For example, there has been much debate about whether the Dutch painter Johannes Vermeer may have used a camera obscura to capture incredible detail in his exquisite paintings of domestic interior scenes, but there is no documentary evidence.
The balance of opinion among art historians is that he probably did! The camera obscura is useful for making drawings, but it is only focusing and reflecting light, not capturing it. The next big leap, beginning in the 19th century, was to use a device like a camera obscura but to combine it with a material that would alter when exposed to the light, thus preserving the image.
So the camera obscura is a rather magical box after all — with just a hole and some light, we have the basis for all photography, including, believe it or not, the camera in your phone.
Before, we also had had evidence of the observation of the phenomenons and the effects of the sunlight produced by the Camera Obscura: since the fifth century in a few texts written by chinese philosophers and, in the fourth century in a referente by Aristotle. However, until Alhazen its relation with the formation of the optical image was not introduced.
During the Renaissance, Leonardo da Vinci gave an impulse to the development of the camera obscura, using it to study in depth how the vision works, how the Light reacts and the laws of geometric perspective: he related all that to the painting techniques. The first written reference to the lenses was made by the mathematician Girolamo Cardano in , but the scientist Giovanni Della Porta was the one who, eight years later, spread this piece of news around the World.
In the XVIIth century, Robert Hooke built cameras oscuras, and tried to reproduce the curved shape of the retina, wiith concave screens of projection situated at the bottom of the camera. The intention was to demostrate the mechanism of the human vision.
We have a mirror at the top of our tower which is angled to reflect light down a large tube which contains three lenses. These lenses focus the light onto a white wooden table, projecting an image of the view outside. The mirror tilts and rotates allowing us to see a degree view of Edinburgh and the lenses allow us to see the image the right way up.
In fact, camera obscuras date back to as far as BC, possibly even before records existed. The earliest known written account of a camera obscura was provided by a Chinese philosopher called Mo-tzu or Mozi in BC. He noted that light from an illuminated object that passed through a pinhole into a dark room created an inverted image of the original object.
In the 4th century BC, the Greek philosopher Aristotle realised that a partial eclipse could be viewed by looking at the ground beneath a tree. Camera obscura is a very old device. Oldest mention of its effect is by Mozi, Chinese philosopher and the founder of Mohism, during the 5th century BC.
The Greek philosopher Aristotle noticed in 4th century that light from a sun eclipse that passes through holes between the leaves, projects an image of an eclipsed sun on the ground. Anthemius of Tralles, which designed the Hagia Sophia, used a type of camera obscura in his experiments in 6th century. Al-Kindi, Arab philosopher, mathematician, physician, and musician, performed experiments with light and a pinhole in 9th century and proved again behavior of light.
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