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Journal articles on the topic 'Camera obscura'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 April 2022

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1

Owen, Ursula. "Camera obscura." Index on Censorship 28, no. 6 (November 1999): 5–7. http://dx.doi.org/10.1177/030642209902800601.

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2

Fox, William. "Camera Obscura." Boom 3, no. 3 (2013): 38–49. http://dx.doi.org/10.1525/boom.2013.3.3.38.

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This article explores the work of several photographers, including Ansel Adams, Michael Light, Robert Dawson, Lauren Bon, and David Maisel, who have turned their lens to capture the landscape of the area through which the Los Angeles Aqueduct flows. By exploring ecological issues surrounding the surface mining of the Owens Valley, the original source of the aqueduct, the article emphasizes the material and metaphorical resonances between the aqueduct and the practice of photography.
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3

RYAN, KAY. "CAMERA OBSCURA." Yale Review 95, no. 1 (January 2007): 11. http://dx.doi.org/10.1111/j.1467-9736.2007.00257.x.

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4

Greitz, Torgny. "Camera Obscura." Rivista di Neuroradiologia 4, no. 3 (October 1991): 347. http://dx.doi.org/10.1177/197140099100400313.

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5

Gevaux, David. "Camera insecta obscura." Nature Physics 9, no. 6 (June 2013): 320. http://dx.doi.org/10.1038/nphys2659.

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6

Ellis, A. "Theatre: Camera Obscura." BMJ 324, no. 7348 (May 25, 2002): 1283. http://dx.doi.org/10.1136/bmj.324.7348.1283.

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7

Grabar, Alexander, Pierre Mathey, Roman Iegorov, and Gregory Gadret. "Photorefractive “camera obscura”." Optics Communications 284, no. 22 (October 2011): 5361–63. http://dx.doi.org/10.1016/j.optcom.2011.07.048.

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8

Sánchez, María Jesús, Julia Gil, and José Manuel Vaquero. "Design of a Compact Camera Obscura." Physics Teacher 60, no. 4 (April 2022): 282–83. http://dx.doi.org/10.1119/5.0029800.

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The camera obscura is a well-known optical device in the form of a closed box with a hole in one of its walls through which light rays pass, forming an inverted image of the external objects on the opposite wall, as can be seen in Fig. 1(a). Despite the simplicity of its basic design, they have been widely used by scientists and artists. In particular, dark cameras have been used throughout history to measure Earth-Sun distance. To do this, ancient scientists used cameras of enormous dimensions to accurately measure the variations in the apparent diameter of the Sun that depend on the Earth-Sun distance. This is because the farther the light travels inside the camera, the larger the projected image will be [Fig. 1(b)]. In this work, the construction of a compact dark camera for educational purposes is presented so that, having reduced dimensions, it allows the images to be very large.
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9

Roy, Lucinda. "Camera Obscura, and: Stealth." Prairie Schooner 85, no. 3 (2011): 138–41. http://dx.doi.org/10.1353/psg.2011.0103.

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10

Haralambidou, Penelope. "C for CAMERA OBSCURA (REVERSED)." Public 28, no. 56 (October 1, 2017): 22–31. http://dx.doi.org/10.1386/public.28.56.22_1.

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11

Fernandes, Carlos M. "A camera obscura for ants." ACM SIGEVOlution 3, no. 2 (July 2008): 9–16. http://dx.doi.org/10.1145/1527063.1527065.

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12

Mahashe, George Tebogo. "Walking towards a camera obscura." Critical African Studies 12, no. 2 (April 23, 2020): 218–36. http://dx.doi.org/10.1080/21681392.2020.1750968.

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13

White, Patricia. "Camera Obscura and Chantal Akerman." Camera Obscura: Feminism, Culture, and Media Studies 34, no. 1 (2019): 1–11. http://dx.doi.org/10.1215/02705346-7264064.

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14

Garipov, G. K., and B. A. Khrenov. "Camera obscura — the Cherenkov imaging camera for EAS experiments." Nuclear Instruments and Methods in Physics Research Section A: Accelerators, Spectrometers, Detectors and Associated Equipment 371, no. 1-2 (March 1996): 174–77. http://dx.doi.org/10.1016/0168-9002(95)01153-6.

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15

Milot, Pierre. "La « camera obscura » du post-modernisme." Voix et Images 12, no. 1 (1986): 118. http://dx.doi.org/10.7202/200612ar.

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16

Flynt, Halima, and Michael J. Ruiz. "Making a room-sized camera obscura." Physics Education 50, no. 1 (December 22, 2014): 19–22. http://dx.doi.org/10.1088/0031-9120/50/1/19.

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17

MacDonald, Scott. "Ernie Gehr: Camera Obscura/Lens/Filmstrip." Film Quarterly 43, no. 4 (July 1990): 10–16. http://dx.doi.org/10.1525/fq.1990.43.4.04a00040.

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18

Bhushan Sharma, Brij. "Camera obscura and the last Mughal." History of Photography 13, no. 2 (April 1989): 135–37. http://dx.doi.org/10.1080/03087298.1989.10442180.

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19

MacDonald, Scott. "Ernie Gehr: Camera Obscura/Lens/Filmstrip." Film Quarterly 43, no. 4 (1990): 10–16. http://dx.doi.org/10.2307/1212718.

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20

Carson, Jenny, and Ann Shafer. "West, Copley, and the Camera Obscura." American Art 22, no. 2 (June 2008): 24–41. http://dx.doi.org/10.1086/591168.

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21

Lüthy, Christoph. "Hockney's Secret Knowledge, Vanvitelli's Camera Obscura." Early Science and Medicine 10, no. 2 (2005): 315–39. http://dx.doi.org/10.1163/1573382054088178.

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AbstractThis article opens with a distinction between David Hockney's strong and weak theses. According to the strong thesis, in the period 1430-1860, optical tools (mirrors, lenses, the camera obscura, etc.) were used in the production of paintings; according to the weak thesis, mirrors and lenses merely inspired their naturalistic look. It will be argued that while for the fifteenth and sixteenth centuries, there is little evidence in favor of the strong thesis, the case is different for the seventeenth century, for which the use of optical instruments by painters is a documented fact. In this article, an early case is examined. The extant preparatory drawings of Gaspare Vanvitelli (Gaspar van Wittel, 1652-1736) suggest that this cityscape painter relied on a camera obscura. But even here, the strong thesis must be tempered. The fact that several stages of artistic transformation separate the camera obscura projection from the finished painting undermines Hockney's analogy between optically assisted painting and 'naturalistic' photography.
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22

Baracchi, Daniele, Dasara Shullani, Massimo Iuliani, Damiano Giani, and Alessandro Piva. "Camera Obscura: Exploiting in-camera processing for image counter forensics." Forensic Science International: Digital Investigation 38 (September 2021): 301213. http://dx.doi.org/10.1016/j.fsidi.2021.301213.

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23

Paolucci, Paul. "Race and Racism in Marx's Camera Obscura." Critical Sociology 32, no. 4 (July 2006): 617–48. http://dx.doi.org/10.1163/156916306779155207.

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24

Baigrie, Brian S. "The Scientific Life Of the Camera Obscura." Optics and Photonics News 11, no. 2 (February 1, 2000): 18. http://dx.doi.org/10.1364/opn.11.2.000018.

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25

Flitterman-Lewis, Sandy. "Camera Obscura: Feminism, Culture, and Media Studies." Camera Obscura: Feminism, Culture, and Media Studies 21, no. 1 (2006): 27–31. http://dx.doi.org/10.1215/02705346-2005-002.

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26

Lefèvre, Wolfgang. "Exposing the seventeenth-century optical camera obscura." Endeavour 31, no. 2 (June 2007): 54–58. http://dx.doi.org/10.1016/j.endeavour.2007.05.004.

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27

Schwarz, Hans-Günther. "The Camera Obscura or the Optics of Realism." Man and Nature 8 (1989): 63. http://dx.doi.org/10.7202/1012597ar.

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28

Houyaux, Justine. "Martine Bubb, La Camera obscura. Philosophie d’un appareil." Questions de communication, no. 21 (September 1, 2012): 296–98. http://dx.doi.org/10.4000/questionsdecommunication.6720.

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29

Panjan, Matjaž, Rainer Cremer, Hans-Gerd Fuss, Peter Panjan, and Miha Čekada. "The use of camera obscura in sputter deposition." Vacuum 84, no. 1 (August 2009): 45–48. http://dx.doi.org/10.1016/j.vacuum.2009.04.069.

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30

Shapiro, Alan. "Kepler, Optical Imagery, and the Camera Obscura: Introduction." Early Science and Medicine 13, no. 3 (2008): 217–18. http://dx.doi.org/10.1163/157338208x285017.

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31

Mills, Allan A. "Vermeer and the Camera Obscura: Some Practical Considerations." Leonardo 31, no. 3 (1998): 213. http://dx.doi.org/10.2307/1576575.

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32

Lissel, Edgar. "The Return of Images: Photographic Inquiries into the Interaction of Light." Leonardo 41, no. 5 (October 2008): 438–45. http://dx.doi.org/10.1162/leon.2008.41.5.438.

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Edgar Lissel has been using the camera obscura for more than 10 years. He converted a transporter into a mobile pinhole camera and transformed living quarters and museum displays into walk-in pinhole cameras. Since 1999, Lissel has been working with bacteria, using their phototropic properties to produce his images. The bacteria move out of the shadow into the light. In the photographic installations Mnemosyne I and Mnemosyne II, he uses fluorescent color pigments to fix the images. Like a memory, the image is stored and emitted by the pigments.
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33

Garipov, G. K., and B. A. Khrenov. "Camera obscura for observation of EAS in Cerenkov light." Journal of Physics G: Nuclear and Particle Physics 20, no. 12 (December 1, 1994): 1981–88. http://dx.doi.org/10.1088/0954-3899/20/12/013.

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34

Dickerman, Leah. "Camera Obscura: Socialist Realism in the Shadow of Photography." October 93 (2000): 138. http://dx.doi.org/10.2307/779160.

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35

Greenslade, Thomas B. "The Opaque Projector: The Inverse of the Camera Obscura." Physics Teacher 49, no. 4 (April 2011): 241. http://dx.doi.org/10.1119/1.3566038.

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36

Steadman, Philip. "Allegory, Realism, and Vermeer's Use of the Camera Obscura." Early Science and Medicine 10, no. 2 (2005): 287–314. http://dx.doi.org/10.1163/1573382054088123.

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AbstractCritics of the proposal that the Dutch painter Johannes Vermeer used the camera obscura extensively in making his pictures of domestic scenes have argued that this cannot be the case, since his compositions are not 'photographic snapshots' but are very finely judged and balanced; his subject matter draws on the traditional motifs of Dutch genre painting; and the pictures are filled with complex allegorical and symbolic meaning. In this paper it is argued that all these are indeed characteristics of Vermeer's oeuvre, but that the artist produced them through the transcription of optical images of tableaux, set up by arranging real furniture and other 'props' with extreme care, in an actual room in his mother-in-law's house.
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37

Ros, Rosa M., Beatriz García, Ricardo Moreno, Claudia Romagnoli, and Viviana Sebben. "NASE workshop: Eclipses with models and camera obscura." Proceedings of the International Astronomical Union 15, S367 (December 2019): 176–80. http://dx.doi.org/10.1017/s1743921321000727.

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AbstractIbn al-Haytham (known as Alhazen in occident), extensively studied the camera obscura phenomenon in the early 11th century. This instrument was used to obtain the projected image of a landscape on the screen and also was addopte by the scientists and famous painters along the centuries, to experiment with it until their final evolution as the modern photografic camera. The resource in the simple version of the “pinhole camera” can be used at the classroom to experience several phenomena, such us solar eclipses and Moon phases, and to each about optics and geometry. This contribution presents an application of this ingeniuos tool in the framework of solar eclipses, where the scale models are important to understand what really happens with the Sun-Earth-Moon system.
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38

Ziegler, Max, and Burkhard Priemer. "From the pinhole camera to the shape of a lens: the camera-obscura reloaded." Physics Education 50, no. 6 (October 2015): 706–12. http://dx.doi.org/10.1088/0031-9120/50/6/706.

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39

Szymala, Katarzyna. "Ethics of care as a camera obscura of political philosophy nowadays. The meaning of the unveiled." Analiza i Egzystencja 41 (2018): 59–78. http://dx.doi.org/10.18276/aie.2018.41-04.

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40

Raharjo, Makmum. "FOTOGRAFI SENI SEBAGAI EKSPRESI BUDAYA: SEBUAH TINJAUAN SENI FOTOGRAFI PERTUNJUKAN." Jurnal Dimensi Seni Rupa dan Desain 3, no. 2 (February 1, 2006): 130. http://dx.doi.org/10.25105/dim.v3i2.1249.

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AbstractIn its early time, photography has a function as a supporting tool for painting with its prototype called 'camera obscura' which keeps on developing together with the emergence of new discoveries on the lense, camera, and light-sensitive chemical evolved from the glass plate into film and photo papers. Now, photography is not simply functioning as a medium to perpetuate a moment but internally as a medium to record objects.AbstrakFotografi pada awal sejarah ditemukan, memiliki fungsi sebagai alat bantu melukis, dengan prototipnya yang disebut sebagai 'camera obscura' yang kemudian terus berkembang seiring dengan bermunculnya penemuan baru tentang lensa, kamera, bahan kimia peka cahaya yang berkembang dari plat kaca menjadi film dan kertas foto. Kini fotografi tidak hanya memilliki fungsi sebagai media untuk mengabadian sebuah peristiwa, tetapi lebih kedalam fungsi sebagai sebuah media perekam objek.
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41

Grundy, Susan. "Letting in the light: Artemisia Gentileschi and the camera obscura." de arte 40, no. 71 (January 2005): 35–45. http://dx.doi.org/10.1080/00043389.2005.11877035.

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42

Aron, Jacob. "Turning any room into a camera obscura to help forensics." New Scientist 214, no. 2869 (June 2012): 22. http://dx.doi.org/10.1016/s0262-4079(12)61542-5.

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43

Tsuji, Shigeru. "BRUNELLESCHI AND THE CAMERA OBSCURA: THE DISCOVERY OF PICTORIAL PERSPECTIVE." Art History 13, no. 3 (September 1990): 276–92. http://dx.doi.org/10.1111/j.1467-8365.1990.tb00397.x.

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44

chi, seung-hak. "The Paleolithic Camera Obscura and the Linearity of the light." Korean Association for Visual Culture 28 (June 30, 2016): 133–52. http://dx.doi.org/10.21299/jovc.2016.28.1.007.

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45

Hantula, Donald A., Mary Margaret Sudduth, and Alison Clabaugh. "Technological Effects on Aesthetic Evaluation: Vermeer and the Camera Obscura." Psychological Record 59, no. 3 (July 2009): 323–33. http://dx.doi.org/10.1007/bf03395667.

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46

Pillai, Meena T. "‘Camera Obscura’ to ‘Camera Dentata’: Women Directors and the Politics of Gender in Malayalam Cinema." BioScope: South Asian Screen Studies 11, no. 1 (June 2020): 44–60. http://dx.doi.org/10.1177/0974927620939330.

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This article examines women directors in Malayalam cinema as historical subjects, looking at the manner in which they place themselves within Kerala’s cultural semiotics and its popular imaginary, disrupting or legitimising an illusion coded to the measure of gender desires and differences within its semiosphere. The logic of commercial cinema demands that women directors fall in sync with the representative politics of the male gaze and a capitalist libidinal economy, seducing women into passive codes of femininity and aligning men within the registers of a hegemonic masculinity, in effect foreclosing the play of alternative languages of desire. Malayalam cinema has had two kinds of women directors, one who tries to puncture this logic from within the male bastions of popular cinema, and the second who strives to be an ‘other’ to the mythmakers of the phallic order. The article attempts to read the first mode of intervention using the Marxian specular metaphor of the camera obscura as a hierarchical apparatus of ideological inversion where the real is substituted by a spectacle of the illusory. To analyse the latter, the article puts forward the metaphor of camera dentata – that modus of representation which seeks to topple the patriarchal and capitalist ideological predispositions of the cinematic apparatus, thus rendering it capable of diminishing the power of phallic signifiers and ‘the moral panics of sexuality’ they engender.
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47

Dupré, Sven. "Inside the Camera Obscura: Kepler's Experiment and Theory of Optical Imagery." Early Science and Medicine 13, no. 3 (2008): 219–44. http://dx.doi.org/10.1163/157338208x285026.

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AbstractIn his Paralipomena (1604) Johannes Kepler reported an experimentum that he had seen in the Dresden Kunstkammer. In one of the rooms there, which had been turned in its entirety into a camera obscura, he had witnessed the images formed by a lens. I discuss the role of this experiment in the development and foundation of his new theory of optical imagery, which made a distinction between two concepts of image, pictura and imago. My focus is on how Kepler used his report of the experiment inside the camera obscura to criticize the account of image formation given in Giovanbattista Della Porta's Magia naturalis (1589). I argue that this experiment allowed Kepler to sort out the confusion between images 'in the air'—referring to the geometrical locus of images in the perspectivist tradition of optics—and the experimentally produced 'projected images', which were empirically familiar but conceptually alien to perspectivist optics.
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48

Grusche, Sascha. "Comment on ‘From the pinhole camera to the shape of a lens: the camera-obscura reloaded’." Physics Education 51, no. 5 (July 18, 2016): 056501. http://dx.doi.org/10.1088/0031-9120/51/5/056501.

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49

Levine, Joshua. "Experimental Visual Experience Devices." Leonardo 33, no. 1 (February 2000): 27–32. http://dx.doi.org/10.1162/002409400552207.

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This article introduces the concept of Experimental Visual Experience Devices (EVEDs), which the author defines as artistic inventions that alter the participant's visual perceptions of the external real world. The aim of EVEDs is to place the participant in a slightly altered visual reality in order to cause him or her to see real things anew. The article describes several works of participation art that can be seen as historical precedents to EVEDs. The author discusses two EVEDs that he invented: Whirld is a cylindrical room mounted on an axle that functions as a spinning camera obscura; Portable Whirld is a hood that functions as a portable camera obscura. The author describes how the two sculptures reshape the spectator's visual perceptions, and suggests some forms that future EVEDs might take.
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50

Geuens, Jean-Pierre. "Through the Looking Glasses: From the Camera Obscura to Video Assist." Film Quarterly 49, no. 3 (1996): 16–26. http://dx.doi.org/10.2307/1213467.

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