| On August 19, 1839, Louis Jacques Mande
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| | to count the bricks. But Romantics
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| Daguerre's photographic process was
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| | believed that so much detail didn't allow
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| officially announced at a joint public
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| | viewers to fantasize. Photographs left
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| meeting of the French Academies of
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| | no room for imagination. In Romantic
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| Science and Fine Arts. Shortly after
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| | works, on the other hand, boundaries
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| that meeting, Susse Freres published a
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| | between shapes were blurred. Detail was
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| brochure, The History and Description of
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| | avoided. Forms were only suggested.
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| the Technique of Daguerreotypy, which
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| | Brush strokes were evident.In other
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| went into 26 editions in five months.
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| | words, for photography to be accepted as
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| Would-be photographers bought or made
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| | an art form, it had to stop looking like
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| equipment and began taking pictures of
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| | photography. So photographers found ways
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| their chimneys and counting the
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| | to destroy what was photographic about
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| bricks.About the time they were becoming
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| | their photography in the hope that their
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| tired of brick-counting, someone said,
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| | altered pictures would pass for some form
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| "Chimney pictures are interesting, but is
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| | of art. And these are some of the things
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| photography really art?" Some people are
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| | they did.They found that they could
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| still asking the question.Well, that's
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| | manipulate a picture either mechanically,
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| not exactly fair. Most people made up
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| | when it was being made, or chemically,
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| their mind pretty quickly. A camera was,
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| | when it was being developed or
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| to them, a machine that was to be used to
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| | printed.Mechanically they could:* change
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| record information, and photographers
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| | the focus during exposure (exposure times
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| were machine operators. Early
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| | were very long), thereby changing the
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| photography shows reinforced this belief.
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| | depth of field* soften the picture by use
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| The exhibitions were associated with
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| | of a special lens* use a pinhole instead
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| industry and not art, and photographs
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| | of a lens* suspend a weighted rope from
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| were judged on their technical, not their
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| | the center of the tripod and create
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| artistic, merits. The daguerreotype
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| | vibrations by running a violin bow over
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| competition at the world's fair of 1851
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| | the rope* place a flame below the lens so
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| was won by M. M. Lawrence. His pictures
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| | that heat rising from the flame would
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| were judged "remarkable for clear
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| | cause visible wavesIn the darkroom, the
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| definition and general excellence of
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| | photographer could:* scrape, paint, or
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| execution. ... Notwithstanding their
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| | draw directly onto the negative* place a
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| large size, they are, throughout,
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| | special sheet of glass between the
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| perfectly in focus, and are beautifully
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| | negative and printing paper to diffuse
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| finished in all details."Most
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| | the light* use either glossy or rough
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| photographers were content to see
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| | printing paper* coat the printing paper,
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| themselves as technicians. But there are
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| | or selected parts of the printing paper,
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| always a few people who don't get the
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| | with layers of gum-based, toned
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| word. To this minority, photography was
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| | emulsions, producing painterly effects*
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| definitely an art form, and they set out
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| | use gum bichromate to rinse away details
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| to convince the general public of this
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| | or even entire sections of a print. This
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| fact. But how?A few pioneers reasoned
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| | process allowed the artist to create
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| that if photography was to be accepted as
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| | deep, textured shadows and a grainy
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| an art form, it had to look like other
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| | moodiness. As the outcome of the
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| accepted art forms. In short, it had to
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| | gum-bichromate treatment differed with
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| look like painting. And, unfortunately
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| | each print, the photographer could claim
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| for these well-intentioned pioneers, the
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| | that each print was unique.This attempt
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| prevalent type of painting - the one they
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| | to make photos look like paintings was
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| had to imitate - was Romanticism. So
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| | termed Pictorialism. The debate and the
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| photographs had to become emotionally
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| | style continued into the early 20th
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| intense, mystical, melodramatic,
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| | century.Edward Ginsberg is currently
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| brooding, somber, and exotic. It would
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| | writing a book to help the beginning
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| also help if they were theatrical.As far
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| | photographer find true happiness as he
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| as technique, Romanticism was just the
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| | embarks on the road to creativity. Ed's
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| opposite of photography. Photographs
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| | photos can be seen on his website, where
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| showed great detail. They allowed people
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| | he also offers a free tutorial.
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