Living pictures; their history, photoproduction and practical working. With a digest of British patents and annotated bibliography (1899)

Record Details:

Title:
Living pictures; their history, photoproduction and practical working. With a digest of British patents and annotated bibliography
Date:
1899
Publisher:
London Optician & Photographic Trades Review
Volume:
Living pictures; their history, photoproduction and practical working. With a digest of British patents and annotated bibliography
Leaf #:
00061
Language:
English
Collection:
Books
Format:
Books
Contributor:
Robarts - University of Toronto
Sponsor:
University of Toronto
Coordinator:
Media History Digital Library
Description:
52
Date Added:
July 19, 2022
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CHAPTER III. CHRONO-PHOTOGRAPHY AND THE PRACTICAL DEVELOPMENT OF THE LIVING PICTURE. It has been repeatedly mentioned in the previous chapter that diagrams were unsatisfactory elements from which to build up the illusion of action, and the reason is not far to seek. The numerous attitudes through which a man or animal passes when in active motion are not perceived by the eye ; they succeed one another so rapidly that only a general impression of the whole motion is conveyed to the mind; and this general impression, though perhaps satisfactory (from an artistic point of view) when shown in a single picture, cannot be expected to afford sufficient grounds for the pre- paration of an analytical series of diagrams representing the successive phases of a motion which is only perceived as a whole. It was early known that a moving object momentarily illuminated appeared to be motionless, and, in fact, this was easily deduced from the action of the Phenakistoscope. For instance, in 1850, Tyndall demonstrated the successive phases of a water jet's motion by the expedient of illuminating it with an electric spark, and Fox-Talbot, in 1851, suggested the production of instantaneous photographs by lighting the object in the same manner. This portion of his patent he afterwards disclaimed, but it forms an appro- priate starting-point from which to pursue the History of Chrono-photography, inasmuch as, in principle, it is a matter of indifference whether a momentary impression is made on a sensitive surface through the illumination of the object for a very short period, or