Booklet Printing Services Minnetonka Mn

 

Brochure Printer in Minnetonka Mn

Digital printing in Minnesota has been a door opener for many businesses. Because printers sell the same thing as everyone else, everyone tries to claim that their service, quality and price are better than others. For this reason, every printer has to find something that would separate them from everyone else. And some business owners find that they have increased productivity after using digital technology and short run processes. Somehow, these gains can be credited to a combination of better pricing and more efficient press performance. Let’s say you have greeting cards that need to be printed. Obsolete inventory through the use of short run digital press can be eliminated.

Printer Digital

Brochure Printer in Minnetonka Mn

This is because with this technology you can print only the needed cards, thus, resulting to orders printed in the exact quantity required. But just the same this kind of printing system is not for everyone. There are risks and changes that need to be dealt with. Nevertheless, the printing industry will continue to change and improve in the years to come. Thus, all business owners and companies have to do is to determine whether this certain printing technique is what they need.

Digital Printing: A Better Avenue For Quality Four Color Printing

Printing And Binding Services Near Me From top to bottom, left to right: cylinder seal of a scene, block used for woodblock printing, Korean movable type, printing press, lithograph press, offset press used for modern lithographic printing, linotype machine for hot metal typesetting, digital printer, 3D printer in action. Printing is a process for reproducing text and images using a master form or template. The earliest examples include Cylinder seals and other objects such as the Cyrus Cylinder and the Cylinders of Nabonidus. The earliest known form of woodblock printing came from China dating to before 220 A.D.[1] Later developments in printing include the movable type, first developed by Bi Sheng in China around 1040 AD.[2] Johannes Gutenberg introduced mechanical movable type printing to Europe in the 15th century. His printing press played a key role in the development of the Renaissance, Reformation, the Age of Enlightenment, and the scientific revolution and laid the material basis for the modern knowledge-based economy and the spread of learning to the masses.[3] Modern large-scale printing is typically done using a printing press, while small-scale printing is done free-form with a digital printer. Though paper is the most common material, it is also frequently done on metals, plastics, cloth, and composite materials. On paper it is often carried out as a large-scale industrial process and is an essential part of publishing and transaction printing. Main article: History of printing Main article: Woodblock printing Woodblock printing is a technique for printing text, images or patterns that was used widely throughout East Asia. It originated in China in antiquity as a method of printing on textiles and later on paper. As a method of printing on cloth, the earliest surviving examples from China date to before 220 A.D. The intricate frontispiece of the Diamond Sutra from Tang-dynasty China, 868 A.D. (British Library) Main article: History of printing in East Asia The earliest surviving woodblock printed fragments are from China. They are of silk printed with flowers in three colours from the Han Dynasty (before 220 A.D.). They are the earliest example of woodblock printing on paper appeared in the mid-seventh century in China. By the ninth century, printing on paper had taken off, and the first extant complete printed book containing its date is the Diamond Sutra (British Library) of 868.[4] By the tenth century, 400,000 copies of some sutras and pictures were printed, and the Confucian classics were in print. A skilled printer could print up to 2,000 double-page sheets per day.[5] Printing spread early to Korea and Japan, which also used Chinese logograms, but the technique was also used in Turpan and Vietnam using a number of other scripts. This technique then spread to Persia and Russia.[6] This technique was transmitted to Europe via the Islamic world, and by around 1400 was being used on paper for old master prints and playing cards.[7] However, Arabs never used this to print the Quran because of the limits imposed by Islamic doctrine.[6] Block printing, called tarsh in Arabic, developed in Arabic Egypt during the ninth and tenth centuries, mostly for prayers and amulets. There is some evidence to suggest that these print blocks made from non-wood materials, possibly tin, lead, or clay. The techniques employed are uncertain, however, and they appear to have had very little influence outside of the Muslim world. Though Europe adopted woodblock printing from the Muslim world, initially for fabric, the technique of metal block printing remained unknown in Europe. Block printing later went out of use in Islamic Central Asia after movable type printing was introduced from China.[8] The earliest known woodcut, 1423, Buxheim, with hand-colouring Block printing first came to Europe as a method for printing on cloth, where it was common by 1300. Images printed on cloth for religious purposes could be quite large and elaborate. When paper became relatively easily available, around 1400, the medium transferred very quickly to small woodcut religious images and playing cards printed on paper. These prints produced in very large numbers from about 1425 onward. Around the mid-fifteenth-century, block-books, woodcut books with both text and images, usually carved in the same block, emerged as a cheaper alternative to manuscripts and books printed with movable type. These were all short heavily illustrated works, the bestsellers of the day, repeated in many different block-book versions: the Ars moriendi and the Biblia pauperum were the most common. There is still some controversy among scholars as to whether their introduction preceded or, the majority view, followed the introduction of movable type, with the range of estimated dates being between about 1440 and 1460.[9] Copperplate of 1215–1216 5000 cash paper money with ten bronze movable types Jikji, "Selected Teachings of Buddhist Sages and Son Masters" from Korea, the earliest known book printed with movable metal type, 1377. Bibliothèque Nationale de France, Paris Main article: Movable type See also: History of Western typography Movable type is the system of printing and typography using movable pieces of metal type, made by casting from matrices struck by letterpunches. Movable type allowed for much more flexible processes than hand copying or block printing. Around 1040, the first known movable type system was created in China by Bi Sheng out of porcelain.[2] Bi Sheng used clay type, which broke easily, but Wang Zhen by 1298 had carved a more durable type from wood. He also developed a complex system of revolving tables and number-association with written Chinese characters that made typesetting and printing more efficient. Still, the main method in use there remained woodblock printing (xylography), which "proved to be cheaper and more efficient for printing Chinese, with its thousands of characters".[10] Copper movable type printing originated in China at the beginning of the 12th century. It was used in large-scale printing of paper money issued by the Northern Song dynasty. Movable type spread to Korea during the Goryeo dynasty. Around 1230, Koreans invented a metal type movable printing using bronze. The Jikji, published in 1377, is the earliest known metal printed book. Type-casting was used, adapted from the method of casting coins. The character was cut in beech wood, which was then pressed into a soft clay to form a mould, and bronze poured into the mould, and finally the type was polished.[11] The Korean form of metal movable type was described by the French scholar Henri-Jean Martin as "extremely similar to Gutenberg's".[12] Cast metal movable type was spread to Europe between the late 14th century and the early 15th century.[6][13][14][15][16] A case of cast metal type pieces and typeset matter in a composing stick Main article: Printing press Around 1450, Johannes Gutenberg introduced the first movable type printing system in Europe. He advanced innovations in casting type based on a matrix and hand mould, adaptations to the screw-press, the use of an oil-based ink, and the creation of a softer and more absorbent paper.[17] Gutenberg was the first to create his type pieces from an alloy of lead, tin, antimony, copper and bismuth – the same components still used today.[18] Johannes Gutenberg started work on his printing press around 1436, in partnership with Andreas Dritzehen – whom he had previously instructed in gem-cutting – and Andreas Heilmann, the owner of a paper mill.[13] Compared to woodblock printing, movable type page setting and printing using a press was faster and more durable. Also, the metal type pieces were sturdier and the lettering more uniform, leading to typography and fonts. The high quality and relatively low price of the Gutenberg Bible (1455) established the superiority of movable type for Western languages. The printing press rapidly spread across Europe, leading up to the Renaissance, and later all around the world. Page-setting room - c. 1920 Gutenberg's innovations in movable type printing have been called the most important invention of the second millennium.[19] Main article: Rotary printing press The rotary printing press was invented by Richard March Hoe in 1843. It uses impressions curved around a cylinder to print on long continuous rolls of paper or other substrates. Rotary drum printing was later significantly improved by William Bullock. The table lists the maximum number of pages which various press designs could print per hour. All printing process are concerned with two kinds of areas on the final output: Image Area (printing areas) Non-image Area (non-printing areas) After the information has been prepared for production (the prepress step), each printing process has definitive means of separating the image from the non-image areas. Conventional printing has four types of process: Planographics, in which the printing and non-printing areas are on the same plane surface and the difference between them is maintained chemically or by physical properties, the examples are: offset lithography, collotype, and screenless printing. Relief, in which the printing areas are on a plane surface and the non printing areas are below the surface, examples: flexography and letterpress. Intaglio, in which the non-printing areas are on a plane surface and the printing area are etched or engraved below the surface, examples: steel die engraving, gravure Porous, in which the printing areas are on fine mesh screens through which ink can penetrate, and the non-printing areas are a stencil over the screen to block the flow of ink in those areas, examples: screen printing, stencil duplicator. Miehle press printing Le Samedi journal. Montreal, 1939. Main article: Letterpress printing Letterpress printing is a technique of relief printing. A worker composes and locks movable type into the bed of a press, inks it, and presses paper against it to transfer the ink from the type which creates an impression on the paper. Letterpress printing was the normal form of printing text from its invention by Johannes Gutenberg in the mid-15th century and remained in wide use for books and other uses until the second half of the 20th century, when offset printing was developed. More recently, letterpress printing has seen a revival in an artisanal form. Main article: Offset press Offset printing is a widely used printing technique. Offset printing is where the inked image is transferred (or "offset") from a plate to a rubber blanket. An offset transfer moves the image to the printing surface. When used in combination with the lithographic process, a process based on the repulsion of oil and water; the offset technique employs a flat (planographic) image carrier. So, the image to be printed obtains ink from ink rollers, while the non-printing area attracts a film of water, keeping the non-printing areas ink-free. Currently, most books and newspapers are printed using the technique of offset lithography. Main article: Rotogravure Gravure printing is an intaglio printing technique, where the image being printed is made up of small depressions in the surface of the printing plate. The cells are filled with ink, and the excess is scraped off the surface with a doctor blade. Then a rubber-covered roller presses paper onto the surface of the plate and into contact with the ink in the cells. The printing cylinders are usually made from copper plated steel, which is subsequently chromed, and may be produced by diamond engraving; etching, or laser ablation. Gravure printing is used for long, high-quality print runs such as magazines, mail-order catalogues, packaging and printing onto fabric and wallpaper. It is also used for printing postage stamps and decorative plastic laminates, such as kitchen worktops. The other significant printing techniques include: European output of books printed by movable type from ca. 1450 to 1800[25] Main article: History of printing It is estimated that following the innovation of Gutenberg's printing press, the European book output rose from a few million to around one billion copies within a span of less than four centuries.[25] Samuel Hartlib, who was exiled in Britain and enthusiastic about social and cultural reforms, wrote in 1641 that "the art of printing will so spread knowledge that the common people, knowing their own rights and liberties, will not be governed by way of oppression".[26] Replica of the Gutenberg press at the International Printing Museum in Carson, California In the Muslim world, printing, especially in Arabic scripts, was strongly opposed throughout the early modern period, though sometimes printing in Hebrew or Armenian script was permitted. Thus the first movable type printing in the Ottoman Empire was in Hebrew in 1493.[27] According to an imperial ambassador to Istanbul in the middle of the sixteenth century, it was a sin for the Turks to print religious books. In 1515, Sultan Selim I issued a decree under which the practice of printing would be punishable by death. At the end of the sixteenth century, Sultan Murad III permitted the sale of non-religious printed books in Arabic characters, yet the majority were imported from Italy. Ibrahim Muteferrika established the first press for printing in Arabic in the Ottoman Empire, against opposition from the calligraphers and parts of the Ulama. It operated until 1742, producing altogether seventeen works, all of which were concerned with non-religious, utilitarian matters. Printing did not become common in the Islamic world until the 19th century.[28] Jews were banned from German printing guilds; as a result Hebrew printing sprang up in Italy, beginning in 1470 in Rome, then spreading to other cities including Bari, Pisa, Livorno, and Mantua. Local rulers had the authority to grant or revoke licenses to publish Hebrew books,[29] and many of those printed during this period carry the words 'con licenza de superiori' (indicating their printing having been licensed by the censor) on their title pages. It was thought that the introduction of the printing medium 'would strengthen religion and enhance the power of monarchs.'[30] The majority of books were of a religious nature, with the church and crown regulating the content. The consequences of printing 'wrong' material were extreme. Meyrowitz[30] used the example of William Carter who in 1584 printed a pro-Catholic pamphlet in Protestant-dominated England. The consequence of his action was hanging. Print gave a broader range of readers access to knowledge and enabled later generations to build directly on the intellectual achievements of earlier ones without the changes arising within verbal traditions. Print, according to Acton in his lecture On the Study of History (1895), gave "assurance that the work of the Renaissance would last, that what was written would be accessible to all, that such an occultation of knowledge and ideas as had depressed the Middle Ages would never recur, that not an idea would be lost".[26] Bookprinting in the 16th century Print was instrumental in changing the nature of reading within society. Elizabeth Eisenstein identifies two long-term effects of the invention of printing. She claims that print created a sustained and uniform reference for knowledge as well as allowing for comparison between incompatible views.[31] Asa Briggs and Peter Burke identify five kinds of reading that developed in relation to the introduction of print: Critical reading: due to the fact that texts finally became accessible to the general population, critical reading emerged because people were given the option to form their own opinions on texts Dangerous Reading: reading was seen as a dangerous pursuit because it was considered rebellious and unsociable especially in the case of women, because reading could stir up dangerous emotions such as love and that if women could read, they could read love notes Creative reading: printing allowed people to read texts and interpret them creatively, often in very different ways than the author intended Extensive Reading: print allowed for a wide range of texts to become available, thus, previous methods of intensive reading of texts from start to finish, began to change and with texts being readily available, people began reading on particular topics or chapters, allowing for much more extensive reading on a wider range of topics Private reading: became linked to the rise of individualism because before print, reading was often a group event, where one person would read to a group of people and with print, literacy rose as did availability of texts, thus reading became a solitary pursuit The invention of printing also changed the occupational structure of European cities. Printers emerged as a new group of artisans for whom literacy was essential, although the much more labour-intensive occupation of the scribe naturally declined. Proof-correcting arose as a new occupation, while a rise in the amount of booksellers and librarians naturally followed the explosion in the numbers of books. By 2005, Digital printing accounts for approximately 9% of the 45 trillion pages printed annually around the world.[35] Printing at home, an office, or an engineering environment is subdivided into: Some of the more common printing technologies are: Vendors typically stress the total cost to operate the equipment, involving complex calculations that include all cost factors involved in the operation as well as the capital equipment costs, amortization, etc. For the most part, toner systems are more economical than inkjet in the long run, even though inkjets are less expensive in the initial purchase price. Professional digital printing (using toner) primarily uses an electrical charge to transfer toner or liquid ink to the substrate onto which it is printed. Digital print quality has steadily improved from early color and black and white copiers to sophisticated colour digital presses such as the Xerox iGen3, the Kodak Nexpress, the HP Indigo Digital Press series, and the InfoPrint 5000. The iGen3 and Nexpress use toner particles and the Indigo uses liquid ink. The InfoPrint 5000 is a full-color, continuous forms inkjet drop-on-demand printing system. All handle variable data, and rival offset in quality. Digital offset presses are also called direct imaging presses, although these presses can receive computer files and automatically turn them into print-ready plates, they cannot insert variable data. Small press and fanzines generally use digital printing. Prior to the introduction of cheap photocopying the use of machines such as the spirit duplicator, hectograph, and mimeograph was common. 3D printing is a form of manufacturing technology where physical objects are created from three-dimensional digital models using 3D printers. The objects are created by laying down or building up many thin layers of material in succession. The technique is also known as additive manufacturing, rapid prototyping, or fabricating.[citation needed] Gang run printing is a method in which multiple printing projects are placed on a common paper sheet in an effort to reduce printing costs and paper waste. Gang runs are generally used with sheet-fed printing presses and CMYK process color jobs, which require four separate plates that are hung on the plate cylinder of the press. Printers use the term "gang run" or "gang" to describe the practice of placing many print projects on the same oversized sheet. Basically, instead of running one postcard that is 4 x 6 as an individual job the printer would place 15 different postcards on 20 x 18 sheet therefore using the same amount of press time the printer will get 15 jobs done in the roughly the same amount of time as one job. Printed electronics is the manufacturing of electronic devices using standard printing processes. Printed electronics technology can be produced on cheap materials such as paper or flexible film, which makes it an extremely cost-effective method of production. Since early 2010, the printable electronics industry has been gaining momentum and several large companies, including Bemis Company and Illinois Tool Works have made investments in printed electronics and industry associations including OE-A and FlexTech Alliance are contributing heavily to the advancement of the printed electronics industry.[36][37] Printing terminologies are the specific terms used in printing industry. Following is the list of printing terminologies.[38] On the effects of Gutenberg's printing Early printers manuals The classic manual of early hand-press technology is A somewhat later one, showing 18th century developments is

Digital Printing Press: An Update Banner Printing

The earliest surviving camera photograph, 1826 or 1827, known as View from the Window at Le Gras The history of photography has roots in remote antiquity with the discovery of two critical principles, that of the camera obscura (darkened or obscured room or chamber) and the fact that some substances are visibly altered by exposure to light, as discovered by observation. As far as is known, nobody thought of bringing these two phenomena together to capture camera images in permanent form until around 1800, when Thomas Wedgwood made the first reliably documented, although unsuccessful attempt. In the mid-1820s, Nicéphore Niépce succeeded, but several days of exposure in the camera were required and the earliest results were very crude. Niépce's associate Louis Daguerre went on to develop the daguerreotype process, the first publicly announced and commercially viable photographic process. The daguerreotype required only minutes of exposure in the camera, and produced clear, finely detailed results. It was commercially introduced in 1839, a date generally accepted as the birth year of practical photography.[1][2] The metal-based daguerreotype process soon had some competition from the paper-based calotype negative and salt print processes invented by William Henry Fox Talbot. Subsequent innovations made photography easier and more versatile. New materials reduced the required camera exposure time from minutes to seconds, and eventually to a small fraction of a second; new photographic media were more economical, sensitive or convenient, including roll films for casual use by amateurs. In the mid-20th century, developments made it possible for amateurs to take pictures in natural color as well as in black-and-white. The commercial introduction of computer-based electronic digital cameras in the 1990s soon revolutionized photography. During the first decade of the 21st century, traditional film-based photochemical methods were increasingly marginalized as the practical advantages of the new technology became widely appreciated and the image quality of moderately priced digital cameras was continually improved. The coining of the word "photography" is usually attributed to Sir John Herschel in 1839. It is based on the Greek φῶς (phōs), (genitive: phōtós) meaning "light", and γραφή (graphê), meaning "drawing, writing", together meaning "drawing with light".[3] A camera obscura used for drawing Photography is the result of combining several different technical discoveries. Long before the first photographs were made, Greek mathematicians Aristotle and Euclid described a pinhole camera in the 5th and 4th centuries BCE.[4][5] In the 6th century CE, Byzantine mathematician Anthemius of Tralles used a type of camera obscura in his experiments[6] Ibn al-Haytham (Alhazen) (965 in Basra – c. 1040 in Cairo) studied the camera obscura and pinhole camera,[5][7] Albertus Magnus (1193/1206–80) discovered silver nitrate, and Georges Fabricius (1516–71) discovered silver chloride. Daniel Barbaro described a diaphragm in 1568. Wilhelm Homberg described how light darkened some chemicals (photochemical effect) in 1694. The novel Giphantie (by the French Tiphaigne de la Roche, 1729–74) described what could be interpreted as photography. The earliest known surviving heliographic engraving, made in 1825. It was printed from a metal plate made by Joseph Nicéphore Niépce with his "heliographic process".[8] The plate was exposed under an ordinary engraving and copied it by photographic means. This was a step towards the first permanent photograph from nature taken with a camera obscura. In 1614, Angelo Sala demonstrated that "powdered silver nitrate is blackened by the sun",[9] as was paper that was wrapped around it. This discovery of the sun's effect on powdered silver nitrate was not supported and was subsequently disregarded by then-respected scientists who said that his discovery "had no practical application." Around 1717,[n 1] Johann Heinrich Schulze, a German professor of anatomy and physics, set down a bottle containing silver nitrate and chalk by the window and unintentionally in the path of incoming light from the sun. The mixture, unsurprisingly, turned dark. But what he noticed and found to be strange was that part of it remained white and formed a line across the bottle. He then observed a cord hanging down and going across in front of the window, which he found out to be the cause. On further examination, he found that the entire mixture inevitably reverted to its original white color. Experimenting further, Schulze succeeded in transferring words he pasted on the bottle printed into the substance.[10] Describing his achievement, Schulze wrote that “[t]he sun’s rays, where they hit the glass through the cut-out parts of the paper, wrote each word or sentence on the chalk precipitate so exactly and distinctly that many who were curious about the experiment but ignorant of its nature took occasion to attribute the thing to some sort of trick.”[11] He put the silver nitrate in an oven, which had no effect on its color. This proved to him, definitively, that heat had not facilitated the transformation, as popularly suspected. Rather, it was the light.[11] In 1777, the chemist Carl Wilhelm Scheele was studying the more intrinsically light-sensitive silver chloride and determined that light darkened it by disintegrating it into microscopic dark particles of metallic silver. Of greater potential usefulness, Scheele found that ammonia dissolved the silver chloride but not the dark particles. This discovery, which could have been used to stabilize or "fix" a camera image captured with silver chloride, was little-noticed at the time and unknown to the earliest photography experimenters. It was not until around the year 1800 that Thomas Wedgwood made the first known attempt to capture the image in a camera obscura by means of a light-sensitive substance. He used paper or white leather treated with silver nitrate. Although he succeeded in capturing the shadows of objects placed on the surface in direct sunlight, and even made shadow-copies of paintings on glass, it was reported in 1802 that "[t]he images formed by means of a camera obscura have been found too faint to produce, in any moderate time, an effect upon the nitrate of silver." The shadow images eventually darkened all over because "[n]o attempts that have been made to prevent the uncoloured part of the copy or profile from being acted upon by light have as yet been successful."[12] Wedgwood may have prematurely abandoned his experiments due to frail and failing health; he died aged 34 in 1805. "Boulevard du Temple", a daguerreotype made by Louis Daguerre in 1838, is generally accepted as the earliest photograph to include people. It is a view of a busy street, but because the exposure lasted for several minutes the moving traffic left no trace. Only the two men near the bottom left corner, one of them apparently having his boots polished by the other, remained in one place long enough to be visible. In 1816 Nicéphore Niépce, using paper coated with silver chloride, succeeded in photographing the images formed in a small camera, but the photographs were negatives, darkest where the camera image was lightest and vice versa, and they were not permanent in the sense of being reasonably light-fast; like earlier experimenters, Niépce could find no way to prevent the coating from darkening all over when it was exposed to light for viewing. Disenchanted with silver salts, he turned his attention to light-sensitive organic substances.[13] Robert Cornelius, self-portrait, October or November 1839, an approximately quarter plate size daguerreotype. On the back is written, "The first light picture ever taken". One of the oldest photographic portraits known, 1839 or 1840,[14] made by John William Draper of his sister, Dorothy Catherine Draper Not all early portraits are stiff and grim-faced records of a posing ordeal. This pleasant expression was captured by Mary Dillwyn in Wales in 1853. The oldest surviving photograph of the image formed in a camera was created by Niépce in 1826 or 1827.[1] It was made on a polished sheet of pewter and the light-sensitive substance was a thin coating of bitumen, a naturally occurring petroleum tar, which was dissolved in lavender oil, applied to the surface of the pewter and allowed to dry before use.[15] After a very long exposure in the camera (traditionally said to be eight hours, but now believed to be several days),[16] the bitumen was sufficiently hardened in proportion to its exposure to light that the unhardened part could be removed with a solvent, leaving a positive image with the light areas represented by hardened bitumen and the dark areas by bare pewter.[15] To see the image plainly, the plate had to be lit and viewed in such a way that the bare metal appeared dark and the bitumen relatively light.[13] In partnership, Niépce in Chalon-sur-Saône and Louis Daguerre in Paris refined the bitumen process,[17] substituting a more sensitive resin and a very different post-exposure treatment that yielded higher-quality and more easily viewed images. Exposure times in the camera, although substantially reduced, were still measured in hours.[13] Niépce died suddenly in 1833, leaving his notes to Daguerre. More interested in silver-based processes than Niépce had been, Daguerre experimented with photographing camera images directly onto a mirror-like silver-surfaced plate that had been fumed with iodine vapor, which reacted with the silver to form a coating of silver iodide. As with the bitumen process, the result appeared as a positive when it was suitably lit and viewed. Exposure times were still impractically long until Daguerre made the pivotal discovery that an invisibly slight or "latent" image produced on such a plate by a much shorter exposure could be "developed" to full visibility by mercury fumes. This brought the required exposure time down to a few minutes under optimum conditions. A strong hot solution of common salt served to stabilize or fix the image by removing the remaining silver iodide. On 7 January 1839, this first complete practical photographic process was announced at a meeting of the French Academy of Sciences,[18] and the news quickly spread.[19] At first, all details of the process were withheld and specimens were shown only at Daguerre's studio, under his close supervision, to Academy members and other distinguished guests.[20] Arrangements were made for the French government to buy the rights in exchange for pensions for Niépce's son and Daguerre and present the invention to the world (with the exception of Great Britain, where an agent for Daguerre patented it) as a free gift.[21] Complete instructions were made public on 19 August 1839.[22] Known as the Daguerreotype process, it was the most common commercial process until the late 1850s. It was superseded by the collodion process. After reading early reports of Daguerre's invention, Henry Fox Talbot, who had succeeded in creating stabilized photographic negatives on paper in 1835, worked on perfecting his own process. In early 1839, he acquired a key improvement, an effective fixer, from his friend John Herschel, a polymath scientist who had previously shown that hyposulfite of soda (commonly called "hypo" and now known formally as sodium thiosulfate) would dissolve silver salts.[23] News of this solvent also benefited Daguerre, who soon adopted it as a more efficient alternative to his original hot salt water method.[24] A calotype showing the American photographer Frederick Langenheim, circa 1849. Note that the caption on the photo calls the process "Talbotype". Talbot's early silver chloride "sensitive paper" experiments required camera exposures of an hour or more. In 1840, Talbot invented the calotype process, which, like Daguerre's process, used the principle of chemical development of a faint or invisible "latent" image to reduce the exposure time to a few minutes. Paper with a coating of silver iodide was exposed in the camera and developed into a translucent negative image. Unlike a daguerreotype, which could only be copied by rephotographing it with a camera, a calotype negative could be used to make a large number of positive prints by simple contact printing. The calotype had yet another distinction compared to other early photographic processes, in that the finished product lacked fine clarity due to its translucent paper negative. This was seen as a positive attribute for portraits because it softened the appearance of the human face. Talbot patented this process,[25] which greatly limited its adoption, and spent many years pressing lawsuits against alleged infringers. He attempted to enforce a very broad interpretation of his patent, earning himself the ill will of photographers who were using the related glass-based processes later introduced by other inventors, but he was eventually defeated. Nonetheless, Talbot's developed-out silver halide negative process is the basic technology used by chemical film cameras today. Hippolyte Bayard had also developed a method of photography but delayed announcing it, and so was not recognized as its inventor. In 1839, John Herschel made the first glass negative, but his process was difficult to reproduce. Slovene Janez Puhar invented a process for making photographs on glass in 1841; it was recognized on June 17, 1852 in Paris by the Académie Nationale Agricole, Manufacturière et Commerciale.[26] In 1847, Nicephore Niépce's cousin, the chemist Niépce St. Victor, published his invention of a process for making glass plates with an albumen emulsion; the Langenheim brothers of Philadelphia and John Whipple and William Breed Jones of Boston also invented workable negative-on-glass processes in the mid-1840s.[27] In 1851 Frederick Scott Archer invented the collodion process.[28] Photographer and children's author Lewis Carroll used this process. (Carroll refers to the process as "Tablotype" [sic] in the story "A Photographer's Day Out")[29] Roger Fenton's assistant seated on Fenton's photographic van, Crimea, 1855 Herbert Bowyer Berkeley experimented with his own version of collodion emulsions after Samman[disambiguation needed] introduced the idea of adding dithionite to the pyrogallol developer.[citation needed] Berkeley discovered that with his own addition of sulfite, to absorb the sulfur dioxide given off by the chemical dithionite in the developer, that dithionite was not required in the developing process. In 1881 he published his discovery. Berkeley's formula contained pyrogallol, sulfite and citric acid. Ammonia was added just before use to make the formula alkaline. The new formula was sold by the Platinotype Company in London as Sulpho-Pyrogallol Developer.[30] Nineteenth-century experimentation with photographic processes frequently became proprietary. The German-born, New Orleans photographer Theodore Lilienthal successfully sought legal redress in an 1881 infringement case involving his "Lambert Process" in the Eastern District of Louisiana. General view of The Crystal Palace at Sydenham by Philip Henry Delamotte, 1854 A mid-19th century "Brady stand" armrest table, used to help subjects keep still during long exposures. It was named for famous US photographer Mathew Brady. An 1855 cartoon satirized problems with posing for Daguerreotypes: slight movement during exposure resulted in blurred features, red-blindness made rosy complexions look dark. In this 1893 multiple-exposure trick photo, the photographer appears to be photographing himself. It satirizes studio equipment and procedures that were nearly obsolete by then. Note the clamp to hold the sitter's head still. A comparison of common print sizes used in photographic studios during the 19th century The daguerreotype proved popular in response to the demand for portraiture that emerged from the middle classes during the Industrial Revolution.[citation needed] This demand, which could not be met in volume and in cost by oil painting, added to the push for the development of photography. Roger Fenton and Philip Henry Delamotte helped popularize the new way of recording events, the first by his Crimean war pictures, the second by his record of the disassembly and reconstruction of The Crystal Palace in London. Other mid-nineteenth-century photographers established the medium as a more precise means than engraving or lithography of making a record of landscapes and architecture: for example, Robert Macpherson's broad range of photographs of Rome, the interior of the Vatican, and the surrounding countryside became a sophisticated tourist's visual record of his own travels. In America, by 1851 a broadside by daguerreotypist Augustus Washington was advertising prices ranging from 50 cents to $10.[31] However, daguerreotypes were fragile and difficult to copy. Photographers encouraged chemists to refine the process of making many copies cheaply, which eventually led them back to Talbot's process. Ultimately, the photographic process came about from a series of refinements and improvements in the first 20 years. In 1884 George Eastman, of Rochester, New York, developed dry gel on paper, or film, to replace the photographic plate so that a photographer no longer needed to carry boxes of plates and toxic chemicals around. In July 1888 Eastman's Kodak camera went on the market with the slogan "You press the button, we do the rest". Now anyone could take a photograph and leave the complex parts of the process to others, and photography became available for the mass-market in 1901 with the introduction of the Kodak Brownie. The first durable color photograph, taken by Thomas Sutton in 1861 A practical means of color photography was sought from the very beginning. Results were demonstrated by Edmond Becquerel as early as 1848, but exposures lasting for hours or days were required and the captured colors were so light-sensitive they would only bear very brief inspection in dim light. The first durable color photograph was a set of three black-and-white photographs taken through red, green, and blue color filters and shown superimposed by using three projectors with similar filters. It was taken by Thomas Sutton in 1861 for use in a lecture by the Scottish physicist James Clerk Maxwell, who had proposed the method in 1855.[32] The photographic emulsions then in use were insensitive to most of the spectrum, so the result was very imperfect and the demonstration was soon forgotten. Maxwell's method is now most widely known through the early 20th century work of Sergei Prokudin-Gorskii. It was made practical by Hermann Wilhelm Vogel's 1873 discovery of a way to make emulsions sensitive to the rest of the spectrum, gradually introduced into commercial use beginning in the mid-1880s. Two French inventors, Louis Ducos du Hauron and Charles Cros, working unknown to each other during the 1860s, famously unveiled their nearly identical ideas on the same day in 1869. Included were methods for viewing a set of three color-filtered black-and-white photographs in color without having to project them, and for using them to make full-color prints on paper.[33] The first widely used method of color photography was the Autochrome plate, a process inventors and brothers Auguste and Louis Lumière began working on in the 1890s and commercially introduced in 1907.[34] It was based on one of Louis Ducos du Hauron's ideas: instead of taking three separate photographs through color filters, take one through a mosaic of tiny color filters overlaid on the emulsion and view the results through an identical mosaic. If the individual filter elements were small enough, the three primary colors of red, blue, and green would blend together in the eye and produce the same additive color synthesis as the filtered projection of three separate photographs. A color portrait of Samuel Clemens (Mark Twain) by Alvin Langdon Coburn, 1908, made by the recently introduced Autochrome process Autochrome plates had an integral mosaic filter layer with roughly five million previously dyed potato grains per square inch added to the surface. Then through the use of a rolling press, five tons of pressure were used to flatten the grains, enabling every one of them to capture and absorb color and their microscopic size allowing the illusion that the colors are merged together. The final step was adding a coat of the light capturing substance silver bromide after which a color image could be imprinted and developed. In order to see it, reversal processing was used to develop each plate into a transparent positive that could be viewed directly or projected with an ordinary projector. One of the drawbacks of the technology is an exposure time of at least a second was required during the day in bright light and the worse the light is, the time required quickly goes up. An indoor portrait required a few minutes with the subject not being able to move or else the picture would come out blurry. This was because the grains absorbed the color fairly slowly and that a filter of a yellowish-orange color was added to the plate to keep the photograph from coming out excessively blue. Although necessary, the filter had the effect of reducing the amount of light that was absorbed. Another drawback was that the film could only be enlarged so much until the many dots that make up the image become apparent.[34][35] Competing screen plate products soon appeared and film-based versions were eventually made. All were expensive and until the 1930s none was "fast" enough for hand-held snapshot-taking, so they mostly served a niche market of affluent advanced amateurs. A new era in color photography began with the introduction of Kodachrome film, available for 16 mm home movies in 1935 and 35 mm slides in 1936. It captured the red, green, and blue color components in three layers of emulsion. A complex processing operation produced complementary cyan, magenta, and yellow dye images in those layers, resulting in a subtractive color image. Maxwell's method of taking three separate filtered black-and-white photographs continued to serve special purposes into the 1950s and beyond, and Polachrome, an "instant" slide film that used the Autochrome's additive principle, was available until 2003, but the few color print and slide films still being made in 2015 all use the multilayer emulsion approach pioneered by Kodachrome. Main article: Digital photography Walden Kirsch as scanned into the SEAC computer in 1957 In 1957, a team led by Russell A. Kirsch at the National Institute of Standards and Technology developed a binary digital version of an existing technology, the wirephoto drum scanner, so that alphanumeric characters, diagrams, photographs and other graphics could be transferred into digital computer memory. One of the first photographs scanned was a picture of Kirsch's infant son Walden. The resolution was 176x176 pixels with only one bit per pixel, i.e., stark black and white with no intermediate gray tones, but by combining multiple scans of the photograph done with different black-white threshold settings, grayscale information could also be acquired.[36] The charge-coupled device (CCD) is the image-capturing optoelectronic component in first-generation digital cameras. It was invented in 1969 by Willard Boyle and George E. Smith at AT&T Bell Labs as a memory device. The lab was working on the Picturephone and on the development of semiconductor bubble memory. Merging these two initiatives, Boyle and Smith conceived of the design of what they termed "Charge 'Bubble' Devices". The essence of the design was the ability to transfer charge along the surface of a semiconductor. It was Dr. Michael Tompsett from Bell Labs however, who discovered that the CCD could be used as an imaging sensor. The CCD has increasingly been replaced by the active pixel sensor (APS), commonly used in cell phone cameras. These mobile phone cameras are used by billions of people worldwide, dramatically increasing photographic activity and material and also fueling citizen journalism. The web has been a popular medium for storing and sharing photos ever since the first photograph was published on the web by Tim Berners-Lee in 1992 (an image of the CERN house band Les Horribles Cernettes). Today sites and apps such as Flickr, Picasa, Instagram, Imgur and PhotoBucket are used by many millions of people to share their pictures. ^ This date is commonly misreported as 1725 or 1727, an error deriving from the belief that a 1727 publication of Schulze's account of experiments he says he undertook about two years earlier is the original source. In fact, it is a reprint of a 1719 publication and the date of the experiments is therefore circa 1717. The dated contents page of the true original can be seen here (retrieved 21 February 2015)

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