Principles of Photographic Reproduction

Principles of Photographic Reproduction

Principles of Photographic Reproduction

Principles of Photographic Reproduction

Excerpt

In writing a textbook on photography so near the hundredth anniversary of Daguerre's epoch-making discoveries, it is difficult to avoid a brief historical retrospect. If such a mental survey is undertaken, the relative significance of the advances in photography during the last fifteen years may come as a distinct surprise. Within this brief period photography has taken its place among our greatest industries, and it is to this fact, as well as to the intense activity which has characterized all technical fields, that we owe its rapid development. Foremost among the recent advances has been the growth in importance of color photography. Fifteen years ago color played an almost insignificant role in photography as a whole, whereas there are those today who predict that it will eventually dominate the entire field. The very nature of color, the problems involved in color reproduction, and the way in which these problems dovetail with the problems of monochrome reproduction, are little understood by the average photographer. One of the principal objectives of the present text is to clarify these ideas.

Next in importance to the increasing role which is being played by color has been the discovery of the possibilities inherent in small cameras, and the development of optical equipment and sensitive emulsions to implement this discovery. Taking into account the motion-picture industry and the growing use of microfile records, an amazingly large proportion of all photographic records are made today on film at least as small as 25 x 36 mm. It is for this reason that much space has been devoted in the first part of the present text to a study of the resources and limitations of such tiny equipment.

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