. Niépce, Wedgewood, Talbot are credited with the first portable camera obscuras but it was Daguerre who designed the first cameras to be commercially produced on any practical scale.

The folding box camera, T. Ottewill's folding camera, and portable "dark tent" cameras all gave way to user friendly handhelds such as the momentograph and detective cameras in 1886, the unusual photosphere with its bell-shaped body and hemispherical shutter, the American Tom Thumb camera in 1889, and the Key camera. These box-form cameras eventually became less popular after 1890 and were replaced with collapsing and folding strut cameras.

Kodak sold these forms of cameras in which glass plates or roll films could be used. For a brief time a type of camera was introduced to appear as anything but a camera. The first 'concealment' camera to receive any publicity was Thompson's Revolver camera in 1862 which resembled a pistol. Another was Marion's Parcel Detective camera of 1885 which was supplied in brown paper and tied with a string to appear as a normal parcel and Ross's Photo scope in 1892 mimicked binoculars. Kodak cameras are credited in 1885 with introducing the ingenuity and the marketing of film development roll-film designs. In 1908 still photography was made practical by Audobard and Baradat with 35-mm film due to its small size and handling convenience. The development of Kodachrome, the first multi-layered color film took place in 1936 as did the development of Exakta which pioneered 35 mm single-lens reflex (SLR) cameras. In 1963 Polaroid developed the first instant color film while Instamatic was released by Kodak. Also in this year Nikon released the first purpose-built underwater camera thus changing the way the world viewed oceanography. As the world approached the millennia major advances in the field of computer technology swept the many nations and major advances in film development also transpired in the field of photography. Computer programs such as Adobe Photoshop was released to the public in 1990 and changed the way photography was perceived by allowing users to edit their own pictures. In 1992 Kodak introduced PhotoCD which permitted users to store their pictures on compact disc. In light of this new technology and with the arrival of digital cameras Kodak ceased all production of film cameras. And most notably, the cutting edge technology most familiar to the public is that of camera phones. These multifunctional cameras hit the market from Japan in 2000 and are changing the field of photography and availability unlike anything seen before (Greenspun, 2007).

Through the course of time and painstaking trial and error, the expansive field of photography had grown immeasurably from the exclusive dreams of a handful of visionaries determined to rival the skilled painters and bring to the public what only was available to the wealthy at that time. Cameras and photography have transformed from an artful pastime into an essential way of life touching it in all aspects the public could have never envisioned nor can foresee what will be next in its future.

Through presenting the history of photography in this research it is paramount to stress the importance and necessary to understand the origins of photography and appreciate the many designs that the camera has undertaken since its birth. The field of photography would have undoubtedly fell short in practical use, technological discoveries, and the art community would most likely have suffered a tremendous amount without the inventors and innovations of its past. The advancements involved in photography's history are all but unparalleled in its ingenious technology and reigns as a true marvel for all inventions. Far though as foreign lands may be and alien that other cultures may seem, with a better appreciation of photography our world could be closer captured instantly in snapshot.

References

Bellis, M. Historyof Photography and the Camera. Retrieved June 24, 2008, from www.about.com

Web site: http://inventors.about.com/library/inventors/blphotography.htm

Coe, B. (1977). TheBirth of Photography: The Story of the Formative Years 1800-1900. New York: Taplinger Publishing Company.

Coe, B. (1978). Cameras: From Daguerreotypes to Instant Pictures. New York: Crown Publishers.

Crawford, W. (1948). The Keepers of Light: A History and Working Guide to Early Photographic Processes. Dobbs Ferry, NY: Morgan and Morgan

Greenspun, P. (2007, January). History of Photography Timeline. Retrieved June 24, 2008, from

http://photo.net Web site: http://photo.net/history/timeline

Hirsch, R. (2000). Seizing the Light: A History of Photography. Boston, MA: McGraw-Hill.

Rosenblum, N. (1997). A World History of Photography. New York, NY: Abbeville Press.