Although photography was first made public in 1839, the theory behind the principles of the medium begin with Aristotle’s description of how light waves behave when projected through a small aperture. This is fundamentally the description of how a les or camera’s aperture operates when it projects an image onto the film at the back of a camera. In the Middle Ages, Alhazen and Francis Bacon extended the principle to include a large, darkened room with a small opening in one wall. In the 15th to 18th centuries, this camera obscura, as it came to be called, was reduced in size and made convenient for artists to use in tracing scenic design and architectural perspective. The chemical principles basic of photography were also described well before photography was “invented”. John Schulze, in 1727, demonstrated that silver salts turned dark when exposed to light. Carl W. Scheele, in 1777, showed that ammonia retarded the effects of light and he indicated a possible way of stabilizing the photochemical process. By the end of the 18th century, the necessary equipments (the camera obscura) were available at least to produce semi permanent photographic images. The artistic style and aesthetic of Renaissance and post-Renaissance Europe place a high value on a naturalistic rendering of nature and thus legitimatized the use machines like the camera obscura by artist. By the mid 18th century, a public demand had made itself for realistic portraits, which was partially satisfied by other machines for recording human likenesses. Beginning in the 1970’s, Jacques Charles conducted experiments in the automatic; if permanent, recording of portrait silhouettes on photosensitive paper. Two imperatives-the need for perspectively accurate landscape and architectural scenes and for objectively truthful portraits-created a climate for certain types and styles of pictures that, after 1839, would be achieved easily by photograph. Which is most likely the topic of the paragraph following this text?

Question

Although photography was first made public in 1839, the theory behind the principles of the medium begin with Aristotle’s description of how light waves behave when projected through a small aperture. This is fundamentally the description of how a les or camera’s aperture operates when it projects an image onto the film at the back of a camera. In the Middle Ages, Alhazen and Francis Bacon extended the principle to include a large, darkened room with a small opening in one wall. In the 15th to 18th centuries, this camera obscura, as it came to be called, was reduced in size and made convenient for artists to use in tracing scenic design and architectural perspective.

The chemical principles basic of photography were also described well before photography was “invented”. John Schulze, in 1727, demonstrated that silver salts turned dark when exposed to light. Carl W. Scheele, in 1777, showed that ammonia retarded the effects of light and he indicated a possible way of stabilizing the photochemical process. By the end of the 18th century, the necessary equipments (the camera obscura) were available at least to produce semi permanent photographic images.

The artistic style and aesthetic of Renaissance and post-Renaissance Europe place a high value on a naturalistic rendering of nature and thus legitimatized the use machines like the camera obscura by artist. By the mid 18th century, a public demand had made itself for realistic portraits, which was partially satisfied by other machines for recording human likenesses. Beginning in the 1970’s, Jacques Charles conducted experiments in the automatic; if permanent, recording of portrait silhouettes on photosensitive paper. Two imperatives-the need for perspectively accurate landscape and architectural scenes and for objectively truthful portraits-created a climate for certain types and styles of pictures that, after 1839, would be achieved easily by photograph.

Which is most likely the topic of the paragraph following this text?

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