Pho·tog Friday: Camera Obscura

Let's take it back... back to the 5th and 4th centuries B.C., when the camera obscura was first written about by Chinese philosopher, Mozi (Mo Ti) and the Greek philosopher, Aristotle.  Mozi (470 - 390 BC) refereed to this device as a "collecting plate" or a "locked treasure room".  Years later, Aristotle (384 - 322 BC) understood the device to be the "pinhole camera".  The camera obscura has been used for thousands of years not only by philosophers but also by inventors, scientists, astronomers and artists, such as Leonardo Da Vinci and (although debatable) Jan Vermeer.

So how does the camera obscura actually work and why is it relevant today?  (Good question; I'm glad you asked!)  Picture the darkest room in your house and imagine that you black out any source of light coming into that room.  Then image that you poke a pin sized opening into one of the walls of that room; take a piece of electrical tape and cover that pin sized hole. What happens when you remove the tape from the hole?  Light is going to travel through the small opening.  The first thing to note about light is that it travels in straight lines (which you should recall from PHOA113).  After the light travels through the hole, what happens next inside the dark room?  
To answer this question, you have to think about what is on the other side of the wall.  What is outside this darkroom; standing opposite the pinhole?  Whatever that object or scene is opposite the hole will be projected into the room.  The "catch" is that the projected image will be upside down!  "Back in the day", this projection could be traced onto a piece of paperWe used the term "pinhole" although consider the actual size of that "pin"; some pins might be smaller or larger, correct? 

The camera obscura will work with a variety of different sized pinholes.  The smaller the pinhole, the more sharp the picture would appear. However, if the pinhole was small, the darker the projection would be.  Does this sound familiar? Think back to what you've learned regarding depth of field and your aperture settings.  If your aperture is wide open; say f/1.8, you'll have a lot of light coming into the lens and will have a shallow depth of field. If your aperture is closed down; say f/22, you'll have less light coming into the lens and will have a deep depth of field.  We can see in the diagrams and drawings of the camera obscura that the paper used to draw on is tilted at an angle.  The artist, looking into the box, is then able to draw the upside down project - right side up!  In your camera, there is a mirror that serves as a similar function to this tilted piece of paper.  When light enters the "pinhole" of your lens, the aperture, the light projects the subject matter that you're photographing onto the mirror upside down.  The mirror flips the subject matter being projected by the light right side up and onto your photo sensitive film... *cough cough* excuse me, onto your CMOS sensor:


01. "Camera Obscura." Wikipedia. Wikimedia Foundation, 21 Mar. 2014. Web. 21 Mar. 2014.
02. "Jan Vermeer and the Camera Obscura." YouTube. RedCityProjects, 08 Mar. 2012. Web. 21 Mar. 2014.
03. "How Do Digital Cameras Work? | James May Q&A | Head Squeeze." YouTube. Head Squeeze, 10 Jan. 2014. Web. 21 Mar. 2014.

Disclaimer

See aiprograms.info for program duration, tuition, fees, and other costs, median debt, federal salary data, alumni success, and other important info. The information and opinions expressed and/or any artwork displayed herein represent the independent opinions and ideas of the individual faculty (Melanie Fiander) and do not represent the opinions or ideas of The Art Institute of Pittsburgh - Online Division. The Art Institute of Pittsburgh - Online Division is not responsible for the content or accuracy of any Web site linked to this Web site/newsletter. The links are provided for your information and convenience only. The Art Institute of Pittsburgh - Online Division does not endorse, support or sponsor the content of any linked Web sites. If you access or use any third party Web sites linked to The Art Institute of Pittsburgh - Online Division Web site, you do so at your own risk. The Art Institute of Pittsburgh makes no representation or warranty that any other Web site is free from viruses, worms or other software that may have a destructive nature.