History of Photography / / Josef Maria Eder.

• Superior document: Title is part of eBook package: De Gruyter Columbia University Press eBook-Package Archive 1898-1999
• VerfasserIn: Eder, Josef Maria,
• TeilnehmendeR: Epstean, Edward.
• Place / Publishing House: New York, NY : : Columbia University Press, , [1945]; ©1945
• Year of Publication: 1945
• Language: English
• Physical Description: 1 online resource (862 p.)

Describes the development of the history of photography from an international viewpoint, especially later than Daguerre. Includes chapters on the development of various photochemical processes, the theory of color and light, the invention of cameras and projection apparatus, and prominent figures in the field.

Table of Contents

Frontmatter -- Preface to the Third Edition (1905) -- Preface to the Fourth Edition (1931) -- Translator’s Preface -- Contents -- I. From Aristotle (Fourth Century before Christ) to the Alchemists -- II. Influence of Light on Purple Dyeing by the Ancients -- III. Thought and Teaching of the Alchemists -- IV. Experiments with Nature-Printing in the Sixteenth and Seventeenth Centuries -- V. The History of the Camera Obscura -- VI. Stereoscopic (Binocular) Vision -- VII. The Invention of Projection Apparatus in the Seventeenth Century -- VII. (Rewritten). The Invention of Projection Apparatus -- VIII. Studies of Photochemistry by Investigators of the Seventeenth Century up to Bestuscheff’s Discovery in 1725 of the Sensitivity of Iron Salts to the Light and the Retrogression of Processes in Darkness -- IX. Phenomena of Phosphorescence: Luminous Stone; Discovery of the Light-Sensitivity of Silver Salt; the First Photographic Printing Process by Schulze, 1727 -- X. The Life of Johann Heinrich Schulze -- XI. Photochemical Research in the Eighteenth Century until Beccarius and Bonzius (1757), Together with a Digression on the Knowledge at That Time of the Instability of Colors -- XII. From "Giphantie" (1761) to Scheele (1777) -- XIII. From Priestley (1777) to Senebier (1782); Together with an Excursion into the Application Made in Those Days of Light-Sensitive Compounds to Magic Arts -- XIV. From Scopoli (1783) to Rumford (1798) -- XV. From Vauquelin (1798) to Davy (1802) -- XVI. The Studies of Sage (1803), Link, and Heinrich on the Nature of Light (1804-8) up to Gay-Lussac and Thenard (1810) -- XVII. From the Discovery of Photography in Natural Colors by Seebeck (1810) to the Publication of Daguerre's Process (1839) -- XVIII. Special Investigations into the Action of Light on Dyestuffs and Organic Compounds (1824–35) -- XIX. Joseph Nicephore Niepce -- XX. Relationship between Niepce and Daguerre -- XXI. The Life of Daguerre -- XXII. The Agreement between Nicephore Niepce and Daguerre (1829) -- XXIII. Daguerre Discovers the Light-Sensitivity of Iodized Silvered Plates -- XXIV. Joseph Nicephore Niépce’s Death in 1833; His Son Isidore Takes His Father’s Place in the Contract of 1829 with Daguerre; Daguerre Discovers Development with Mercury Vapors -- XXV. Daguerre and Isidore Niépce Attempt Unsuccessfully in 1837 to Sell Daguerreotypy by Subscription; They Offer Their Invention to the Government; Arago’s Report to the Academy on January 7, 1839; Agreement Arrived at June 14, 1839 -- XXVI. Bill for the Purchase of the Invention of Daguerreotypy by the French Government, Which Donates It to the World at Large -- XXVII. Daguerre's Activities after the Publication of Daguerreotypy; Report on Daguerreotypy to the Emperor of Austria -- XXVIII. Success of Daguerreotypy and Its Commercial Use; the First Daguerreotype Cameras, 1839 -- XXIX. Commercialization of Daguerreotypy; Description of the Process -- XXX. First Use of the Word “Photography”, March 14, 1839 -- XXXI. Scientific Investigation of the Chemico-physical Basis of Photography -- XXXII. The First Daguerreotype Portraits; Exposures Reduced to Seconds -- XXXIII. The Daguerreotype Process in Practice -- XXXIV. Petzval’s Portrait Lens and the Orthoscope -- XXXV. Daguerreotypy as a Profession, 1840–60 -- XXXVI. Colored Daguerreotypes -- XXXVII. Invention of Photography with Negatives and Positives on Paper and Its Practical Development by Talbot -- XXXVIII. Reaction of the Invention of the Daguerreotype, the Talbotype, and the Earlier Photomechanical Processes on the Modern Processes of the Graphic Arts -- XXXIX. Bayard’s Direct Paper Positives in the Camera and Analogous Methods -- XL. Reflectography (Breyerotypy) by Albrecht Breyer, 1839 -- XLI. Photographic Negatives on Glass (Niepceotypes) -- XLII. The Wet Collodion Process -- XLIII. Beginning of Photography as an Art by Daguerreotypy, Calotypy, and the Wet Collodion Process -- XLIV. Portable Darkrooms; Theory and Practice of the Wet Collodion Process -- XLV. Direct Collodion Positives in the Camera -- XLVI. Chemical Sensitizers for Silver Halides -- XLVII. The Dry Collodion Process and the Invention of Alkaline Development -- XLVIII. Invention of Collodion Emulsion -- XLIX. Invention of Collodion Layers for the Production of Stripping Films on Spools -- L. Stereoscopic Photography -- LI. Microphotography -- LII. Photomicrography and Projection -- LIII. The Solar Camera -- LIV. Balloon Photography -- LV. Photogrammetry -- LVI. Modern Photographic Optics -- LVII. Further Development of Photochemistry and Photographic Photometry -- LVIII. Photoelectric Properties of Selenium -- LIX. Gelatine Silver Bromide -- LX. Gradual Increase of Sensitivity of Photographic Processes from 1827 until the Present Time -- LXI. Gelatine Silver Bromide Paper for Prints and Enlargements -- LXII. The Discovery of Gelatino-Silver Chloride for Transparencies and Positive Paper Images by Chemical Development (1881); Artificial Light Papers -- LXIII. Calculation of Exposure, Determination of Photographic Speeds, Sensitometry, and the Laws Governing Density -- LXIV. Discovery of Color-Sensitizing of Photographic Emulsions in 1873; Professor H. W. Vogel Discovers Optical Sensitizing -- LXV. Discovery of Desensitizing -- LXVI. Film Photography and the Rapid Growth of Amateur Photography -- XXVII. The Stroboscope and Other Early Devices Showing the Illusion of Movement in Pictures -- LXVIII. Eadweard Muybridge’s Motion Picture Photography -- LXIX. Photographic Analysis of Movement by Janssen and Marey -- LXX. Ottomar Anschiitz Records Movement by Instantaneous Photography and Invents the Electrotachyscope (1887) -- LXXI. Development of Cinematography -- LXXII. Photographing Projectiles in Flight and Air Eddies -- LXXIII. Artificial Light in Photography -- LXXIV. Printing-out Processes with Silver Salts -- LXXV. Mordant-Dye Images on a Silver Base; Uvachromy and Allied Processes -- LXXVI. Printing Methods with Iron Salts; Photographic Tracing Method (Blue Prints, etc.); Platinotype -- LXXVII. Fotol Printing (1905) and Printing Photographic Tracings [Blueprints, Brown Prints, and Others] on Lithographic Presses (1909) -- LXXVIII. Photographic Printing Methods with Light-Sensitive Diazo Compounds: Diazotypy, Primuline Process, Ozalid Paper -- LXXIX. Discovery of the Photographic Processes with Chromates by Ponton (1839), and of the Light-Sensitivity of Chromated Gelatine by Talbot (1852) -- LXXX. Gum Pigment Method -- LXXXI. Pigment Images by Contact; Marion (1873); Manly's Ozotype (1898); Ozobrome Process (1905); Carbro Prints -- LXXXII. Oil Printing -- LXXXIII. Bromoil Process -- LXXXIV. Photoceramics, Enamel Pictures with Collodion, and Dusting-on Methods -- LXXXV. Electrotypes; Auer’s Nature Prints -- LXXXVI. Electrotypes and Galvanic Etchings -- LXXXVII. Photogravure with Etched or Galvanically Treated Daguerreotype Plates -- LXXXVIII. Invention of Photoelectrotypes for Copperplate Printing and Typographic Reproduction -- LXXXIX. Production of Heliogravures by Means of the Asphaltum Method; Beginning of Halftone Steel Etching -- XC. Heliographie Steel and Copper Etching with the Chromated Glue Process; Klic’s Photogravure; Printing with the Doctor; Rotogravure -- XCI. Photolithography; Zincography; Algraphy -- XCII. Collotype -- XCIII. Photographic Etching on Metal for Typographic Printing, Zincography, Copper Etching, and the Halftone Process -- XCIV. Three-Color Photography -- XCV. Photochromy; Color Photography with Silver Photochloride; Lippmann’s Interference Method and “Photographie Intégrale”; Kodacolor; Bleaching-out Process -- XCVI. Photographic Technical Journals, Societies, and Educational Institutions -- XCVII. Supplement to the Chapters on Daguerreotypy and Cinematography -- Biography of Josef Maria Eder, by Hinricus Lüppo-Cramer -- Notes -- Index