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30, 55). Or it might mean speeding up a process, like ﬁlms of plant cycles on the Nature channel. If we refer back again to Talbot’s assertion that the eye of the camera can see where the human eye sees nothing but darkness, one could say most photography relies at its very simplest on ‘invisible’, ultraviolet rays. The various functions listed above, however, are more than just the making of invisible things visible, they are entirely new methods of observing. There are two ways photography generates observable things: first by singling out a moment of 43 27 Photographer unknown, Ears: Illustrating certain types of ears referred to in the text, 1901, photomechanical reproduction.
The history of emulsion science remains, however, almost unknown outside a small circle of specialists. The subject of imaging science might sound dull, but much is at stake. Within the littletold tale of sensitivity data and characteristic curves exists a struggle over faith in the photographic image as an experimental instrument and, eventually, as evidence. At rare moments in history, photographic sensitometry 55 and emulsion studies emerge as the chief players in a drama. For a very short time, the work of chemists Ferdinand Hurter and Vero Drifﬁeld on the characteristic curves of photographic emulsions were much the talk of the photographic and scientiﬁc communities, thanks to P.
Is the usual sort of headline we encounter when talking about photography and observation. This way of speaking lumps together very generally some of photography’s most complex effects – effects that are quite widely varied in scope, scale and presentation. First is the registration of incidental, numerous and often minute details in objects visible to the human eye (illus. 27). There is also the effect of rendering the very small larger – for instance, photographs made under the microscope (illus.
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