Wildlife photography involves capturing images of various forms of wildlife. Unlike other forms of photography such as product or food photography, successful wildlife photography requires a photographer to choose the right place and right time when specific wildlife are present and active. It often requires great patience and considerable skill and command of the right photographic equipment. [65] Social and cultural implications [ edit ] Photography may be used both to capture reality and to produce a work of art. While photo manipulation was often frowned upon at first, it was eventually used to great extent to produce artistic effects. Nude composition 19 from 1988 by Jaan Künnap. The Musée de l'Élysée, founded in 1985 in Lausanne, was the first photography museum in Europe. Shutter speed: The amount of time your camera sensor is exposed to the outside world while taking a picture. Chapter 3: Shutter Speed This book brings together a very special collection of pictures. Planet Earth is now regarded as the ultimate wildlife TV series, and its magic lies in its photography. Featuring the very best of Planet Earth images - from breathtaking aerials to unique, intimate portraits - Planet Earth, The Photographs is full of surprises, spectacle and a sense of awe. It is also, to quote David Attenborough, "an eloquent rallying call to all

The Met began collecting photographs in 1928, when Alfred Stieglitz, a passionate advocate of photography as a fine art, made the first of several important gifts to the Museum. In addition to superb examples of his own photography, his gifts comprise the best collection anywhere of works by the Photo-Secession, the circle of Pictorialist photographers shown at his influential gallery. The Stieglitz Collection is especially rich in large master prints by Edward Steichen; of special note are three large, unique prints of the Flatiron building, each a slightly different hue, evoking a different moment of twilight in the city. Also featured in the Stieglitz Collection are F. Holland Day, Adolph de Meyer, Gertrude Käsebier, Paul Strand, and Clarence White. In Brazil, Hercules Florence had apparently started working out a silver-salt-based paper process in 1832, later naming it Photographie.When Bernd began photographing around Siegen, he came across the record-picture archives of a number of steelworks. These formed the photographic references for his work. While many would perceive this type of photograph as 19th-century in style, the Bechers, quite rightly, regarded it as a timeless and perfectly practical use of the medium. It also held a significant philosophical implication.

These scientist-magicians, the first color photographers, are hardly alone in pushing the boundaries of one of the world’s newest art forms. The history of photography has always been a history of people – artists and inventors who steered the field into the modern era. Potonniée, Georges (1973). The history of the discovery of photography. Arno Press. p. 50. ISBN 0-405-04929-3Secondly, and more subtly, a photograph reflects the way the photographer engages with the subject. Take a picture of something you hate and it shows. Likewise, take a picture of something you find wonderful, and a sense of this wonder will be apparent. This is the double-edged sword of photography – and the reason why it should be treated with respect. Much like a lie detector, if you try to make a photograph to deliberately solicit a certain response then the manipulation, however subtle, will be transparent. Image Clarity: High Resolution Photography by John B. Williams, Focal Press 1990, ISBN 0-240-80033-8. There must be some one quality without which a work of art cannot exist; possessing which, in the least degree, no work is altogether worthless. What is this quality? What quality is shared by all objects that provoke our aesthetic emotions? What quality is common to Sta. Sophia and the windows at Chartres, Mexican sculpture, a Persian bowl, Chinese carpets, Giotto's frescoes at Padua, and the masterpieces of Poussin, Piero della Francesca, and Cezanne? Only one answer seems possible– significant form. In each, lines and colors combined in a particular way, certain forms and relations of forms, stir our aesthetic emotions. [54] Levinson, P. (1997) The Soft Edge: a Natural History and Future of the Information Revolution, Routledge, London and New York, pp. 37–48, ISBN 0-415-15785-4.