With entries from 64 countries, the 2025 Exposure One Awards: Photographer of the Year Contest is the most diverse edition to date showcasing the universal appeal of black-and-white photography. According to a statement released by the organizers: “The work of this year’s honorees affirms its lasting relevance, offering images that are both timeless and uncompromising in their vision…….Continue reading….
By: Hidreley
Source: Bored Panda
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Critics:
Photography is the result of combining several technical discoveries relating to seeing an image and capturing the image. The discovery of the camera obscura that provides an image of a scene dates back to ancient China. Greek mathematicians Aristotle and Euclid independently described a camera obscura in the 5th and 4th centuries BCE. In the 6th century CE, Byzantine mathematician Anthemius of Tralles used a type of camera obscura in his experiments.
The Arab physicist Ibn al-Haytham (Alhazen) (965–1040) also invented a camera obscura as well as the first true pinhole camera. The invention of the camera has been traced back to the work of Ibn al-Haytham. While the effects of a single light passing through a pinhole had been described earlier, Ibn al-Haytham gave the first correct analysis of the camera obscura, including the first geometrical and quantitative descriptions of the phenomenon, and was the first to use a screen in a dark room so that an image from one side of a hole in the surface could be projected onto a screen on the other side.
He also first understood the relationship between the focal point and the pinhole, and performed early experiments with afterimages, laying the foundations for the invention of photography in the 19th century. Leonardo da Vinci mentions natural camerae obscurae that are formed by dark caves on the edge of a sunlit valley. A hole in the cave wall will act as a pinhole camera and project a laterally reversed, upside down image on a piece of paper.
Renaissance painters used the camera obscura which, in fact, gives the optical rendering in color that dominates Western art. It is a box with a small hole in one side, which allows specific light rays to enter, projecting an inverted image onto a viewing screen or paper. The birth of photography was then concerned with inventing means to capture and keep the image produced by the camera obscura.
Albertus Magnus (1193–1280) discovered silver nitrate, and Georg Fabricius (1516–1571) discovered silver chloride, and the techniques described in Ibn al-Haytham’s Book of Optics are capable of producing primitive photographs using medieval materials. Daniele Barbaro described a diaphragm in 1566.[24] Wilhelm Homberg described how light darkened some chemicals (photochemical effect) in 1694.
Around 1717, Johann Heinrich Schulze used a light-sensitive slurry to capture images of cut-out letters on a bottle and on that basis many German sources and some international ones credit Schulze as the inventor of photography. The fiction book Giphantie, published in 1760, by French author Tiphaigne de la Roche, described what can be interpreted as photography. In June 1802, British inventor Thomas Wedgwood made the first known attempt to capture the image in a camera obscura by means of a light-sensitive substance.
He used paper or white leather treated with silver nitrate. Although he succeeded in capturing the shadows of objects placed on the surface in direct sunlight, and even made shadow copies of paintings on glass, it was reported in 1802 that “the images formed by means of a camera obscura have been found too faint to produce, in any moderate time, an effect upon the nitrate of silver.” The shadow images eventually darkened all over.
Originally, all photography was monochrome, or black-and-white. Even after color film was readily available, black-and-white photography continued to dominate for decades, due to its lower cost, chemical stability, and its “classic” photographic look. The tones and contrast between light and dark areas define black-and-white photography. Monochromatic pictures are not necessarily composed of pure blacks, whites, and intermediate shades of gray but can involve shades of one particular hue depending on the process.
The cyanotype process, for example, produces an image composed of blue tones. The albumen print process, publicly revealed in 1847, produces brownish tones. Many photographers continue to produce some monochrome images, sometimes because of the established archival permanence of well-processed silver-halide-based materials. Some full-color digital images are processed using a variety of techniques to create black-and-white results, and some manufacturers produce digital cameras that exclusively shoot monochrome.
Monochrome printing or electronic display can be used to salvage certain photographs taken in color which are unsatisfactory in their original form; sometimes when presented as black-and-white or single-color-toned images they are found to be more effective. Although color photography has long predominated, monochrome images are still produced, mostly for artistic reasons.
Almost all digital cameras have an option to shoot in monochrome, and almost all image editing software can combine or selectively discard RGB color channels to produce a monochrome image from one shot in color. Color photography was explored beginning in the 1840s. Early experiments in color required extremely long exposures (hours or days for camera images) and could not “fix” the photograph to prevent the color from quickly fading when exposed to white light.
The first permanent color photograph was taken in 1861 using the three-color-separation principle first published by Scottish physicist James Clerk Maxwell in 1855. The foundation of virtually all practical color processes, Maxwell’s idea was to take three separate black-and-white photographs through red, green and blue filters. This provides the photographer with the three basic channels required to recreate a color image. Transparent prints of the images could be projected through similar color filters and superimposed on the projection screen, an additive method of color reproduction.
A color print on paper could be produced by superimposing carbon prints of the three images made in their complementary colors, a subtractive method of color reproduction pioneered by Louis Ducos du Hauron in the late 1860s. Photographs, both monochrome and color, can be captured and displayed through two side-by-side images that emulate human stereoscopic vision. Stereoscopic photography was the first that captured figures in motion.
While known colloquially as “3-D” photography, the more accurate term is stereoscopy. Such cameras have long been realized by using film and more recently in digital electronic methods (including cell phone cameras). Dualphotography consists of photographing a scene from both sides of a photographic device at once (e.g. camera for back-to-back dualphotography, or two networked cameras for portal-plane dualphotography).
The dualphoto apparatus can be used to simultaneously capture both the subject and the photographer, or both sides of a geographical place at once, thus adding a supplementary narrative layer to that of a single image.Amateur photographers take photos for personal use, as a hobby or out of casual interest, rather than as a business or job. The quality of amateur work can be comparable to that of many professionals. Amateurs can fill a gap in subjects or topics that might not otherwise be photographed if they are not commercially useful or salable.
Amateur photography grew during the late 19th century due to the popularization of the hand-held camera. Twenty-first century social media and near-ubiquitous camera phones have made photographic and video recording pervasive in everyday life. In the mid-2010s smartphone cameras added numerous automatic assistance features like color management, autofocus face detection and image stabilization that significantly decreased skill and effort needed to take high quality images.
During the 20th century, both fine art photography and documentary photography became accepted by the English-speaking art world and the gallery system. In the United States, a handful of photographers, including Alfred Stieglitz, Edward Steichen, John Szarkowski, F. Holland Day, and Edward Weston, spent their lives advocating for photography as a fine art. At first, fine art photographers tried to imitate painting styles.
This movement is called Pictorialism, often using soft focus for a dreamy, ‘romantic’ look. In reaction to that, Weston, Ansel Adams, and others formed the Group f/64 to advocate ‘straight photography’, the photograph as a (sharply focused) thing in itself and not an imitation of something else. The aesthetics of photography is a matter that continues to be discussed regularly, especially in artistic circles. Many artists argued that photography was the mechanical reproduction of an image.
If photography is authentically art, then photography in the context of art would need redefinition, such as determining what component of a photograph makes it beautiful to the viewer. The controversy began with the earliest images “written with light”; Nicéphore Niépce, Louis Daguerre, and others among the very earliest photographers were met with acclaim, but some questioned if their work met the definitions and purposes of art.
Photography is both restricted and protected by the law in many jurisdictions. Protection of photographs is typically achieved through the granting of copyright or moral rights to the photographer. In the United States, photography is protected as a First Amendment right and anyone is free to photograph anything seen in public spaces as long as it is in plain view.
In the UK, the Counter-Terrorism Act (2008) has increased the power of the police to prevent people, even press photographers, from taking pictures in public places. In South Africa, any person may photograph any other person, without their permission, in public spaces and the only specific restriction placed on what may not be photographed by government is related to anything classed as national security. Each country has different laws.
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