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Century Camera Obscuras: And by using lenses of different focal lengths, the angle of view could be made narrow for portraiture and wide for landscape work. By the eighteenth century Camera obscuras became sufficiently improved so that they were standard equipment for artists. Count Francesco Algarotti devotes a chapter to the Camera obscura in his Essays on Painting (1764): "The best modern painters among the Italians have availed themselves greatly of this contrivance; nor is it possible they should have otherwise represented things so much to life.To fill their needs, manufacturers began to introduce in the 1890s a new kind of finder: a second Camera mounted on top of the Camera with which the exposure was made. It was fitted with a lens of exactly the same focal length of the taking lens; both were focused together. On the top of the finder-camera was a ground glass the size of the negative. Within was a mirror, fixed at 45° to the lens axis, which reflected the image upwards, like the eighteenth-century Camera obscura. A collapsible hood shaded the ground glass so that the image could be seen clearly.
The portable hand Camera thus brought about a chanj in working methods. The photographers' output wi increased, and oftentimes the recorded Camera image wi merely a starting point for the final composition. Tr. hand Camera also increased the scope of photography, f< with it many subjects generally considered beyond tt limits of photography were now brought within gras] At the turn of the century, technical innovatioi broadened the camera's field of operation still furthe Lenses were designed that produced images far moi brilliant than before; and small, compact precision can eras fitted with high-speed shutters were made, on whic the powerful lenses could be used. The small negativi were intended for enlarging. |
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