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| 1. |  | Gemma Frisius 1545 (published) A drawing by Gemma Frisius showing how he used a pinhole within a darkened room to study the solar eclipse of 1544 Engraving Private collection |
| 2. |  | Brook Taylor (based on work by) 16th century Leonardo da Vinci in the 16th century gave a description of the camera obscura Drawing Private collection This drawing is commonly found on the Internet as an illustration of the camera obscura but it is problematic. The drawing is based on an illustration by Brook Taylor in 1835 from his work Dr. Brook Taylor's Principles of Linear Perspective; or, The Art of Designing on a Plane - The Representation of all Sorts of Objects, as They Appear to the Eye (London: M. Taylor) [New Edition by Joseph Jopling]. Figure 12 on page 9 of the book is similar to this one but missing the toga-clad figure, and is to show the principles of linear perspective rather than a camera obscura. (With thanks to Dr. Theodoros Natsinas, pers. email, 27 July 2013) |
| 3. |  | Unidentified artist n.d. [A camera obscura in use possibly showing the work of Ibn al-Haytham] Illustration Internet - Original source ill-defined Original source being researched. Full details on the artist, date and source of this illustration are requested - alan@luminous-lint.com This illustration is included in - Al-Hassani S. T. S., Woodcock E., Saoud R. (2006) 1001 inventions: Muslim heritage in our world. (Foundation for Science, Technology and Civilisation, Manchester, UK). www.1001inventions.com |
| 4. |  | Athanasius Kircher 1646 Chambre Obscure Engraving Private collection of Jan Weijers (Servatius) [Editorial note] We would welcome details on the original publication of this illustration and any details of subsequent publication. |
| 5. |  | Unidentified photographer 1694 Portable Camera Obscura Engraving Museum of the History of Science Inventory No: 93540 Possibly the only known portrait of Dr. |
| 6. |  | Unidentified photographer / artist 1751-1772 Camera obscura [l'Encyclopédie, ou Dictionnaire Raisonné des Sciences, des Arts et des Métiers de Diderot et d'Alembert.] Engraving Private collection of Alan Griffiths |
| 7. |  | Unidentified photographer / artist 1751 -1772 Camera obscura [l'Encyclopédie, ou Dictionnaire Raisonné des Sciences, des Arts et des Métiers de Diderot et d'Alembert.] Engraving Private collection |
| 8. |  | Unidentified photographer / artist 1751 -1772 Camera obscura [l'Encyclopédie, ou Dictionnaire Raisonné des Sciences, des Arts et des Métiers de Diderot et d'Alembert.] Engraving Private collection |
| 9. |  | Unidentified photographer / artist 1769, May The Method of drawing Landscapes, &c. by help of a Camera Obscura Magazine page Google Books Published in "The Oxford Magazine: or Universal Museum", Vol.2, May, 1769, p.169-170 [Typographical changes have been made to improve readability.] The Method of drawing Landscapes, &c. by help of a Camera Obscura. Illustrated with a Copper-plate. The method of drawing in a camera obscura, is at once so easy and pleasing, that we were persuaded a few plain directions would not be disagreeable to our readers. A camera obscura, or dark chamber, is a contrivance for exhibiting the picture of a landscape, &c. in its natural colours, by means of a scioptric ball, through which the rays of light are received on a sheet of paper, vellum, &c. placed in a dark room, or other place, where no light is admitted but what comes in thro' the glass: by which means an exact and similar image of any object before the glass will be formed on the paper; and consequently the whole image, at least the out-lines of it, may be traced with great exactness on the paper, and afterwards coloured if required. But it must be remembered, that the size or magnitude of the image, painted on the paper, will be proportionable to its distance from the glass; consequently the larger the focal distance of the glass is, the larger will be the picture of the object; and the smaller the compass of the plane or perspective view. It is also necessary to remark, that the picture of the objects painted on the paper, will be in an inverted position. Nor is this owing to any defect in the glass, but from the rays crossing each other in the center of the glass, in their passage into the camera. For the same appearance would be formed if the glass were removed, and the rays suffered to pass thro' a small hole into the camera; those which flow from the top of the object going to the lower part of the image, and those that come from the bottom of the object to the upper part of the image. The glass has no 'other use than that of rendering the image distinct, by conveying the rays of every pencil to their proper focus in the picture, the position of each point being the same as before. In the images of landscapes, painted by nature in the camera, the several parts of the picture are either in motion or at rest, according as the objects are in either state. The reason of this is very obvious; and this gives life and spirit to the painting, and is the only particular inimitable by art. But this beautiful addition renders the drawing of landscapes in a camera much more difficult; and therefore calm weather should be chosen for this purpose, when the trees, &c. are not waved by the wind. Every object is represented in the camera in its proper colours; and because the natural colours of the object are crouded into a less space in the camera, therefore the tints in the painting will be more intense than those in the object; and consequently the landscape painted in the camera, is an improvement even of that in nature itself. The intensity of light and shadow, or what the Italians call the chiaro oscuro, is also heightened in the picture, as well as the colouring. Here every light, and every shade, is expressed in its proper degree, from the most brilliant in the one, to the most jetty black of the other; together with all the wonderful variety in the several parts, arising from the different situations of the different parts of the object. And it should be remembered, that a just imitation of nature in the distribution of light and shade, is, of all others, the most difficult part of painting, and on which it in a great measure depends for perfection. Whenever an attempt is made to use a camera obscura, care must be taken to place the lens directly against the object whose picture is intended to be painted in the camera; for if the glass have any other position to the object, the image will be very imperfect, indistinct, and confused. It will be in vain to attempt the exhibition of the picture of objects in a camera, unless the objects are strongly illuminated; mere day-light is not sufficient, if the beauty of the painting be the principal object; but for tracing the out-lines only, less light will be sufficient. The best time therefore for viewing the picture of a landscape in the camera, is about noon, when the sky is entirely free from clouds, and the sun-beams strongest. The camera therefore should be placed, as it were, between the sun and the object, that the glass may point directly towards that quarter upon which the sun shines, that the rays flowing from the illuminated parts of objects may present themselves to the lens, and be painted on the paper in the camera, in the greatest perfection. By this position of the camera, none of the direct rays of the sun will enter the camera; a caution very necessary to be observed; because if they are suffered to enter, they will, by mixing with the rays reflected from the objects, greatly disturb the picture, and render it confused. Explanation of the Plate. Fig. 1. is a portable camera obscura, made in the form of a sedan chair, and having a door behind; which, in the figure, is represented open. A, a small turret, in which a mirror is placed. B, the mirror, either of glass or metal. C, the tube in which the lens is fastened. D, the table, on which the designer lays his paper, to receive the images of the objects reflected by the mirror B, through the lens and tube C. E, the designer's seat. F, F, ledges of wood for strengthening and darkening the machine. G, G, G, other ledges fastened to the door, in order more effectually to exclude the light, when the door is shut. Fig. 2. Is another camera obscura, more portable than the former machine just described, and made in the form of a tent. It is placed upon a table, which is no part of the machine. It has the same apparatus on the top, and its uses are the same as those of the former. The reason for placing a mirror on the top of portable cameras, is to reflect the objects in the landscape thro' the lens and tube, in a perpendicular direction on the paper. And in order to this the mirror operates upon an axis, that it may be set to any angle the operator pleases. |
| 10. |  | Benard Direxit (engraver) 1751-1772 Camera obscura [l'Encyclopédie, ou Dictionnaire Raisonné des Sciences, des Arts et des Métiers de Diderot et d'Alembert.] Engraving Private collection of Alan Griffiths |
| 11. |  | Unidentified photographer / artist 1786 Camera Obscura - Plate 3, Fig 3 from A. Rees Cyclopoedia, Universal Dictionary of Arts and Sciences (1786) Engraving Private collection |
| 12. |  | Abbé Nollet 1733 Chambre Noire Engraving Private collection of Jan Weijers (Servatius) [Editorial note] We would welcome details on the original publication of this illustration and any details of subsequent publication. |
| 13. |  | 1869, June The Dark Chamber Magazine illustration Google Books Published in "The Eye and the Camera" in "Harper's New Monthly Magazine", No. CCXXXXXII, September, 1869, Vol.XXXIX, p.478 |
| 14. |  | Unidentified photographer / artist 17th century Illustration of camera obscura from "Sketchbook on military art, including geometry, fortifications, artillery, mechanics, and pyrotechnics" Illustration Private collection The illustration is possibly by an Italian artist but this is uncertain. Further details on the source are requested. |
| 15. |  | Ger. Vandergucbt (engraver) 1784 [Medical illustrator using a camera obscura] Engraving Google Books Title page illustration for William Cheselden,1784, The Anatomy of the Human Body ([London]:J.E & C. Rivington, J. Doodley, T. Cadell, R. Baldwin, T. Lowndes, S. Hayes). In the Preface it says: "The print on the title-page represents a person drawing in a camera obscura, such a one was used in this work." |
| 16. |  | J. Ouartley 1825 (ca) A drawing tent in the landscape with a lens on the top Book illustration Private collection of Jack and Beverly Wilgus Illustration from The Chautauqua Course in Physics by Dorman Steele, (Chautauqua Press, 1889) |
| 17. |  | Unidentified photographer / artist n.d. Mirror for a camera obscura Private collection |
| 18. |  | G.W. Crompton 1886-1896 (ca) Printed Advertisement for Camera Obscura, Southport Advert Museum of the History of Science Inventory No: 29441 |
| 19. |  | 1846 Making the Most of It Magazine illustration Google Books Published in Punch (London), July to December 1846, Volume 11, p.221 We understand that, with the view of making the most of the Grand Ecclesiastical Exhibition Station, commonly called St. Paul's Cathedral, the dome of that popular and attractive show is to be fitted up as a camera obscura. We are only surprised that an arrangement affording an opportunity for an extra charge of sixpence has not long ago been carried out by the authorities. Perhaps Daguerreotype likenesses might also be taken in the hall, while the vast recesses of the roof could be used as a sort of Pantechnicon, where property could be received for warehousing, at the usual charges. |
| 20. |  | Unidentified artist 1875 Artist using a box camera obscura Book illustration Private collection of Jack and Beverly Wilgus Illustration from Well's Natural Philosophy by David A. Wells, Ivison, Blakeman, Taylor & Company, 1875 |
| 21. |  | Unidentified photographer / artist 1685 Johann Zahn, Reflex box camera obscura, 1685 Engraving Private collection |
| 22. |  | Unidentified photographer / artist Early 19th century Mahogany sliding box camera obscura Colour image Private collection of Jack and Beverly Wilgus |
| 23. |  | Unidentified photographer / artist 1860-1870s (ca) American diminutive Camera Obscura Camera obscura Stereographica - Antique Photographica Courtesy of Bryan and Page Ginns (#21 / 43) The top is marked "Patent Applied for, J. Lee, NY". It is of rather primitive design, overall very good to excellent condition. Measures 6" x 4.25" x 2.25". |
| 24. |  | Unidentified photographer / artist 1860-1870s (ca) American diminutive Camera Obscura Camera obscura Stereographica - Antique Photographica Courtesy of Bryan and Page Ginns (#21 / 43) The top is marked "Patent Applied for, J. Lee, NY". It is of rather primitive design, overall very good to excellent condition. Measures 6" x 4.25" x 2.25". |
| 25. |  | Unidentified photographer / artist n.d. Modern English replica of an 1800 portable Camera Obscura. It has a sliding box in box type focusing method. Stereographica - Antique Photographica The body measures 4.625" x 3.75" x 8.125". This replica is based on one illustrated on page 147 of Cyril Permutt's book, Collecting Old Cameras |
| 26. |  | Unidentified photographer / artist 19th century French 19th century tin camera obscura Private collection of Jack and Beverly Wilgus |
| 27. |  | 1911 (ca) Folder Spiel und Arbeit (Play and Work) Folder cover Private collection of Jack and Beverly Wilgus Contains plans for building a cardboard camera obscura. |
| 28. |  | n.d. 19th century German magazine showing children using a camera obscura Folder cover Private collection of Jack and Beverly Wilgus |
| 29. |  | Unidentified photographer (Committee on Public Information) 1918, 15 September The interior of a camera obscura tent used in bomber practice Gelatin silver print 6 1/2 x 8 1/2 ins Private collection of Jack and Beverly Wilgus |
| 30. |  | Unidentified photographer / artist 19th century (late) Camera Obscura on the Jetty, Margate Private collection of Jack and Beverly Wilgus |
| 31. |  | Unidentified photographer 1870s (ca) The Camera Obscura, Central Park, New York City [American Scenery] Stereocard Private collection of Jack and Beverly Wilgus |
| 32. |  | Unidentified photographer / artist n.d. Famous Camera Obscura, Santa Monica, Calif. Picture postcard Private collection |
| 33. |  | Unidentified photographer / artist 1950 (built) Camera Obscura building, San Francisco, CA, built in 1950 Private collection of Jack and Beverly Wilgus |
| 34. |  | Unidentified photographer / artist 1836 (built) Dumfries Camera Obscura, Scotland, built in 1836 Private collection of Jack and Beverly Wilgus |
| 35. |  | Stephen Berkman 2008 (or before) A camera lucida in use Illustration Provided by the artist - Stephen Berkman |
| 36. |  | Abelardo Morell 1996 Camera Obscura Image of Manhattan View Looking South in Large Room Gelatin silver print 20 x 24 ins Bonni Benrubi Gallery © Abelardo Morell, courtesy Bonni Benrubi Gallery, New York, NY |
| 37. |  | Abelardo Morell 1997 Camera Obscura Image of the Grand Tetons in Resort Room, Jackson Hole, Wyoming Source requested © Abelardo Morell; courtesy Bonni Benrubi Gallery, New York City Photo Synthesis Colin Westerbeck The word camera means room, and a camera obscura is a darkened room with a lens set in the wall, or just a tiny hole, through which an inverted image of the world outside can be projected on the interior. Aristotle delineated the principle, and Leonardo da Vinci provided an early working diagram for a camera obscura, the device that Abelardo Morell employs in his photographs. For this picture, Morell rented a room with a view at a lodge. First he blocked out the view by covering the picture window with black plastic sheeting in which he poked a 3/8-inch hole. This turned the room into a giant pin-hole camera with an upside-down view of the Tetons on the walls. (If unhappy with the composition, he could move the mountains around the room by covering the hole and making another elsewhere.) Finally, he set up his view camera inside the room, opened the shutter, and went out hiking with his son during the eight hours needed for the exposure. The inspiration for this picture was the one by Ansel Adams that you see on the wall. By placing an Adams poster and a kitsch figurine of a stag in the room, Morell's shadowy interior literally turns Adams' view of the world topsy-turvy. [Originally published in West Magazine : April 29, 2007, p.9] |
| 38. |  | Gilles-Louis Chrétien 1792 Physionotrace machine Engraving Private collection of Jan Weijers (Servatius) [Editorial note] We would welcome details on the original publication of this illustration and any details of subsequent publication. |
| 39. |  | Gilles-Louis Chrétien 1792 Physionotrace Machine Drawing Private collection of Jack and Beverly Wilgus The physionotrace was a mechanical instrument invented by Gilles-Louis Chrétien in 1784. It was used to trace a profile portrait and using a pantograph reduce it and engrave it onto a copper plate. Multiple prints could then me made of the portrait. A copy of this illustration is included in Raymond Lécuyer, 1945, Histoire de la photographie, (Paris: Baschet) where the source of the original is given as the Bibliothèque Nationale de France. |
| 40. |  | Unknown artist 18th century Portrait of a unidentified man - Bernbault (?) Physionotrace 5.7 x 4.8 cm (frame) 5.3 x 4.3 cm (image) Musée français de la Photographie Inventory no: 89.7056.1 |
| 41. |  | Unidentified photographer / artist 1793 Physionotrace des. par Fouquet et gr. par Chrétien Physionotrace Creative Commons - Wikipedia |
| 42. |  | Gabriel Cromer (author) 1928 (published) Three examples of physionotrace portraits Book page 28.6 x 39.3 cm (page) Musée français de la Photographie Inventory no: 95.9221.1 Gabriel Cromer "Nouvelles précisions, nouveaux documents sur le physionotrace", 30 p. - 3 pl. ; conférence faite le 19 janvier 1928 au d¯ner de la Société archéologique, historique et artistique "Le vieux papier" |
| 43. |  | Gilles-Louis Chrétien 1793 Portrait of a woman wearing a hat Physionotrace 5.6 cm (diameter) George Eastman Museum Gift of Eastman Kodak Company: ex-collection Gabriel Cromer, GEH NEG: 46753 INSCRIPTION: recto-(printed) "Dess. p. Fouquet. gr. p. Chretian inv. du physionotrace Cloitre St. honoré a Paris 1793." verso-(in pencil) "12-3" (stamped) "43707-B" |
| 44. |  | St. Memin 1797-1798 Portrait of a Man: Charles Balthazar Julien Févret de Saint-Mémin (1770-1852) Conté crayon, charcoal (?), graphite and white-chalk heightening on off-white laid paper coated with gouache 17 1/8 x 13 3/8 ins (43.5 x 34 cm) Metropolitan Museum of Art Gift of William H. Huntington, 1883, Accession Number: 83.2.472 |
| 45. |  | Unidentified artist 1795-1798 (ca) Portrait of Pierre-François Percy (1754-1825) Physionotrace etching, ink on paper; circular frame of copper alloy and colored paper 3 ins (7.6 cm) (diameter) Metropolitan Museum of Art Purchase, The Lattimer Family Fund Gift, in memory of Russell B. Aitken, 2003 Accession Number: 2003.7 |
| 46. |  | Edme Quenedey (engraver) 1787, 4 January Physionotrace de Louis-Bernard Guyton-Morveau Physionotrace Source requested Information on the ownership and inventory number for this image is requested. |
| 47. |  | Edme Quenedey (engraver) 1801 (ca) Physionotrace portrait of Lady Mount Cashell Physionotrace, engraving finished with etching and aquatint 19 x 15 cm NYPL - New York Public Library Carl H. Pforzheimer Collection of Shelley and His Circle, Image ID: 1800608 |
| 48. |  | Queneday (Paris) 1808 Portrait of the composer A. Gretry Engraving, Physionotrace 24 x 18.5 cm Stockholms Auktionsverk Photographica, 4 April 2011, Lot: 4009 André Grétry (1741-1813), Belgian-French composer, mostly of comic operas, which were internationally successfull, not the least in Sweden. |
| 49. |  | Queneday (Paris) 1808 Portrait of the composer A. Gretry Engraving, Physionotrace 24 x 18.5 cm Stockholms Auktionsverk Photographica, 4 April 2011, Lot: 4009 André Grétry (1741-1813), Belgian-French composer, mostly of comic operas, which were internationally successfull, not the least in Sweden. |
| 50. |  | Queneday (Paris) 1811 Portrait of the opera-singer C.(ristoffer) Karsten Engraving, Physionotrace 10 x 1.1 cm (plate area) Stockholms Auktionsverk Photographica, 4 April 2011, Lot: 4010 Cristoffer (Christopher) Karsten (1756-1827); Swedish operasinger (tenor - barytone), one of the foremost opera singers of the Gustavian era, visited in 1810 Paris, where he found an admirer in Grétry. Also a friend of the Swedish poet Bellman, who wrote a small cantata for him. He received the area Kanton at Drottningholm from king Gustav III as a fief, buried at the Lovö cemetary, where king Karl XIV Johan later had a memorial erected over him. |
| 51. |  | Queneday (Paris) 1811 Portrait of the opera-singer C.(ristoffer) Karsten Engraving, Physionotrace 10 x 1.1 cm (plate area) Stockholms Auktionsverk Photographica, 4 April 2011, Lot: 4010 Cristoffer (Christopher) Karsten (1756-1827); Swedish operasinger (tenor - barytone), one of the foremost opera singers of the Gustavian era, visited in 1810 Paris, where he found an admirer in Grétry. Also a friend of the Swedish poet Bellman, who wrote a small cantata for him. He received the area Kanton at Drottningholm from king Gustav III as a fief, buried at the Lovö cemetary, where king Karl XIV Johan later had a memorial erected over him. |
| 52. |  | Mark Osterman 2000-2001 Roger Watson Physiognotrace Provided by the artist - Mark Osterman Silhouette made at the George Eastman House. |
| 53. |  | Lavatar 1790s Silhouette machine Engraving Private collection of Jan Weijers (Servatius) [Editorial note] We would welcome details on the original publication of this illustration and any details of subsequent publication. |
| 54. |  | Unknown artist 1810 (ca) Silhouette of child Silhouette National Science and Media Museum Ref Number: 1990-5036/6974 |
| 55. |  | Unknown artist 18th century Silhouette portrait of an aristocrat Silhouette, with the aid of Physionotrace 15.5 x 9.6 cm (frame) 6.8 x 5.7 cm (image) Musée français de la Photographie Inventory no: 79.3352.1 |
| 56. |  | Unidentified photographer n.d. Silhouette en noir d'un abbé Daguerreotype, 1/6 plate Interencheres - La Gallerie de Chartes Collection Henry Koilski (Galerie de Chartres, Auction, 8 October 2011, Lot: 24) |
| 57. |  | Unidentified photographer / artist 1807 LVIII. Description of the Camera Lucida. By William H. Wollaston, Sec. R.S. Magazine page Google Books Published in "The Philsophical Magazine" by Alexander Tilloch, Volume 27, February, March, April and May, 1807, p.343-347 Having, a short time since, amused myself with attempts to sketch various interesting views without an adequate knowledge of the art of drawing, my mind was naturally employed in facilitating the means of transferring to paper the apparent relative positions of the objects before me; and I am in hopes that the instrument which I contrived for this purpose may be acceptable even to those who have attained to greater proficiency in the art, on account of the many advantages it possesses over the common camera obscura. The principles on which it is constructed will probably be most distinctly explained by tracing the successive steps by which I proceeded in its formation. While I look directly down at a sheet of paper on my table, if I hold between my eye and the paper a piece of plain glass inclined from me downwards as an angle of 45¦, I see by reflection the view that is before me in the same direction that I see my paper through the glass. I might then take a sketch of it, but the positions of the objects would be reversed. To obtain a direct view, it is necessary to have two reflections. The transparent glass must for this purpose be inclined to the perpendicular line of sight only the half of 45¦, that it may reflect the view a second time from a piece of looking-glass placed beneath it, and inclined upwards at an equal angle. The objects now appear as if seen through the paper in the same place as before; but they are direct instead of being inverted; and they may be discerned in this manner sufficiently well for determining the principal positions. The pencil, however, and any object which it is to trace, cannot both be seen distinctly in the same state of the eye, on account of the difference of their distances, and the efforts of successive adaptation of the eye to one or to the other would become painful if frequently repeated. In order to remedy this inconvenience, the paper and pencil may be viewed through a convex lens of such a focus as to require no more effort than is necessary for seeing the distant objects distinctly. They will then appear to correspond with the paper in distance as well as direction, and may be drawn with facility, and with any required degree of precision. This arrangement of glasses will probably be best understood from inspection of fig. 1. (Plate VIII.) in which ab is the transparent glass; bc, the lower reflector; bd, a convex lens (of twelve inches focus); e, the position of the eye; fgh, the course of the rays. In some cases, a different construction will be preferable. Those eyes, which without assistance are adapted to seeing near objects alone, will not admit the use of a convex glass, but will, on the contrary, require one that is concave to be placed in front, to render the distant objects distinct. The frame for a glass of this construction is represented at ik, fig. 3, turning upon the same hinge at h, with a convex glass in the frame lm, and moving in such a manner that either of the glasses may be turned alone into its place, as may be wanted to suit an eye that is long- or short-sighted. Those persons, however, whose sight is nearly perfect, may at pleasure use either of the glasses. The instrument represented in that figure differs moreover in other respects from the foregoing, which I have chosen to describe first, because the action of the reflectors there employed would be more generally understood. But those who are conversant with the science of optics will perceive the advantage that maybe derived in this instance from prismatic reflection; for, when a ray of light has entered a solid piece of glass, and falls from within upon any surface at an inclination of only 22 or 23 degrees, as above supposed, the refractive power of the glass is such as to suffer none of that light to pass out, and the surface becomes in this case the most brilliant reflector that can be employed. Fig. 2. represents the section of a solid prismatic piece of glass, within which both the reflections requisite are effected at the surfaces ab,bc, in such a manner that the ray fg, after being reflected first at g and afterwards at h, arrives at the eye in a direction he, at right angles to fg. There is another circumstance in this construction necessary to be attended to, and which remains to be explained. Where the reflection was produced by a piece of plain glass, it is obvious that any objects behind the glass (if sufficiently illuminated) might be seen through the glass as well as the reflected image. But when the prismatic reflector is employed, since no light can be transmitted directly through it, the eye must be so placed that only a part of its pupil may be intercepted by the edge of the prism, as at e, fig. 2. The distant objects will then be seen by this portion of the eye, while the paper and pencil are seen past the edge of the prism by the remainder of the pupil. In order to avoid inconvenience that might arise from unintentional motion of the eye, the relative quantities of light to be received from the object and from the paper are regulated by a small hole in a piece of brass, which, by moving on a centre at c, fig. 3, is capable of adjustment to every inequality of light that is likely to occur. Since the size of the whole instrument, from being so near the eye, does not require to be large, I have on many accounts preferred the smallest size that could be executed with correctness, and have had it constructed on such a scale that the lenses are only three-fourths of an inch in diameter. Although the original design and principal use of this instrument are to facilitate the delineation of objects in true perspective, yet this is by no means the sole purpose to which it is adapted; for the same arrangement of reflectors; may be employed with equal advantage for copying what has been already drawn, and may thus assist a learner in acquiring at least a correct outline of any subject. For this purpose, the drawing to be copied should be placed, as nearly as may be, at the same distance before the instrument that the paper is beneath it; for in that case the size will be the same, and no lens will be necessary, either to the object or to the pencil. By a proper use of the same instrument every purpose of the pentagraph may also be answered, as a painting may be reduced in any proportion required by placing it at a distance in due proportion greater than that of the paper from the instrument. In this case a lens becomes requisite for enabling the eye to see at two unequal distances with equal distinctness; and, in order that one lens may suit for all these purposes, there is an advantage in varying the height of the stand according to the proportion in which the reduction is to be effected. The principles on which the height of the stem is adjusted will be readily understood by those who are accustomed to optical considerations. For, as, in taking a perspective view, the rays from the paper are rendered parallel by placing; a lens at the distance of its principal focus from the paper, because the rays from the distant objects are parallel; so also, when the object seen by reflection is at so short a distance that the rays received from it are in a sensible degree divergent, the rays from the paper should be made to have the same degree of divergency, in order that the paper may be seen distinctly by the same eye; and for this purpose the lens must be placed at a distance less than its principal focus. The stem of the instrument (which slides) is accordingly marked at certain distances, to which the conjugate foci are in the several proportions of two, three, four, &c. to one; so that distinct vision may be obtained in all cases by placing the painting proportionally more distant. By transposing the convex lens to the front of the instrument, and reversing the proportional distances, the artist might also enlarge his smaller sketches in any proportion with every desirable degree of correctness; and the naturalist, by employing a deeper lens, might delineate minute objects in any degree magnified. Since the primary intention of the camera lucida is already, in some measure, answered by the camera obscura, a comparison will naturally be made between them. The objections to the camera obscura are, 1st, That it is too large to be carried about wiih convenience; but the camera lucida is as small and portable as can be wished. 2d, In the former, all objects that are not situated near the centre of view are more or less distorted. In this there is no distortion; so that every line, even the most remote from the centre of view, is as straight as those that pass through the centre. 3dly, In that the field of view does not extend more than 30, or at most 35 degrees, with distinctness. But in the camera lucida as much as 70 or 80 degrees might be included in one view. As it has been thought advisable to secure an exclusive sale by patent, those who are desirous of purchasing the instrument are informed that Mr. Newman, No. 24, Soho Square, has at present the disposal of it. |
| 58. |  | Unidentified photographer / artist 1835, 22 August Camera Lucida Magazine page Google Books Published in "The Dublin Penny Journal", Vol. IV, No.164, August 22, 1835, p.61 Q. How does the camera lucida act in the formation of pictures ? A. The camera lucida, one of the most elegant of optical instruments, consists of the following arrangement ò CDFG is a glass prism, having four sides inclined, as seen in the figure. The side CD being exposed to the object to be delineated, rays pass through it and fall upon the sloping side DF; from this they are reflected to the side FG, and finally pass out of the prism to the eye at E. Now, from the direction in which rays enter the eye, it receives them as if coming from an image at A'B'. Accordingly, if a sheet of paper be placed below the instrument, a perfect delineation of the object will be formed upon it, which may be easily traced off with a pencil. The instrument is mounted on a convenient brass frame, which is so constructed as to allow the prism to approach to, or remove from, the paper, according to the size which the picture is required to have. |
| 59. |  | Unidentified photographer / artist 1852 Optics of Wollaston camera lucida Engraving Creative Commons - Wikipedia From W. H. C. Bartlett, "Elements of Natural Philosophy", 1852, A. S. Barnes and Company. Photocopy kindly provided by Tom Greenslade, Department of Physics, Kenyon College. This image was scanned from the photocopy and cleaned up by Daniel P.B. Smith. This version is licensed by Daniel P.B. Smith under the terms of the Wikipedia Copyright. |
| 60. |  | Chevalier 1830 (ca) Chambre Claire Engraving Private collection of Jan Weijers (Servatius) [Editorial note] We would welcome details on the original publication of this illustration and any details of subsequent publication. |
| 61. |  | Unidentified photographer / artist 1807 A camera lucida in use Engraving George Eastman Museum From Chambre Claire. |
| 62. |  | Unknown maker 1840s (manufactured) British camera lucida Instrument Archive Farms |
| 63. |  | Dollond (London, manufacturer) 1900 (before) Camera lucida Colour image Classic Photographics 19th Century camera lucida. Constructed in brass with double telescopic extension. Sold by Broadhurst & Clarkson & Co. 63, Farringdon Rd in wooden carry case. |
| 64. |  | Unidentified photographer / artist 1837 Camera Lucida, by William Simms, London Colour image Museum of the History of Science Inventory No: 15780 |
| 65. |  | Unidentified photographer / artist n.d. Camera Lucida, by Elliott Brothers, London Colour image Museum of the History of Science Inventory No: 12923, Elliott Collection, Presented by the Marconi Corporation in 2003 |
| 66. |  | Captain Basil Hall, R.N. 1829 Book cover for Captain Basil Hall "Forty Etchings From Sketches Made With The Camera Lucida, in North America, in 1827 and 1828" (Edinburgh: Cadell & Co., London: Simpkin & Marshall, and Moon, Boys, & Graves, 1829) Book cover 13 x 10 ins Archive Farms Additional information provided by Archive Farms. First Edition, ii.[1], plus 40 illustrations on 20 plates and 20p. of descriptive text, folding colour frontis map, in the original publisher's boards, with the title repeated on the upper cover and publisher's ad on the bottom board, expertly rebacked, uncut, The etchings were prepared from "sketches [made with the] Camera Lucida, an instrument invented by the late Dr. Wollaston". cf. Spendlove, p48. The views are of particular value and interest because of the character of truth preserved by the mechanical accuracy of the Camera Lucida. - The view included Niagara (5); Bridge Lake Cayuga; Buffalo on Lake Erie; River Niagara; Village of Rochester; Mt Holyoke in Mass.; Great Eire Canal; Canadian Voyageurs of Captain Franklin's Canoe; Mississauga Indians in Canada; St Lawrence below Quebec; Peterborough, U.C.; Rice fields in South Carolina; Two Slave drivers; Riceborough in Georgia; American Forest on Fire; Mississippi at New Orleans; Steam-Boat on the Mississippi; Banks of the Missouri; American Stage-Coach; etc |
| 67. |  | Henry Fox Talbot 1833, 5 October Sketch of Lake Como Drawing, made with a camera lucida National Science and Media Museum Courtesy of the Science and Society Picture Library. |
| 68. |  | Henry Fox Talbot 1833, 6 October View towards Lecco Drawing, made with a camera lucida National Science and Media Museum Courtesy of the Science and Society Picture Library, Picture Reference: 10459450 |
| 69. |  | Unidentified photographer / artist n.d. Perspective: A very curious Method of drawing all Perfpectives in the moft natural Manner, without obferving the Rules Book page Private collection |
| 70. |  | Unidentified photographer / artist n.d. Perspective: A very curious Method of drawing all Perfpectives in the moft natural Manner, without obferving the Rules Book page Private collection |
| 71. |  | Père Jean Dubreuil 1642 [Drawing aids?] Engraving Private collection of Jan Weijers (Servatius) The source for this image is not certain but an Internet source credits to Jean Dubreuil, 1663, La Perspective Practique, (Paris) with the caption: "Fragmento del grabado: 'Machine à Desiner'" The Beinecke Library at Yale University has a copy of this book: First published in Paris in 1642, Jean Dubreuil's La perspective pratique became one of Western Europe's most popular guides to accurately representing three dimensions on a two-dimensional surface. Shown here is the first English edition, published in London in 1672; it was one of seven editions published in French and English in the 17th century. 150 full-page plates provide simple geometrical exercises for rendering columns, entablatures and room interiors, as well as curved surfaces such as casement arches, spiral staircases, and groin-vault ceilings. Similar lessons follow for smaller objectsbeds, chairs, swinging cupboard doorsin addition to shadows and human figures. beinecke.library.yale.edu/exhibitions/power-pictures/scientific-illustration (Accessed: 30 December 2015) I'm indebted to Rob McElroy for tracking down the source of this illustration (30 December 2015). |
| 72. |  | Unidentified photographer / artist 1753, April Machine for Perspectives Magazine page Google Books In "Machine for Perspectives" by S. Parrat published in "The Gentleman's Magazine", Volume 23, April 1753, p.171 |
| 73. |  | Unidentified photographer / artist 1753, April Machine for Perspectives Magazine page Google Books In "Machine for Perspectives" by S. Parrat published in "The Gentleman's Magazine", Volume 23, April 1753, p.171 |
| 74. |  | Unidentified photographer / artist 1780-1800 (ca) French Boite d'Optique (Optical Box) Stereographica - Antique Photographica Courtesy of Bryan and Page Ginns (#16/40) The instrument comprises a wooden cube on the top, housing a mirror at a 45 degree angle allowing the viewer to look through the lens and see the view displayed on the bottom shelf. The base measures 13.5" x 21.5", the height is 28.25". Please refer to Dick Balzer's book "Peep Shows - A Visual History". On page 11 there is an illustration of a similar item, the print is dated 1769, indicating that this item may be even earlier than 1780. On page 31 in the same book illustrates a similar type of viewer dated 1800. John Hammond's fine book, "The Camera Obscura" indicates that this instrument could also be used as a camera obscura. This is an important and highly desirable piece of pre-photographic history. |
| 75. |  | Unidentified photographer / artist 1780-1800 (ca) French Boite d'Optique (Optical Box) Stereographica - Antique Photographica Courtesy of Bryan and Page Ginns (#16/40) The instrument comprises a wooden cube on the top, housing a mirror at a 45 degree angle allowing the viewer to look through the lens and see the view displayed on the bottom shelf. The base measures 13.5" x 21.5", the height is 28.25". Please refer to Dick Balzer's book "Peep Shows - A Visual History". On page 11 there is an illustration of a similar item, the print is dated 1769, indicating that this item may be even earlier than 1780. On page 31 in the same book illustrates a similar type of viewer dated 1800. John Hammond's fine book, "The Camera Obscura" indicates that this instrument could also be used as a camera obscura. This is an important and highly desirable piece of pre-photographic history. |
| 76. |  | Unidentified photographer / artist 1780-1800 (ca) French Boite d'Optique (Optical Box) Stereographica - Antique Photographica Courtesy of Bryan and Page Ginns (#16/40) The instrument comprises a wooden cube on the top, housing a mirror at a 45 degree angle allowing the viewer to look through the lens and see the view displayed on the bottom shelf. The base measures 13.5" x 21.5", the height is 28.25". Please refer to Dick Balzer's book "Peep Shows - A Visual History". On page 11 there is an illustration of a similar item, the print is dated 1769, indicating that this item may be even earlier than 1780. On page 31 in the same book illustrates a similar type of viewer dated 1800. John Hammond's fine book, "The Camera Obscura" indicates that this instrument could also be used as a camera obscura. This is an important and highly desirable piece of pre-photographic history. |
| 77. |  | Albrecht Dürer (1471-1528) 1535 [Drawing aids] Woodblock print Private collection of Jan Weijers (Servatius) [Editorial note] We would welcome details on the original publication of this illustration and any details of subsequent publication. |
| 78. |  | Albrecht Dürer (1471-1528) 1535 [Drawing aids] Woodblock print Private collection of Jan Weijers (Servatius) [Editorial note] We would welcome details on the original publication of this illustration and any details of subsequent publication. |
| 79. |  | Albrecht Dürer (1471-1528) 1535 [Drawing aids] Woodblock print Private collection of Jan Weijers (Servatius) [Editorial note] We would welcome details on the original publication of this illustration and any details of subsequent publication. |
| 80. |  | Albrecht Dürer (1471-1528) 1535 [Drawing aids] Woodblock print Private collection of Jan Weijers (Servatius) |
| 81. |  | Unidentified photographer / artist 1751-1772 Pantograph [l'Encyclopédie, ou Dictionnaire Raisonné des Sciences, des Arts et des Métiers de Diderot et d'Alembert.] Engraving Private collection of Alan Griffiths |
| 82. |  | Unidentified Daguerreotypist 1852 (or earlier) Notion Company's Works, California Daguerreotype Archives of Modern Conflict OR National Gallery of Canada The title is taken from the 1852 illustration published on p.185 of Geason's Pictorial Drawing-Room Companion. |
| 83. |  | Unidentified artist 1852 Notion Company's Works, California Newspaper illustration Archives of Modern Conflict OR National Gallery of Canada Published in Geason's Pictorial Drawing-Room Companion (1852), p.185. |
| 84. |  | Unidentified daguerreotypist / Unidentified artist 1852 (or earlier) Notion Company's Works, California Daguerreotype / newspaper illustration Archives of Modern Conflict OR National Gallery of Canada Left: Daguerreotype Right: Published in Geason's Pictorial Drawing-Room Companion (1852), p.185. |
| 85. |  | Unidentified photographer / artist 1853 [Optical apparatus - unspecified] Book illustration Google Books Published in "Part II - Scientific Investigations on Photography" in "A Manual of Photography" (Third edition) by Robert Hunt (London: John Joseph Griffin & Co., 1853), a part of the "Encyclopeadia Metropolitana: or, System of Universal Knowledge". P.115 |