The Arcades Project - Operi
The Arcades Project - Operi The Arcades Project - Operi
voyages photographiques. p. 35. Louis Figuier La Photographie au Salon de 1859, [Y6a,6] Among the works of reproduction to which Figuier gives special attention, in his Photographie au Salon, are the reproduction of the Raphael cartoon from Hampton Court-the work ... that dominates the entire photographic exhibition of 1859" (p. 51)-and that of a manuscript of Ptolemy's Geography datiug from the fourteenth century and kept, at that time, in the monastery of Mount Athos. [Y7, 1] There were portraits specifically designed to be viewed through the stereoscope. This fashion was current in England, above all. [Y7,2] Figuier (pp. 77-78) does not omit to mention the possibility that '"microscopic photographs" could be used in time of war to transmit secret messages (in the form ofminiatul'e telegrams). [Y7,3] "One thing . . . made clear by a careful inspection of' the exhibition . is the present perfection ... of the positive proof. Five or six years ago, photography was almost exclusively concerned with the negative, . . . and it was rare indeed that anyone gave thought to the utility of printing from a positive image." Louis Figuier, La Photographic att Salon de 1859 (Paris, 1860), p. 83. [Y7,4] Symptom, it would seem, of a profound displacement: painting must submit to being measured by the standard of photography: "We will be in agreement with the public in admiring . .. the fine artist who ... has appeared this year widl a painting capable of holding its own, in point of delicacy, with daguerrian prints:' This assessment of Meissonnier is from Auguste Galinlard, Examen du Salon de 1849 (Paris
'" ro '" The first photographic interview was conducted hy Nadal' with the ninety-sevenyear-old French (hemist Chevreul, in 1886. Europiiische Do/mmente: Historische Photos allS den lahren 18401900, cd. Wolfgang Schade (Stuttgart, Berlin, Leipzig), p. 8-9." [Y7,9] "The first experiment t.o launch research into scientifically produced motion ... was that of Doctor Pares in 1825. The details arc well known: on one side of a small square of cardhoard, he had drawn a cage, and on the ot.her side, a bird; by turning the piece of cardhoanl briskly on an axis, . .. he cansed the two images to appear in succession, yet the hird seemed to he in the cage, just as though there had heen only one drawing. This phenomenon, which in itself is the hasis of all cinema, depends on the pl'inciple of the persistence of retinal impressions . . . . Once this principle is admitted, it is easy to understand that a movement decomposed, and presented in a rhythm of ten images or more per second, is perceived by the eye as a perfectly continuous movement. The first apparatus that actually wrought the miracle of artificial motion is the Phenakistiscope, constructed by the Belgian physician Plateau as early as 1833. Still known today as an optical toy, this apparatus . . . consisted of a disk on which were mounted dnnvings representing the suceessive phases of an action, whieh eould he observed as the disk was rotated . . . . There . . . is an ohvious relation here to the animated cartoons of today . ... Researchers quickly saw . .. the interest in having . .. a succession of photographs suhstituted I'ot, the drawings. Unfortunately, . .. only images running at the minimum speed of a tenth of a second could work with such H design. For this, we had to await the gelatinohromide plates that permitted the first instantaneous exposures. It was astronomy that initially provided an occasion for testing chronophotography. On December 8, 1374, thanks to the passage of the planet Venus past the sun, the astronomer Janssen was ahle to try out his invention of a photographic revolver, which took a picture every seventy seconds . ... But the process of chronophotography was soon to become much more rapid . ... It was . .. when Professor Marey entered the lists with his photographic rifle . . . that the result of twelve images per second was obtained . ... All these experiments were, up to then, purely scientifie (!) in character. The researchers who conducted them . .. saw in chrollophotography a simple "means for analyzing the movement.s of humans and animals.' ... At this point, in 1891, we meet with . . . Edison, who had constructed two devices. One, the Kinetograph, was for recording; the other, the IGnetoscope, was for pl'ojection . ... Meanwhile, in 1891, Marey's collahorator, Demeny, had built a machine that allowed for the recording of pictures and sound at the same time. His Phonoscope . .. was the !-irst talkie." Uoland Villiers, Le Cine,na et ses merveilles (Pal'is
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'"<br />
ro<br />
'"<br />
<strong>The</strong> first photographic interview was conducted hy Nadal' with the ninety-sevenyear-old<br />
French (hemist Chevreul, in 1886. Europiiische Do/mmente: Historische<br />
Photos allS den lahren 18401900, cd. Wolfgang Schade (Stuttgart, Berlin,<br />
Leipzig), p. 8-9." [Y7,9]<br />
"<strong>The</strong> first experiment t.o launch research into scientifically produced motion ...<br />
was that of Doctor Pares in 1825. <strong>The</strong> details arc well known: on one side of a small<br />
square of cardhoard, he had drawn a cage, and on the ot.her side, a bird; by<br />
turning the piece of cardhoanl briskly on an axis, . .. he cansed the two images to<br />
appear in succession, yet the hird seemed to he in the cage, just as though there<br />
had heen only one drawing. This phenomenon, which in itself is the hasis of all<br />
cinema, depends on the pl'inciple of the persistence of retinal impressions . . . .<br />
Once this principle is admitted, it is easy to understand that a movement decomposed,<br />
and presented in a rhythm of ten images or more per second, is perceived<br />
by the eye as a perfectly continuous movement. <strong>The</strong> first apparatus that actually<br />
wrought the miracle of artificial motion is the Phenakistiscope, constructed by the<br />
Belgian physician Plateau as early as 1833. Still known today as an optical toy,<br />
this apparatus . . . consisted of a disk on which were mounted dnnvings representing<br />
the suceessive phases of an action, whieh eould he observed as the disk was<br />
rotated . . . . <strong>The</strong>re . . . is an ohvious relation here to the animated cartoons of<br />
today . ... Researchers quickly saw . .. the interest in having . .. a succession of<br />
photographs suhstituted I'ot, the drawings. Unfortunately, . .. only images running<br />
at the minimum speed of a tenth of a second could work with such H design. For<br />
this, we had to await the gelatinohromide plates that permitted the first instantaneous<br />
exposures. It was astronomy that initially provided an occasion for testing<br />
chronophotography. On December 8, 1374, thanks to the passage of the planet<br />
Venus past the sun, the astronomer Janssen was ahle to try out his<br />
invention of a photographic revolver, which took a picture every seventy seconds<br />
. ... But the process of chronophotography was soon to become much more<br />
rapid . ... It was . .. when Professor Marey entered the lists with his photographic<br />
rifle . . . that the result of twelve images per second was obtained . ... All these<br />
experiments were, up to then, purely scientifie (!) in character. <strong>The</strong> researchers<br />
who conducted them . .. saw in chrollophotography a simple "means for analyzing<br />
the movement.s of humans and animals.' ... At this point, in 1891, we meet with<br />
. . . Edison, who had constructed two devices. One, the Kinetograph, was for<br />
recording; the other, the IGnetoscope, was for pl'ojection . ... Meanwhile, in 1891,<br />
Marey's collahorator, Demeny, had built a machine that allowed for the<br />
recording of pictures and sound at the same time. His Phonoscope . .. was the !-irst<br />
talkie." Uoland Villiers, Le Cine,na et ses merveilles (Pal'is