Instruct: Given a question, retrieve passages that answer the question.
Query: When did we invent photography?
The history of photography began in remote antiquity with the discovery of two critical principles; camera obscura image projection and the observation that some substances are visibly altered by exposure to light. Apart from a possibly photographic but unrecognised process used on the Turin Shroud there are no artefacts or descriptions that indicate any attempt to capture images with light sensitive materials prior to the 18th century. Around 1717 Johann Heinrich Schulze captured cut-out letters on a bottle of a light-sensitive slurry, but he apparently never thought of making the results durable. Around 1800 Thomas Wedgwood made the first reliably documented, although unsuccessful attempt at capturing camera images in permanent form. His experiments did produce detailed photograms, but Wedgwood and his associate Humphry Davy found no way to fix these images.
“When we did Invade, Josh was still learning,” tells Cocchi of the five weeks the band spent with Wickman working on Elite. “We were learning new ways and figuring things out that made the recording [of Invade] easier for us and made it come out better. So when we got to do Elite, we already had a system with Josh. We knew how we were going to do everything. We still experimented and tried out different shit. It just flowed. We had a better schedule. When we did Invade, we would track for six hours and then go out and party and grill. Then we would wake up, record whatever, then repeat. I think it’s funny because it shows it has that feel to it, to me at least. When we did Elite, we were like, okay, schedule. We’ll go to the gym at 8 in the morning with Josh, then go eat breakfast, then we would start tracking at 10. Then go to 8 o’clock [in the evening]. I think we were a little bit more responsible and professional if you will when doing this album.
The nude has been a prominent subject of photography since its invention, and played an important role in establishing photography as a fine art medium.
From 1939 and onward, what had previously been the flourishing and sizeable industry of fashion photography all but stopped due to the beginnings of World War II. The United States and Europe quickly diverged from one another. What had previously been a togetherness and inspired working relationship diverged with Paris occupied and London under siege. Paris, the main fashion-power house of the time quickly became isolated from the United States—especially with "Vogue Paris" shutting down for a brief hiatus in 1940. With these changes, the photography based out of the USA gained a distinct Americana vibe—models often posed with flags, American brand cars, and generally just fulfilling the American ideal. What did remain of the French and British fashion photography on the other hand often had a wartime overlay to the content. Cecil Beaton’s ‘Fashion is Indestructible’ from 1941 displays a well-dressed woman viewing the rubble that once was Middle Temple in London. Similarly, Lee Miller began taking photos of women in Paris and London, modeling the latest designs for gas masks and bicycling with pincurlers in their hair, as they did not have electricity with which to curl their hair. Images such as these remain scarred into the face of fashion photography of the time and display a common sentiment among the fashionable world and the public. Even fashion photographers worked to document the issues surrounding and work towards a documentation of the time—even if within the frame of fashion. These photos are an especially good indication of the fashionable emotions of the time. Many felt that fashion photography, during wartime especially, was frivolous and unnecessary. Yet, the few who worked to preserve the industry did so in new and inventive ways throughout the duration of the war.
Filming went smoothly, and Corman attributed the ease of the production's shoot to the short but comprehensive pre-production planning he did with the major technicians:
We achieved what we did on a low budget because we carefully planned the whole production in advance of starting the cameras. Thus, when we moved into the studio for fifteen days of scheduled shooting, we didn't have to start making decisions. Because of our pre-production conferences with director of photography Floyd Crosby and art director Daniel Haller, everyone knew exactly what to do, barring any last minute inspirations on the set.
For the majority of the album's editions, the artwork featured a purple-like background colour, however the artwork was changed for some editions and used a blue background colour instead, although the design otherwise remained the same. It is reported that the album's backing vocalist Marwenna Laidlaw is the woman posing on the front cover of the album. The photography was created by David McIntyre, who had also done the band's debut album. The sleeve was designed by myIDEA. The picture was taken in McIntyre's apartment in London. Patterson later recalled ""We just asked David to come up with an interesting picture (which he did in his flat in London). We did not give him any ideas and we did not see what he was doing... he just presented it to us when he had finished.""
A counterfactual statement is a conditional statement with a false antecedent. For example, the statement "If Joseph Swan had not invented the modern incandescent light bulb, then someone else would have invented it anyway" is a counterfactual, because in fact, Joseph Swan invented the modern incandescent light bulb. The most immediate task concerning counterfactuals is that of explaining their truth-conditions. As a start, one might assert that background information is assumed when stating and interpreting counterfactual conditionals and that this background information is just every true statement about the world as it is (pre-counterfactual). In the case of the Swan statement, we have certain trends in the history of technology, the utility of artificial light, the discovery of electricity, and so on. We quickly encounter an error with this initial account: among the true statements will be "Joseph Swan did invent the modern incandescent light bulb." From the conjunction of this statement (call it "S") and the antecedent of the counterfactual ("¬S"), we can derive any conclusion, and we have the unwelcome result that any statement follows from any counterfactual (see the principle of explosion). Nelson Goodman takes up this and related issues in his seminal Fact, Fiction, and Forecast; and David Lewis's influential articulation of possible world theory is popularly applied in efforts to solve it.
In post-production, Wan found he did not have enough shots or takes to work with as he was basically shooting rehearsals. Having a lot of missing gaps in the final product, he and editor Kevin Greutert created shots to mend together during editing; such as making a shot look like a surveillance camera feed and using still photographs. "We did a lot of things to fill in gaps throughout the film. Whatever we cut to newspaper clippings and stuff like that, or we cut to surveillance cameras, or we cut to still photography within the film, which now people say, 'Wow, that's such a cool experimental style of filmmaking', we really did that out of necessity to fill in gaps we did not get during the filming," he explained.
More recently, in his chapter titled "If the Devil Did Not Exist, It May Be Necessary to Invent Him in Certain Contexts" published in a book titled, "Philosophical Approaches to the Devil", through Routledge's Studies in the Philosophy of Religion series, Arp argues not only that Voltaire's claim, "If God did not exist, it would be necessary to invent Him" is probably false given the preponderance of non-theistic ethical systems, but also that the claim "If the Devil did not exist, it would be necessary to invent Him" is false as well. However, he does argue that it is "not unreasonable to utilize God and the Devil as makeshifts for psychological comfort and social order, given a context in which we have people who are not able to self-soothe or act correctly without the fear of God's judgment and the Devil's pitchfork. So, the upshot is that if God and the Devil did not exist—or do not exist—it may be necessary to invent them in certain contexts."
Hippolyte Bayard (20 January 1801 – 14 May 1887) was a French photographer and pioneer in the history of photography. He invented his own process that produced direct positive paper prints in the camera and presented the world's first public exhibition of photographs on 24 June 1839. He claimed to have invented photography earlier than Louis-Jacques Mandé Daguerre in France and William Henry Fox Talbot in England, the men traditionally credited with its invention.
It is not known when the tomahawk chop was invented. However, it is claimed by a former Florida State University president that it was invented by the Florida State University Marching Chiefs in the 1980s to complement their war chants. Another report claims it was first performed in 1984 by students from the university's fraternities behind the band. The action was adopted by fans of the FSU Seminoles over the following years. Despite this, the university's board does not endorse the action stating "Some traditions we cannot control...It's a term we did not choose and officially do not use".
The move toward a more visual culture began with the invention of photography and films; but really took off with the invention of Television which took just eight years to enter half of American homes.
He uses statistics to show the plummeting number of Americans who read regularly and while conceding that he himself is a book lover, he thinks it pointless to resist the process. He details how all new media provokes outrage initially: opera, printing, writing, photography, phones. Even paper was banned in 1231 by Holy Roman Emperor Frederick II! 
For Mitchell Stephens, pictures best attributes are that they can give you far more information and faster than words. It was written just as the number of TV channels was exploding but for Mitchell, even 500 channels is not enough to compete with the complexity of a bookstore, we need more! Mitchell is excited about the potential of what he calls 'new video'. For a long time, writing was only used for market records, it was a long time before we saw poems and novels. Stephens posited that films and TV started off resembling plays but are now evolving in brand new ways (photomontage in Eisenstein's films was the first sign of this) just as words did.
Evidence also spoke about why they chose "Directors of Photography" as the album title, saying: "I always said that "Directors of Photography" would be a dope title so I could tie some personal stuff that I wanted to with my mom's situation or photography or whatever. I think that's the dynamic of this album, learning from our personal experiences and bringing it to Dilated. We used to rap about rapping. We would rap about how we were tight, or we would have an anthem, or we'd make a concept and rap around the concept, but this time, I think, we're letting who we are show a little bit. We've done so much growth as solo artists. To not bring it up at all here and pretend we haven't had this off time or we haven't had this growth period, it would be a disservice."
"N.Y., N.Y." is mentioned in Aldous Huxley's essay "Heaven and Hell":
And then there is what may be called the Distorted Documentary a new form of visionary art, admirably exemplified by Mr. Francis Thompson's film, "NY, NY". In this very strange and beautiful picture we see the city of New York as it appears when photographed through multiplying prisms, or reflected in the backs of spoons, polished hub caps, spherical and parabolic mirrors. We still recognize houses, people, shop fronts, taxicabs, but recognize them as elements in one of those living geometries which are so characteristic of the visionary experience. The invention of this new cinematographic art seems to presage (thank heaven!) the supersession and early demise of non-representational painting. It used to be said by the non-representationalists that colored photography had reduced the old-fashioned portrait and the old-fashioned landscape to the rank of otiose absurdities. This, of course, is completely untrue. Colored photography merely records and preserves, in an easily reproducible form, the raw materials with which portraitists and landscape painters work. Used as Mr. Thompson has used it, colored cinematography does much more than merely record and preserve the raw materials of non-representational art; it actually turns out the finished product. Looking at "NY, NY", I was amazed to see that virtually every pictorial device invented by the old masters of non-representational art and reproduced ad nauseam by the academicians and mannerists of the school, for the last forty years or more, makes its appearance, alive, glowing, intensely significant, in the sequences of Mr. Thompson's film.
Photography has been used to capture every kind of moment from its very beginning, but event photography really began when the first "portable" cameras were invented and persons (or professionals) could now carry around a camera and take photographs of moments as they happened as opposed to posing a set up and sitting for it.
History of Event Photography*
"And one of the things that was very impressive to me was that the photography was driving the crisis. In fact policy papers that were told to be prepared, were coming maybe one day or two days later and by that time, the situation had completely changed. So ... the photography was creating a climate that was demanding that policy stay right with the photography. Now keep in mind, we were on two twelve hour shifts, but the policy-makers were only working eight to ten hours a day. So Lundahl raised the issue, maybe the policy-maker ought to be going into twelve hour shifts and then stay right with us at the centre as we were looking at the photography. Now that never occurred, but Lundahl raised the issue and later that would come up several times in crises in the future in which people did move into the centre."
Nell Scovell and Joel Hodgson were recruited to try to reduce Kirkpatrick's script due to the budget restraint. In Kirkpatrick's script, the group of shrunken parents would originally fall into an aquarium. The scene was cut from the script, and then revised to the bubble machine one. One scene shows one of Wayne's inventions, a machine that translates dog barks to human speech. It is similar to the devices in the "invention exchange" Hodgson did when with "Mystery Science Theater 3000".
Not that I had much to do with it. In common with hundreds of others I was drafted there, and we patrolled the streets usually in pairs-without any tangible result. We did, however, rather anticipate a great commercial invention. To our clumsy regulation boots we nailed strips of rubber, usually bits of old bicycle tires, and so ensured some measure of silence when walking.
Cage was the first character created for "Mortal Kombat". Pesina said: "Johnny Cage was the first character we shot, so he’s like the father o"f" "Mortal Kombat". When we were shooting him, we did every movement we could think of to try to get some kind of idea of what path to take during the game." The test prototype of the original game had just two Johnnies fighting each other, and Pesina said this was when he invented Johnny Cage's finishing move of punching off the opponent's head as the game's first Fatality. In "Mortal Kombat X", Cage's gameplay style is split into three fighting variations like those of the other playable characters; Prima Games deemed him as effective at zoning.
About the album, vocalist James Michael stated "It was exciting for us, because this is the first record where we didn't have an outside, kind of, peripheral thing, like a book or photography, to base it on. And we did that very intentionally... We wanted to find out who we had become as a band, and in order to do that, what we did is we went back and looked at all of the records that had inspired us over the years — Queen, ELO, Elton John, and Bowie and all of those artists. And when you look at their careers, they were all very song-based; all of those records were very song-based, very performance-based. And that's the spirit in which we wanted 'Modern Vintage' to be made."
Metabiotics involves finding a place in the city where Orion would paint the wall and with his camera at the ready, await the decisive instant when people interacted spontaneously with his paintings. Framing the precise situation promoted a joining of painting and real life, encouraging an encounter (or confrontation) between reality and fiction within the field of photography. 
This decisive moment of interaction between people and painted image led to Metabiotics, as opposed to traditional photography's conveying the false idea of all that is photographic being real. Metabiotics questions truthfulness: the paintings were actually done in the walls, people really did pass by and act spontaneously, but what we see suggests a type of montage that did not exist. Everything is both true and false.
Painting and photography share the same environment like two inseparable yet incompatible organisms. Photography as purpose is environment in which there is no distinctive boundary between attachment and detachment between languages. There is something beyond the two viewpoints: a tenuous and infinite gap that leads us to non-existence.
We, who protest here, did not succeed in sinking through to the majority of the people. The majority is silent and therefore has no influence. I will tell you why the majority is not here. They are not here because we didn't manage to settle in the hearts [Hebrew: להתנחל בלבבות, originally a phrase invented by the settlers] of this true majority, the majority that makes the difference. We didn't manage to talk and perhaps we didn't even want to. We turned the settlers of Yesha into enemies and in an overbearing manner we banished them to the outskirts. We will only succeed when the grief of the evacuees will overcome the joyous cry of the evacuators. We claimed the desire for peace solely as our own. The majority sits at home and is quiet, although it wants out of Gaza the same as we do. The majority doesn't care, and shouldn't care, which person signs the accords to end the [Israeli–Palestinian] conflict. In order to get out of Gaza, the majority of the people must not be silent. 
Stew summarized the story and the music: "It's ... about the costs of being a young artist. It's a 46-year-old guy looking back at the things that he did and the values he had in his 20s, sort of when you're making that decision to really be an artist ... We knew we were going to invent something 'cause we kind of knew this hadn't been done before, the goal being to bring the actual music that one hears in a club to the stage — not through some kind of theatrical musical-theater filter".
In 1970, shortly after her husband's death, Homai Vyarawalla decided to give up photography, lamenting "bad behaviour" of the new generation of photographers. She did not take a single photograph in the last 40-plus years of her life. When asked why she quit photography while at the peak of her profession, she said "It was not worth it anymore. We had rules for photographers; we even followed a dress code. We treated each other with respect, like colleagues. But then, things changed for the worst. They were only interested in making a few quick bucks; I didn't want to be part of the crowd anymore."Later in life, Vyarawalla gave her collection of photographs to the Delhi-based Alkazi Foundation for the Arts and, in 2010, in collaboration with the National Gallery of Modern Art, Mumbai (NGMA), the foundation presented a retrospective of her work.
Writing about photography in the 1970s and 80s, in the face of the early worldwide impact of computer technologies, Flusser argued that the photograph was the first in a number of technical image forms to have fundamentally changed the way in which the world is seen. Historically, the importance of photography had been that it introduced nothing less than a new epoch: 'The invention of photography constitutes a break in history that can only be understood in comparison to that other historical break constituted by the invention of linear writing.'