Laguna Art Festivals

How can you improve on an artist colony near the beach in Southern California? Throw in a few art festivals during the summer and you’ve got my perfect birthday outing. I used to hate having a July birthday when I was a kid because I never got to celebrate with my classmates in school but the Laguna Art Festivals give me a reason to look forward to birthdays now that I’m at that age where I’d rather ignore them. Since birthdays mean I get to shamelessly torture my husband for 24 hours, I get him up early so we’ll be assured a parking spot. We exit the 5 freeway onto the 133/Laguna Canyon Road (be careful not to veer onto the Toll Road!) that winds through endangered pastoral land developers salivate over, but that’s another article altogether… A few miles down, we hang a right into the Act V dirt and gravel parking lot. Depending on the year, it’s been free and you pay for the trolley that takes you into town or, like this year (2005), we paid $5 to park and the trolley was free. I sure don’t want to think about the politics that go into those pricing decisions each year… Anyway, the trolleys run every 10 minutes or so to the festival grounds and also into downtown Laguna, which makes getting around this typically parking-challenged beach town pleasantly convenient. There are three major art festivals in the summer: The Sawdust Festival, Art-A-Fair and Festival of Arts-all along Laguna Canyon Road within walking distance of each other. The first two celebrate their 39th anniversaries this year and the Grande Dame, Festival of Arts, observes it’s 73rd summer. I advise logging onto the websites of the Festivals to see what kinds of discounts are being offered for admissions. This year, we got a two for one deal with my Bowers Museum membership card for the Sawdust and a half off coupon for Art-A-Fair. If you live close by and plan to visit more than once, most have seasonal passes. And every discount helps--and leaves you more to spend on art! We usually start at The Sawdust, not out of any particular design, just habit. After a visit to their well-maintained ladies room, I’m ready to stroll and gaze and sigh. All of these shows are well juried so there’s no junk here. I want one of everything! Of the three festivals, I think The Sawdust aims to give a total experience to their patrons. Not only do they have good art, you’ll find glass blowers, constant entertainment on a lushly shaded deck, lots of different food choices and art classes for the kids. Their atmosphere is casual (there really is sawdust on the ground), all artists are in individual booths and the art ranges from $2 cards to artwork in the hundreds, with lots of potters, jewelers and even my favorite toe ring booth (this year’s theme-The Toe-night Show with Johnny Carson). And the layout allows for gentle breezes even on the warmest days. We get our hands stamped and move on. Next, on the same side of the street, sits Art-A-Fair. More wonderful art of every description, a tad more serious than The Sawdust, more of a gallery setting as opposed to booths, though most of the artists sell greeting card versions of their work. Some of my favorite painters exhibit here and it’s like visiting old friends. It seems to me that more photography and sculpture find their way to Art-A-Fair and the layout is wide open and inviting. There’s a lovely sit-down restaurant at the far end of the gallery and children’s classes are held in the center of the complex. My husband’s one complaint the whole day (yes, he’s a saint…) was that the tarps stretched above the gallery kept out the sun but they also kept out the breezes. We didn’t have as much time in Laguna this year as usual because we had other Birthday Commitments so we went back to The Sawdust to pick up birthday loot. Something I learned this year is that, if possible, buy your art from the artist if they’re around. When the artists aren’t at their booths, you can pay for your purchases at the Sales Counter run by The Sawdust itself. I had picked up a print, some cards and a gorgeous, colorfully swirly, sparkly paperweight at booths without artists on our first pass and left them with our friend Kathy at the toe ring booth. When we came back, the artists happened to be present at their spaces so I paid them directly. One girl thanked me for paying her because, she whispered, The Sawdust takes a commission when they take payments. From a business point of view that makes sense… But as a creative person myself, I know I like to keep as much of my profits as I can. Since we didn’t get to the Festival of Arts this year, let me tell you about our experience when we took the community tour from our hometown to see the Pageant of the Masters, which everyone should see at least once in their lifetime. Most cities in Orange County offer the tour bus excursion to experience the art show and Pageant, which again makes it very convenient if you don’t have to deal with the raised blood pressure of finding a parking space in Laguna… in the summer… The Festival of Arts show itself rates to me as the most upscale of the Big Three. The pieces are expensive, sometimes bigger than life size and of utmost quality. For John Lennon’s jewelry rattlin’ patrons it’s a buying opportunity, but for the likes of me, it’s a museum where I walk with my hands behind my back and admire the precious items from a safe, non-breakable distance. The karat gold, handmade jewelry is found here and the elaborately framed pieces that belong in teak lined libraries. If I sound like a reverse snob, well, I’m just jealous. A walk through the Festival of Arts makes me long for fine things that I can’t afford. But it’s a rich experience humbled by a section of the work of talented school children. Throughout the summer, many classes and theme days attract families and art lovers. On our tour, we strolled around the Festival, ate dinner at a Ruby’s dinette outside the theatre, then found our seats for the Pageant of the Masters. Basically, the Pageant is artwork brought to life. All year, the hundreds of participants practice their crafts--costuming, lighting, standing very, very, very still… Paintings and sculptures recreated by actors fill the stage and spaces around the amphitheatre, narrated with stories of the art and artists. And you sit, fidgeting, wondering how they can stand with their arms outstretched or squatting like that for sooooo long. Several times during the evening, they put together an artwork piece by piece, bringing in the frame, setting the props, spotting the actors, so you can see how the effect is created. It’s not until the lighting clicks in, though, that the oohh’s and aahh’s echo in the bowl of the theatre. My husband, the actor, explains it this way: “In theatre, you light to create dimension. Here, you’re lighting to eliminate dimension.” You leave the theatre with an appreciation for all the time and effort this purely Californian art form requires. Just a little trivia and some resources before I must go and frame my art treasures from this year’s birthday spree. The Sawdust Festival accepts artists only from Laguna Beach, Art-A-Fair is a Co-op and run by the artists themselves and Festival of Arts admits artists from a limited number of cities in the area. Here are some website must-clicks: www.sawdustartfestival.org www.foapom.com www.art-a-fair.com www.lagunabeachinfo.org Wear good walking shoes, apply your sunscreen and bring your checkbook!

Shooting for Stock Photography

A great way to earn money and learn a lot in the internet is participating in stock photography. Stock photography has been around for a while. And there are a lot of great stock sites that sell photographs for a reasonable price.

Just how and what should you shoot to be able to participate in stock photography?

Photographers say you should start with the concept. But the very first thing you should do is to know your equipment. I literally spent ten times more time trying to know how my camera works than thinking of something to shoot.

Stock photography is a very demanding industry. It's as close as you'll get to professional photography. It requires you to be able to produce images of the highest quality. That is because this industry is very competitive.

Try shooting the same subject with different settings. You should know how your camera reacts with different kinds of light. You should also know how it responds to different levels of illumination. Note the differences you see and keep them in mind.

Next you need a concept. Your images should present an idea, a thought or an expression. Consider a photograph of a man typing on a computer. What is he doing? Why is he typing? Is he working? Is he Blogging? Or just playing?

Designers buy stock images because of the concept they present - not because they look good. Stock photos are used in web sites, brochures, magazines, publications, advertisements, and almost anything that has a print.

So you need to have an image that has a concept that satisfies the needs of the would-be buyers of your pictures.

Then, you need a lot of light. Stock photos require that images have the right level of illumination and contrast. They need to be clear. If you can't afford a big set-up, you can always use desk lamps or even the sun.

You'll also need a computer and two kinds of programs: noise reduction tool and a photo editing application. Most stock photographs go through a noise reduction process. They also get a little tweaking in color, contrast and brightness.

Stock photographs need to be as close to perfect as possible. It's like what they say in the computer graphics industry: "it does not matter how you do it as long as you get the job done." Don't think that editing a photo in your pc is cheating. That only goes for journalism.

The next is pretty simple. You need a stock agency to upload your images to. Or you can showcase your work in your own site. Uploading in stock agencies is better. That is because you can find out where and how to improve. Use their powerful community to find out your weakness and strengths as a photographer.

Then when you have all this, what you need to do next is to be consistent and improve and improve and improve. You need to keep up with the ever demanding industries. If you don't, you'll get left behind.

Quick Art Pieces You Can Do - Even If You're Not an Artist

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Art is in the eye of the beholder, so to speak - and art takes many forms - from beautiful hand-painted pieces of intense imagination, or chunky-looking piles of junk that make you scratch your head and wonder. If you’re in need of some nice artwork on your walls, you’re no artist, and you definitely don’t have the funds to go shopping for expense artwork, make some yourself. You don’t have to be an artist to do so. Just use a few things around your house and a couple of things from a craft store. And, your art pieces will be so wonderful yet no one will know how little they cost.

Blank canvases attached to wooden frames make a great base for your art. Use foam or regular brushes and make horizontal swipes, allowing ridges to build from brush marks, and minor drips to remain. These wide stripes, in various colors, can represent everything from a sea scape to a field of flowers.

An example is a beach scene made wide, white stripes across the top of the canvas then wide, blue stripes across the bottom. Switch to a smaller brush and make some white stripes, without much pressure on the brush, across the blue section. You can add a yellow circle in one corner, if you wish, but don’t make it too distinctive. Foam brushes allow you to circle the paint without adding much detail.

An example of a field of flowers requires a blue strip across the top third of the canvas, with strips of white included, if desired, then a very wide strip of green across the bottom. Now use a small brush to dot your favorite color of flowers across the green stripe. The flowers don’t have to have to be all the same color, and can overlap each other, too. This gives the effect of one standing in front of the other.

Use these techniques to make many different scenes, such as beach, cornfield, field of flowers, pond with ducks, row of houses, group of kids, and other images. After you get the color on the canvas, add your own real touches, such as a small group of silk daisies, along with a few sprigs of greenery, glued horizontally across the bottom of the canvas. For a beach scene you can glue on shells or even use glue and sand to enhance the design.

Mirrored wall designs are often considered art pieces particularly if they’re arranged in a unique and modern way. Mirrors without frames, but with beveled sides, make the best artwork pieces. Purchase one large mirror, then several smaller ones to start the project. You’ll also need small wooden dowel pieces, of various lengths, from an inch to three inches.

Paint the wooden pegs silver or gold. Hang the large mirror on the wall. Glue two to four of the pegs onto the back of each smaller mirror with contact cement, then attach the smaller mirrors onto the large one. The arrangement is your own, but here are some suggestions: Place one of the mirrors in the top corner, with part of the smaller mirror rising above the large mirror, and the other part of the mirror attached. Add a second mirror, in the same manner, placing it below and to the right of the first small mirror. Position the second mirror to where it extends out slightly past the large mirror. Use different sized pegs for each small mirror to get an even different effect. There are zillions of these mirror designs you can do, combining large, medium, and smaller mirrors attached to each other, some separated, or scattered across the entire wall.

Copper or foil, found on a roll at craft stores, can be used along with stencils to create some unique and beautiful shapes. Choose nice frames and mats then center the copper or foil design in the frame. Make several shapes and arrange them inside of the frame in a design that suits your style. Attach one of the copper or foil shapes to the outside of the frame to add to the beauty of the design. These wall hangings look expensive but aren’t.

Use inexpensive, small slabs of wood and rub-on transfers to make various art pieces for your home. Or, cut out slick magazine pictures of flowers, an old barn, or another image that catches your eye. For a rustic look, slightly burn the edges of the picture before mounting it on the wooden piece. Use the pieces in a manner as the mirrors, or hang them separately across the top of a mantel. The wooden slabs come in any number of sizes, shapes and colors.

There are many ways of making quick art pieces even if you’re not an artist. Combine things that interest you, and fit into your color scheme, and use your own style to create any number of beautiful pieces for your home. You’ll have fun with these projects because if it pleases you, it’s art!

How to Make Baby Food at Home

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When our son was venturing into the world of solid food beyond infant cereal, my husband and I decided to make some baby food ourselves. It's an easy thing to do and, for some (like parents of multiples), can also be cost-effective.
There are a few guidelines and things to keep in mind however, when preparing baby food at home. Some things to consider:

· Commercially grown fruits and vegetables, both domestic and imported, tend to contain higher levels of pesticides than organically grown produce

· Trimming the fat from meat will help reduce pesticides, as they tend to concentrate in fatty tissues

· Organic foods have been found to contain lower levels of certain pesticides

· Processed foods (canned fruit for example) generally have lower pesticide residues than fresh foods 

· All fresh produce to be used in preparing baby food should be peeled, washed with very diluted dishwashing detergent, and cooked well

· When making your own baby food, do not salt, sweeten or season the food at all.

Cooked, fresh vegetables and stewed fruits are the easiest foods to prepare for baby, and except for raw bananas, (which can be mashed with a fork) all fruits should be cooked until soft. Steaming is the best cooking method, as fewest nutrients and vitamins are lost this way. Refrigerate any food that is not used immediately, and check it well for signs of spoilage before giving it to baby. Unlike commercial foods, freshly made baby food contains no bacteria, so it will spoil more quickly. Use or freeze within one to two days of preparation to be safe.

Water or formula can be added to mashed foods to create the desired consistency, and food processors, blenders and strainers can also be helpful. Individual portions of the baby food can then be frozen in ice cube trays. Cover the trays with plastic before freezing. After freezing, place the cubes in a plastic bag, seal it and return it to the freezer. Be sure to label and date all foods, and use them within 1 month from preparation date. Do not thaw individual portions at room temperature; rather, thaw them in the refrigerator, double boiler or microwave (on the defrost setting).

According to the American Academy of Pediatrics (AAP), the following foods should not be prepared at home for baby food: beets, turnips, carrots, collard greens and spinach. In certain parts of the country, these vegetables contain large amounts of nitrates, a chemical that can cause an unusual type of anemia (low blood count) in young infants. Baby food companies are aware of this problem and therefore screen the produce they buy for nitrates. They also avoid buying these vegetables in parts of the country where nitrates have been detected. Since you cannot test for the chemical yourself at home, it's safer to use commercially prepared forms of these foods, especially while your child is an infant. If you should choose to prepare these foods at home anyway, serve them fresh and don't store any leftovers. Storage of these foods can actually increase the amount of nitrates in them.

In addition, there are some foods that should be avoided until at least the child's first birthday; some suggest waiting until the child is old enough to speak, and can then inform you of a "funny feeling" in their throat (due to swelling from an allergic reaction). Foods that may cause allergic reactions include egg whites, seafood, nuts, citrus fruits and tomatoes. Honey should also be avoided, as it may contain botulism spores that, though not harmful to adults, can cause infant botulism, a potentially severe illness. Honey is acceptable however, in processed foods such as honey graham crackers, and Honey Nut Cheerios.

Blair Hill Photography in Salt Lake City, Utah

Photo Credit: celtics baby clothes

Blair Hill Photography services the Wasatch Valley areas locating between Provo to Logan Utah.

Blair Hill Photography began in the year 2000 when Blair first decided she wanted to use her camera for something other than fun. Though Blair had been taking photographs for a long time, and was very familiar with the SLR camera she owned, she was always just snapping photographs of family & friend adventures, music events, or other various events around the town. She had been published several times in her local newspaper and other various sources, but still never quite thought of the idea to go 'professional.'

When Blair decided that it was time to put her passion to work, she started to attend classes right away on her new favorite subject, so that she could learn as much as she could aside from what she already knew. She attended classes at her local community college, a local arts program, and MICA - Maryland Institute College of Art. She began developing her progressing in the field of musical/industrial photography, and developed a clientel very quickly.

To the downside of all the progress Blair had made with her work, in 2003 she moved 2000 miles across the county, which means her clients were not locals anymore. Discouraged, and looking for a refreshing moment in life, Blair took a break from her passion of photography until 2005. In 2005, Blair realized how much she missed doing what she loved most, taking pictures. She realized how much her focus of photography had changed though, and began to pursue portrait photography.

Since 2005, Blair has been an active portrait photographer in the greater Wasatch Valley in Utah. She has been complemented again and again on her wonderful work, with a repeat clientel that simply keeps growing and growing.

With astonishing photography, incomparable to any of the other local photographers here in Utah, yet still with the most amazingly affordable prices, Blair Hill Photography is completely unique, and perfect. Every day Blair is coming up with new ideas on how to make her work different, better. She is constantly attending trainings and schooling to further her educational background in photography, and to learn anything new she could possibly learn.

Her current creditinals include the following:

Anne Arundel Community College - 2001, Photography Certificate

Maryland Institute College of Art - 2002-2003 Photography Classes

Salt Lake Community College - 2006-current A.A. Photography Classes

In addition to her passion of photography, Blair has a B.S. In sociology from the University of Utah, and is currently working towards her masters in Gerontology. She hopes to one day mix her love for people and culture with her love and passion for photography.

To see Blairs work, please visit Blair Hill Photography by Clicking Here.

The History of Photography

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Capturing and commemorating precious moments in time has been a need for humans since ancient times. All over the world Prehistoric men have meticulously painted countless cave walls depicting either hunting and sporting events or other significant moments of their time. Later civilizations across the globe operated in similar fashions constructing either elaborate paintings or laborious sculptures. Each painting or sculpture afterward would strive to appear more and more detailed as if attempting to attain that life-like quality of each moment being projected. Battlefield paintings are littered throughout countless history books and journals in multiple languages with the sole purpose of endeavoring to convey a message in which words alone could not express. It is impossible to imagine how much information has been lost in translation throughout time without the truly marvelous invention of the camera and photography. If important events such as the signing of the Declaration of Independence or the pilgrim's first Thanksgiving feast with Native Americans had been captured on film would they hold more important places in the minds and hearts than they do now? People may never know, but the importance and raw power of photography cannot be denied. Whether viewing a portrait or just a moment caught in time, never has the imagination been captured nor have emotions been pulled to the surface as by the captivating image of a photo.

It is important and necessary to understand and explore the origins, the historical figures, and advancements involved in photography's history before people can appreciate just how far this field moved and exceeded all expectations.

"Photography" is derived from the Greek words photos ("light") and graphein ("to draw"). The word was first used by the scientist Sir John F.W. Herschel in 1839. It is a method of recording images by the action of light or related radiation, on a sensitive material (Bellis, n.d.). Photography has played a crucial role in various societies the world over not only as an intricate art form but also as a significant part in our way of life. From its early beginnings to its key figures of inventors and innovators who ushered in the critical and the amazing technical advancements which have made photography the phenomenon it is today.

William M. Ivins was Curator of Prints at the metropolitan Museum of Art in New York from 1916 until 1946 and published a documentary on photography in 1953 which distinguished between the relationship of traditional techniques of hand-drawn printmaking (the woodcut, metal and wood engravings and lithograph) and photography. Ivins noted that historically, printmaking was not usually practiced as an art form as they are practiced today, but as a means of distributing visual information. Ivins argued that once you begin to examine prints (or pictures) in functional terms you discover that without them very few modern sciences would exist; technologies, archaeologies, and ethnologies. Each of these is dependent upon information conveyed by exactly repeatable pictorial statements (Crawford, 1948).

The idea of photography existed long before the camera was invented. The human urge to produce pictures that amplified the faculty of memory by capturing time is at the theoretical base of photography. Artist and inventors have sought after ways to expedite the picture making process and ultimately concentrated on how to repeatedly capture an image directly formed by light since ancient times. Around the fifth century the Chinese philosopher Mo Ti discovered that light reflecting from an illuminated object and passing through a pinhole into a darkened area would form an exact, but inverted, image of that object, offering a prototype of the pinhole camera. By the 10th century the Arabian mathematician Alhazen demonstrated how the pinhole could be an instrument and that images formed through the aperture became sharper when the opening was made smaller.

Leonardo da Vinci noted in 1490 the earliest surviving description of the camera obscura (dark chamber), which was a device designed to reproduce linear perspective. This was a prototype of the photographic camera and essentially a large dark room in which an artist physically entered. Light would emit through a small hole in one of its four walls and produce a distinct but inverted image onto the opposite wall which could be traced. The camera obscura was popular with artist because it could automatically modify a scene by compressing form and emphasizing tonal mass according to pictorial standards (Hirsch, 2000). In 1589 it was discussed that the use of mirrors could theoretically reverse the image that was reflected backwards into the camera obscura which is now the basis for modern-day single lens-reflex camera. By the 17th century camera obscuras were in frequent use by artist and also made portable in the form of sedan chairs (Bellis, n.d.).

Early in the 18th century the rising commercial class longed to procure the status of being commemorated in much the same pictorial style as of the rich. Multiple inventors had commercial incentives to harness the camera to portrait making, as less training would decrease the costs of making a picture. Machine-based systems for multiple copy production were on the threshold of replacing the outdated handmade methods. One such machine was the physionotrace invented by Gilles Louis Chretien in 1786. This device combined two inexpensive methods of portraiture, the cutout silhouette and the engraving. The operator would trace a profile on a glass using a stylus connected to an engraving tool which duplicated the gestures of the stylus onto a copper plate at a smaller scale. Although it was not a camera, the physionotrace reduced portrait making to a systematic mechanical operation and inevitably expanded the portrait market to the middle class.

In regards to the actual process of photography it was in 1727 Professor J. Schulze surmised that by mixing chalk, nitric acid and silver into a flask images would begin to appear in the presence of sunlight. He noticed a darkening on the sides of the flask which were exposed to direct sunlight and purely by accident was the initial creation of the first photo-sensitive compound (Bellis, n.d.).The first to experiment with in the production of images was Thomas Wedgwood from 1800 to 1802 using white leather impregnated with silver nitrate. It was known at that time that most chemical compounds of silver darkened on exposure to light. Wedgwood was able to produce reversed impressions of objects but was unable to make his pictures permanent by removing the unused silver salts after exposure. Joseph Nicéphore Niépce was the next experimenter and in 1816, even though he was able to produce reversed prints on this material and faint pictures on it in a camera obscura, he had little more success due to the paper eventually darkening. In 1822 he directed his attention to the problem of sensitizing metal plates. Niépce discovered that by coating a pewter plate with a varnish he could produce copies of engravings by placing them in contact with strong light and his coated plates and enabled him to etch his plates and them for printing. This process was later improved by his partner Louis-Jacques-Mandé Daguerre who, after Niépce's death in 1833, established a workable process by exposure to the vapor of heated mercury.

"I have found a way of fixing the images of the camera! I have seized the fleeting light and imprisoned it! I have forced the sun to paint pictures for me!" These were the historical words of L. J. M. Daguerre spoken to Charles Chevalier at his Paris optical shop and reflect the driving desire to make permanent images through the action of light. (Hirsch, 2000, 10). Louis-Jacques-Mandé Daguerre, inventor of the first practical process of photography, was born near Paris, France on November 18, 1789. A professional scene painter for the opera, Daguerre began experimenting with the effects of light upon translucent paintings in the 1820s. In 1829, he formed a joint venture with Joseph Nicéphore Niépce to improve the process Niépce had developed to take the first permanent photograph in 1826-1827.

After several years of experimentation, Daguerre developed a more convenient and effective method of photography, naming it after himself - the daguerreotype. In 1839, he and Niépce's son sold the rights for the daguerreotype to the French government and published a booklet describing the process. The invention was announced to the public on August 19, 1839 at a meeting of the French Academy of Sciences in Paris and his process was used widely in Europe and in the United States. Daguerre's daguerreotype process required long exposure time and made portraits virtually impossible until in 1840 John Goddard cut exposure time in half by treating the plates with bromine and iodine. With this innovation and the development of new lens designs, made possible the idea commercial portraiture. The daguerreotype process went out of use to the general public in the 1850s due to tight patent restrictions which affected application and eventually became obsolete by 1860 (Coe, 1978).

During this time an English scientist, William Henry Fox Talbot, independently devised a camera based imagining process in 1834 using the light sensitivity of silver salts. He invented the salted paper print which was a printing-out process that allowed him to make images without the use of a camera of botanical specimens engravings, pieces of lace, and even solar photomicrographs. By first coating sheets of ordinary writing paper with sodium chloride, letting them dry, and then recoating them with silver nitrate he formed silver chloride which was more highly sensitive to sunlight and reduced exposure time tremendously producing spontaneous images without chemical development. In 1841 Talbot accidentally discovered a process for negative development that he patent under the name calotype. In this process, an exposed sheet of iodized paper was transferred to a darkroom and brushed with gallic acid until a potent negative was developed. It was then that the negative was contact-printed onto unexposed, salted paper in sunlight to form a positive. This process formed the foundation for silver-based photographic systems still in use today.

The negative-positive principle of the calotype process designed by Talbot and the popular daguerreotype were both truly remarkable for their times but not without limitations. A new process evolved from both but without their limitations and would eventually take their place and was referred to as wet-plate photography. It was a photographer's axiom that paper negatives advantages were outweighed by their disadvantages with their resolution limited of fine detail. It was realized that if glass was used the problem would not exist but it simply was not absorbent to carry the coating of light sensitive salts. In 1839 Sir John Herschel was able to produce an image on glass by precipitating silver chloride onto a glass plate and was later perfected by Abel Niépce de Saint-Victor in 1847 by using egg white albumen coated on the glass providing a suitable medium for sensitive salts. A new material for development called collodion was discovered by Frederick Scott Archer in 1851 formed through dissolving a form of gun-cotton in ether. A glass plate was covered with collodion and plunged into silver nitrate and then the wet-plate was loaded into and exposed in a camera. Immediately after exposure the plate was developed, fixed and washed. The collodion negative could record fine detail and subtle tones and also had the advantage of being more highly sensitive than either the daguerreotype and calotype processes. In contrast the gelatin dry plate was first developed by Dr. Richard Leach Maddox who used gelatin instead of ether vapor of the wet collodion plate due to his poor health. It was later perfected by Charles Bennett in 1878 by reducing exposure times drastically, retaining their properties, being easily manufactured and very sensitive.

Pertaining to film and photo depth, one of the most popular photographic novelties which went on display at the Great Exhibition in London in 1851 was the stereoscopic photograph. The mildly dissimilar vantage points provided by the eyes are combined in the brain to give an image in depth. If two photographs of a scene are taken from points of view separated by two about two inches, and are then viewed so that each eye receives only the image appropriated to it, the result is an apparently three-dimensional picture. This principle was first introduced by Sir Charles Wheatstone in 1832 but was not until Sir David Brewster in 1849 introduced an improved device using lenses that the stereoscope became really practical (Coe, 1977).

Another important milestone in photography is that of the photography of action. The early photographic processes were all relatively insensitive. It was impossible at that time to record moving objects without producing a blur on the plate. Specially designed lenses were utilized by Thomas Skaife in his cameras to pass 200 times more light than conventional landscape lenses. Skaife's 'Pistolgraph' camera was introduced in 1856 and after adding the required lens and a shutter powered by a rubber band allowed permitted exposures sufficiently brief to stop the action of slowly moving subjects. Sir John Herschel's name is synonymous with the term 'snapshot' which describes an instantaneous photograph. But it was Eadweard Muybridge who pioneered the process of motion picture photography using gelatin dry plates in the 1880s and eventually led the likes of Professor Etienne Marey and Ottomar Anschutz to document true animals in action. These individuals were often referred to as chronophotographers (Rosenblum, 1997).

Around the mid 1890s public interest began to peak over the publication of the results of chronophotography. This brought about the demand for the development of hand held cameras to replace the traditional and larger stand cameras. Even though small hand held 'detective' cameras were in circulation they were quite awkward and still required multiple cumbersome pieces of hardware that were an inconvenience to everyone but the most enthusiastic of photographers. Even though the dry plate relieved photographers from making their own plates they still had to process and print them requiring knowledge and necessary skills for the dark room. This was answered by the American bank clerk George Eastman who invented the Kodak camera. Eastman felt that photography was too complicated and stated that; "It seems that one ought to be able to carry less than a pack horse load."(Coe, 1978, 13). Though there were some 'detective' cameras that were reasonably small most were bulky. He developed a rolling mechanism and combined it with lightweight sensitive material and decided to construct a camera that would be small and simple to use. In 1888 the first Kodak camera with a celluloid roll-film was developed.

Around the 1850s, photography was viewed by some as a new medium of communication and became hard to discern between art and industry. Eventually it became apparent that photography was considered a business with a widening division of purpose between amateurs and professionals. The latter were motivated by market forces to develop profitable products while the amateurs pursued their personal inclinations and claimed the moral high ground of art, beauty, truth, relegating the professionals to the corner of crass commercialism. Many of England's most notable photographers abandoned their amateur status and turned professional. During the 19th century realism became a force in the arts. Realism sought to counter the idealized subject matter of Romantic and Neoclassical painting with direct and frank views of everyday life. As the public became acquainted with photography's veracity and ability to give significance to everyday experiences, their expectations about how reality should be represented and what subjects were worthy of depiction changed. Ironically photographs became artistic when they looked less photographic by utilizing retouching methods to appear more like a painting. Paintings, on the other hand, were thought to be more artistic if they portrayed more photographic detail. This contradiction resulted in neither medium being valued for its own inherent qualities. (Hirsch, 2000).

The evolution of the camera has advanced beyond all expectations from the digital mega pixel masterpieces we have today to their most earliest ancestors, the camera obscura. Dating back to ancient times, the camera obscura consisted of a pinhole in a contained box. The pinhole would allow light to pass through and project an image on the adjacent wall thus allowing artist to trace the captured image as it appeared at that moment. Niépce, Wedgewood, Talbot are credited with the first portable camera obscuras but it was Daguerre who designed the first cameras to be commercially produced on any practical scale.

The folding box camera, T. Ottewill's folding camera, and portable "dark tent" cameras all gave way to user friendly handhelds such as the momentograph and detective cameras in 1886, the unusual photosphere with its bell-shaped body and hemispherical shutter, the American Tom Thumb camera in 1889, and the Key camera. These box-form cameras eventually became less popular after 1890 and were replaced with collapsing and folding strut cameras.

Kodak sold these forms of cameras in which glass plates or roll films could be used. For a brief time a type of camera was introduced to appear as anything but a camera. The first 'concealment' camera to receive any publicity was Thompson's Revolver camera in 1862 which resembled a pistol. Another was Marion's Parcel Detective camera of 1885 which was supplied in brown paper and tied with a string to appear as a normal parcel and Ross's Photo scope in 1892 mimicked binoculars. Kodak cameras are credited in 1885 with introducing the ingenuity and the marketing of film development roll-film designs. In 1908 still photography was made practical by Audobard and Baradat with 35-mm film due to its small size and handling convenience. The development of Kodachrome, the first multi-layered color film took place in 1936 as did the development of Exakta which pioneered 35 mm single-lens reflex (SLR) cameras. In 1963 Polaroid developed the first instant color film while Instamatic was released by Kodak. Also in this year Nikon released the first purpose-built underwater camera thus changing the way the world viewed oceanography. As the world approached the millennia major advances in the field of computer technology swept the many nations and major advances in film development also transpired in the field of photography. Computer programs such as Adobe Photoshop was released to the public in 1990 and changed the way photography was perceived by allowing users to edit their own pictures. In 1992 Kodak introduced PhotoCD which permitted users to store their pictures on compact disc. In light of this new technology and with the arrival of digital cameras Kodak ceased all production of film cameras. And most notably, the cutting edge technology most familiar to the public is that of camera phones. These multifunctional cameras hit the market from Japan in 2000 and are changing the field of photography and availability unlike anything seen before (Greenspun, 2007).

Through the course of time and painstaking trial and error, the expansive field of photography had grown immeasurably from the exclusive dreams of a handful of visionaries determined to rival the skilled painters and bring to the public what only was available to the wealthy at that time. Cameras and photography have transformed from an artful pastime into an essential way of life touching it in all aspects the public could have never envisioned nor can foresee what will be next in its future.

Through presenting the history of photography in this research it is paramount to stress the importance and necessary to understand the origins of photography and appreciate the many designs that the camera has undertaken since its birth. The field of photography would have undoubtedly fell short in practical use, technological discoveries, and the art community would most likely have suffered a tremendous amount without the inventors and innovations of its past. The advancements involved in photography's history are all but unparalleled in its ingenious technology and reigns as a true marvel for all inventions. Far though as foreign lands may be and alien that other cultures may seem, with a better appreciation of photography our world could be closer captured instantly in snapshot.

References

Bellis, M. Historyof Photography and the Camera. Retrieved June 24, 2008, from www.about.com

Web site: http://inventors.about.com/library/inventors/blphotography.htm

Coe, B. (1977). TheBirth of Photography: The Story of the Formative Years 1800-1900. New York: Taplinger Publishing Company.

Coe, B. (1978). Cameras: From Daguerreotypes to Instant Pictures. New York: Crown Publishers.

Crawford, W. (1948). The Keepers of Light: A History and Working Guide to Early Photographic Processes. Dobbs Ferry, NY: Morgan and Morgan

Greenspun, P. (2007, January). History of Photography Timeline. Retrieved June 24, 2008, from

http://photo.net Web site: http://photo.net/history/timeline

Hirsch, R. (2000). Seizing the Light: A History of Photography. Boston, MA: McGraw-Hill.

Rosenblum, N. (1997). A World History of Photography. New York, NY: Abbeville Press.

Stephanie Harrison Photography - Where You'll Find the Best Photographer in Town

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Whether you're looking for that perfect photographer for senior pictures, wedding photos, new baby celebration or special family moments, Stephanie Harrison Photography is the place to go! You'll not only find a professional studio that is conveniently located in the heart of the Historic Depot District in Richmond, Indiana, but you'll meet one of the friendliest, easy going photographers around; not to mention at a great value!

The photographer at Stephanie Harrison Photographer, none other than Stephanie Harrison herself, offers an artistic style that can't be found elsewhere. The results of her work give an eclectic, non-staged, and real feeling. She captures expressions and movements perfectly in her photographs. She's got the perfect personality for children and adults alike. She can accommodate any situation from serious, quiet moments to doing whatever is needed to get an unsure baby to smile, make nervous folks feel comfortable or even catch that wondering gaze of a beloved pet.

Photos aren't always taken inside the studio at Stephanie Harrison Photography. The opportunity is also there to go outdoors and use the resources of the Historic Depot for a more urban look, combining the exposed brick of old buildings with the sweet, fresh face of a new baby, for example. Stephanie is also often available for on-site shoots for weddings, special celebrations and other purposes!

Stephanie Harrison has the experience to make your photo shoot the best it can be! She's been featured in a number of magazines across the world and has won various photography awards. With such skill and recognition one might think her prices would reflect it, but at Stephanie Harrison Photography, the value is unreal!

The session fee is a very reasonable $40.00 for up to four people. Prices for prints obviously vary by size but range anywhere from $8.00 for eight wallets up to $90.00 for a huge 20x30 print! She offers packages for senior pictures starting at a low $99.00 and Wedding Packages that can be had from $550.00. Also available are Gallery Canvas Wraps in various sizes which are, simply put, awesome!

Stephanie Harrison Photography can be found at 195 Fort Wayne Avenue in Richmond, Indiana and reached at (765)962-3133. The website, www.stephanieharrisonphotography.com offers numerous examples of Stephanie's work, a price sheet, bio, and contact information for setting up your first session.

Stephanie Harrison Photography; you simply won't find a better photographer around!