Veronica Antonio Paulaitis


The first underwater photography

Although not preserved, the first underwater photography was taken by the Englishman William Thompson in 1856. The camera used by Thompson consisted of a box with a glass front, attached to a tripod anchored to the seabed. It had a wooden shutter with a rope Thompson handled from the coast, where he built a darkroom with a tent. With a five-minute exposure Thompson got the first underwater photography, even though the water came in the box, getting a faint image of the seabed.


Anyway, pioneering underwater photography it is considered the French Louis Boutan, to which belongs the first picture that we show. Boutan knew the underwater world firsthand, and was determined to get a method to photograph it. For this had the help of his brother August, an engineer who designed a system to adjust aperture and plates. This first design even allowed to control the buoyancy of the chamber using a balloon filled with air.


The first results were disappointing and they realized that it was necessary to design a flash to get good results. Electrical Engineer M. Chaffour helped them design a chamber that housed a magnesium ribbon. The chamber was filled with pure oxygen and magnesium ribbon was ignited by an electric current. Unfortunately the system did not work quite right because it produced a thick smoke that clouded the images, and in addition generated excessive heat.


Eventually managed to reduce the size of the camera and improve the flash chamber, so that made the whole set more manageable. They used electric lamps as a light source.


With time and more improvements, Boutan became the pioneer of underwater photography, publishing a book in 1898 entitled La Photographie Sous-Marine with his images from which we leave you a small sample:






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wedding photography packages

How to choose your wedding photographer

Wedding pictures are a cherished keepsake, passed down through generations, and the only commemoration of the thousands of hours and dollars spent to plan one of the most important days of your life. Other than the choice of a spouse, the choice of the wedding photographer is the most important wedding-related decision you will make, and is not to be taken lightly. Following these steps can help you select the best photographer to record your Big Day:

Are you looking for a traditional approach with mostly posed images? Or do you prefer lots of candid shots in which the subject may not even know he or she is being photographed? Do you like the glamour approach of fashion photography? Would you prefer a photographer who combines all of these styles (a freestyle or eclectic wedding photographer)?

  • Determine your Budget.

Photographer fees, prints, albums, etc. generally come to approximately 12% of the entire wedding budget. This will allow you to quickly discard candidates which you cannot afford.

  • Look for a Plan Within Your Budget

It is absolutely frustrating to fall in love with a photographer’s portfolio and then find out her base package has several more zeros involved than what you can afford. When you start looking for a wedding photographer, look at the prices right away. If you find that you are having trouble locating any photographers within your price range you may need to consider a reevaluation of your budget allocations or consider wedding photography alternatives.

  • Review the Portfolio

The Internet has made this step so much easier. Review the portfolios of photographers within your budget and narrow down your choices further based on styles you like. Remember that the portfolio the photographer shows you is the best case scenario. Not all of your images (or even any) will turn out exactly like the images in the portfolio.

  • Check the BBB

Before you even talk to the photographer, check with the Better Business Bureau. A single complaint is not a reason to eliminate the photographer but a string of similar complaints would be a red flag. Look at time in business, number of complaints, types of complaints, and resolutions.

  • Meet the Photographer

Now it is time to meet the photographer in person. Set up an interview meeting to see more portfolio images, review package options, and get references of previous couples that you can talk to about the photographer. Our Weddings Guide, Nina Callaway, has a good list of questions you can ask the photographer during this interview. I would also suggest asking if the photographer has shot at your location before. You’ll also want to make sure the photographer is actually available on your wedding date. Remember that you are interviewing the photographer. If the photographer makes you uncomfortable in any way, he probably isn’t a good fit for your wedding.

  • Compare Contracts

After you have met several wedding photographers checked all the references you’ll want to review the contracts. Some photographers have much more lenient cancellation policies than others. Also, deposits and usage rights vary.

  • Finalization Meeting

By this time you hopefully have your choices narrowed down to a preferred wedding photographer and one or two alternates. Now is the time for a meeting to finalize details and sign contracts with your preferred photographer. Remember that if something feels wrong it likely is wrong. If your instincts are telling you a particular choice is a bad idea, listen to those instincts. Even if nothing is actually wrong, your worries will interfere with your happiness on your big day.

Following these simple steps will ensure you hire the photographer to meet your needs and receive a wedding album to treasure for years to come. Please do your research well so your special day isn’t ruined by someone that is not up to the challenge.

If you know everything you need to know and are ready to book your date with Camera Loves Me Photography, follow the link here.


no photo staff

For the Chicago Sun Times Anyone With An iPhone Is A Professional Photographer

It is no surprise that Americans don’t turn to the newspaper to get informed anymore. It started in the 1960’s with network news coming into your home every evening. The next hit to the daily paper came from the internet, and now most people get their information from smart phone and tablet apps. Most papers in the U.S. are on borrowed time.

Take the Chicago Sun-Times. The paper, once a thriving big city operation, has just fired its whole photography staff. The paper is going to go with pictures “from the field” meaning that it will immediately train reporters on “iPhone photography basics” and reporters will now be responsible for taking pictures for their own stories.

no photo staff

Comedic mock-up of what the Chicago Sun-Times front cover could
look like with no photographers employed to add pictures.
(Image by Ian Arsenault.)

The bigger issue here is that a major U.S. metropolitan paper is telling the professional photographers that it fired that their job could be done by someone without experience as long as they have an Apple iPhone to capture an image. Just giving someone an iPhone doesn’t make them a professional photographer although Apple feeds on that image as seen with with its latest camera-centric ad.

The sad story here is that photography as a profession is in real trouble. This decision by the Sun-Times is just one of a string of many across the country proving that photography and photographers are undervalued. And while the bulk of the responsibility here lies with the Sun-Times owners and managers – professional photographers need to take note. If you aren’t proving yourself valuable every single hour of every single day, you may be declared fungible by your bosses.

The newspaper released a statement suggesting the move reflected the increasing importance of video in news reporting:

“The Sun-Times business is changing rapidly and our audiences are consistently seeking more video content with their news. We have made great progress in meeting this demand and are focused on bolstering our reporting capabilities with video and other multimedia elements. The Chicago Sun-Times continues to evolve with our digitally savvy customers, and as a result, we have had to restructure the way we manage multimedia, including photography, across the network.”

John White, the Chicago Sun-Times’ Pulitzer Prize winning photojournalist, who was among the many who lost their jobs on Thursday, said in an interview with Kenneth Irby this weekend that he could never imagine that he and all his colleagues would have their careers ended as abruptly as they were.

White said: “It was as if they pushed a button and deleted a whole culture of photojournalism.” He also said: “Humanity is being robbed by people with money on their minds.”

But there is another side on this story here. The paper was negotiating with the photographers’ union and now that they canned the whole bunch, the paper could decide to hire back some of the photographers on a part time basis without healthcare or other benefits and in essence, breaking the union.

We do this to ourselves. We want the cheapest everything we can buy. We’ll take any abuse to save a buck. We’ll accept news coverage in Chicago that is devoid of the powerful, moving, photo stories that only a photojournalist can tell. We’re okay with mediocre. How do I know that? These things wouldn’t be happening if we weren’t.

When you hear me take a stand against photographers who undermine the profession by working for slave wages, or when I call out a guy who thinks he’s a pro because he bought a Canon EOS 5D Mark III, or when I say the CEO of Yahoo she’s a butt-head for saying there are no more professional photographers, you now know why I am doing these things. It’s because if I don’t stand up for my profession I can’t expect anyone else to.

Ask yourself what images you have burned in your memory from the past decade…  and then ask yourself if you can name one single “multimedia piece” by name that you recently saw on a newspaper’s website…  you probably can’t (although there are some amazing ones that have been produced.)

And that’s the point:  photography is just as important today if not more than it ever has been.  Not a time to cut yourself at the knees as an organization, let alone all the way to the marrow.  If you do:  you’re insuring your irrelevance and giving loyal readers who are holding on yet another reason to stop subscribing.

How many years does the newspaper industry have until we bury it completely?

graphene camera senso

New Graphene Camera Sensor Better Performer in Low-light Photos

Graphene is the key to a new camera sensor developed at the Nanyang Technological University (NTU), Singapore, that is 1000 times more sensitive to light than traditional models.

graphene camera sensor

Image Credit: Nanyang Technological University

Researchers at NTU have announced a sensor made from graphene that can detect broad spectrum light. Compared to traditional CMOS or CCD sensors, the graphene model “traps” light-generated electron particles and can hold on to them for a lot longer, as reported byScience Daily.

By being able to hold on to the electric signals for a longer period of time than regular sensors, the graphene unit can produce clearer photos — particularly in low light situations. The research was led by Assistant Professor Wang Qijie who made the sensor from a pure sheet of graphene, known for its high electrical conductivity.

Graphene is a material that is already set to be used in consumer tech applications such as flexible OLED screens and has long been touted as the replacement for indium tin oxide (ITO). Earlier this year, Fujifilm announced that it was working on touchscreens based on silver halide, which is far more flexible than the brittle ITO currently used in many screens.

Initial applications for the sensor are thought to be for devices like surveillance cameras and satellites rather than the humble point-and-shoot, at least initially. However, the researchers at NTU said that once the sensor reaches mass production, it will be up to five times cheaper than CMOS or CCD sensors.

“While designing this sensor, we have kept current manufacturing practices in mind,” said Assistant Professor Wang. “This means the industry can in principle continue producing camera sensors using the CMOS process, which is the prevailing technology used by the majority of factories in the electronics industry. Therefore, manufacturers can easily replace the current base material of photo sensors with our new nano-structured graphene material.”

(via CNET)

Eisenstaedt’s “Kiss in Times Square”

Eisenstaedt’s “Kiss in Times Square” print and camera Leica that shot it make big bucks at auction

Known as “Kiss in Times Square”, it’s a photo that came to symbolize the end of World War II and one that’s particularly touching for those remembering fallen soldiers as part of Memorial Day ceremonies today.

A signed print of Alfred Eisenstaedt’s iconic 1945 V-J Day celebration shot and the Leica camera that captured it both sold at auction on Friday for a combined total of nearly $180,000.
Eisenstaedt’s “Kiss in Times Square”
The signed Eisenstaedt print fetched 24,000 Euros (~US$31,000) while Eisenstaedt’s camera, a Leica IIIa rangefinder, sold for 114,000 Euros (~US$147,400) at the 23rd WestLicht Photographica Auction in Vienna, Austria on May 24th.

Eisenstaedt continued to use the same Leica IIIa for 50 years after he captured his famous Times Square photo, including a final portrait session with President Bill Clinton and his family, two years before the photographer died.

eisentaedt's-leicaEisenstaedt’s camera, however wasn’t the most expensive sale of the WestLicht auction. That honor went to an original Leitz gold-plated Leica “Luxus” camera covered in brown lizard leather with two gold-plated lenses, which sold for 528,000 Euros (~US$682,366). The second biggest sale was a Leica M3 prototype, which sold for 432,000 Euros (~US$558,302). Meanwhile, a prototype Noctilux 1.2/50mm chrome lens sold for 144,000 Euros (~US$186,100).

Below is a screenshot of some of the most expensive cameras from WestLicht’s auction. Sure makes it look your pro Canon or Nikon like cheap toys, don’t they?

WestLicht auction results

(WestLicht results via Leica Rumors)

Hitler posing for the camera while practising his speeches

Never seen before pictures that appear to show Adolf Hitler rehearsing for his hate-filled speeches have come to the public sight.

Hitler posing

The album, features black and white images of the Nazi leader in a series of poses, using expressive face and hand gestures, which he would practise and review before addressing the German public. Once he saw the pictures, he would decide whether to incorporate the various gestures and poses into his speeches and appearances.

Hitler  posing

Hitler 3

Hitler 4

The photos, taken by his personal photographer Heinrich Hoffmann, were apparently intended to give the Führer an insight into how he looked to the German public.

Hitler 5

Hitler 6

The photographs, taken in the late 1920s, were later banned from being published by Hitler for being “beneath one’s dignity”.

Hitler 7

Hitler 8

The vetoed pictures were reportedly stored in Hoffmann’s studio until his arrest at the end of the war and disappeared into various archives.
Hitler 9

Hitler 10

But they were published in Hoffmann’s memoirs entitled Hitler was my Friend in the 1950s, which have now been re-issued in English.

Hitler 11

Hitler 12

Historian Roger Moorhouse, who wrote the book’s introduction, said: “We have this image now of Hitler almost as a buffoon. But these pictures show he experimented with his own image. He was a very modern politician in that way.”

Hitler 13
Hitler 14

Hoffmann, who introduced Hitler to his then-studio assistant Eva Braun, survived the war and spent four years in prison for Nazi profiteering. He died in 1957, aged 72.

Photo Source: HHoffmann/BNPS

Which of this cameras is yours?

The guys at popchartlab have designed a lithograph of a compendium of cameras. We believe it can serve also to see the evolution that cameras have had for the last 125 years. They are not all the cameras makes that had been manufactured, but they are the most representative ones. Which one is yours? (click here for larger image).


Tips for Looking Beautiful in Photos

Let’s face it, we all want to look fabulous in photos!

You don’t need to be one lucky being to radiate gorgeousness in every Facebook post, Instagram photo, or family album shot. And in all reality, even the most celebrated  supermodels have shots they would love to hide from the world.

Here are five tricks of the trade to consider when an iPhone, iPad, digital camera, or professional photographer is pointed in your direction:

1.  No “Cheeses” Allowed
Whatever you do, don’t follow your mother and father’s advice from your days as a child. Just say no to “Cheeeeese!” Cheesy smiles tend to look quite unnatural.

Instead, try laughing or giggling a couple of moments before the photo is taken. This will light up your eyes and make you glow.

2. Avoid the Double Chin
Pay attention to your posture, and whatever you do don’t slouch. Try slightly turning your head and dropping your chin so you aren’t square with the camera.

Study photos of female actors and models on the red carpet, and you will discover they use this trick constantly.

3.  Use Lipstick Wisely
Don’t overdo it with your lipstick choice. Select a tone that goes nicely with your skin and makes your teeth appear pearly white. Professional makeup artists discovered long ago that blue or pink-based undertones tend to minimize yellow tones within the teeth.

The wrong color (one that is too dark or overly bright) can be a major eyesore and detract from your smile.

4. Whiten Your Teeth
Make every effort to have your teeth gleam. Take a visit to your dentist for a cleaning, invest in bleaching trays, or give whitening toothpaste a try. Keep your teeth clean, brushing them at least two times a day.

5. Pour Your Heart into It, Girl!
When a camera is pointed in your direction, smile with everything you’ve got. Wise beings throughout history have written about how the heart is reflected in a human being’s eyes — so show it off.

Show everybody the love that lives within your heart, allowing for the camera to catch your beauty!

Smile for the Camera… you never know who has it

Everybody likes taking pictures and with the proliferation of digital cameras and phones that are camera ready, you should not be very surprised if you find your image popping up somewhere.  In today’s times, it seems almost an afterthought to take a picture and do so anytime and just about anywhere….then get immediate viewing feedback.

What is our fascination with images and capturing moments in time? Is there a spirituality or survival aspect to wanting to capture the likeness of ourselves, our friends and family, and a host of many other things.  Certainly there must be a deeper reason for why we often feel compelled to snap off quick little images of the world around us.  Clearly, today’s technology makes this behavior even more convenient.  But capturing the likeness of things is not new.  After all, early human were scratching out and carving images of all sort of things hundreds of thousands of years ago.

Smile For the Camera

Image Credit: Flickr, Karen Roe

The motivations for capturing images of faces, things, and happenings are likely dependent on who you ask .  But one thing is for certain, it is a universal behavior, so it goes to the heart of who we are as human beings.  A still image allows us to freeze time for an instant to capture a memory and examine the scene in much greater detail.  As we interact in life, we often gloss over a lot of the detail, but once something is captured by a snapshot of an image, such details can be closely examined and appreciated.  There are so many things that can distract us from seeing the reality we are part of on an everyday basis. Sounds and competing images can keep us from seeing something for what it really is.  Only later when we have a chance to see the image of that special moment in time can we decipher all that is really occurring.  So curiosity is a motivator as well as our need to get in touch with those things that have happened in our lives.

There is also a sharing component to this endeavor of ours to capture still images.  We want our friends and family to see those things that we have seen and/or experienced.  It can be a way of documenting the things happening in our world or in the world.

We all love to remember and capture those moments that we cherish from the past.  Something about raising those emotions we felt around that image is enticing.  Much like a time machine, a photo of something in the past transports us to the past to relive the experience.

An image we have taken of the past can awaken old feelings and the entire effect can be powerful and stir up emotions that one hardly even knew they had.  And photography, while able to resurrect the past and all of those things associated with our feelings around those images, can also be an art form where people can express something “now” about why they captured on film in the past.  Hence a picture or series of images can reveal a lot of about a great many things.

Manipulated photography

Faking It Exhibition: Manipulated Photography before Photoshop

In our digital communication age, everyone knows Photoshop. Even the Oxford and Mirriam-Webster dictionaries have come to define Photoshop as a verb:

transitive verb, often capitalized\?f?-(?)t?-?shäp\
Definition of PHOTOSHOP
: to alter (a digital image) with Photoshop software or other image-editing software especially in a way that distorts reality (as for deliberately deceptive purposes)

In this age digital wonderment we believe that photo manipulation began with Photoshop. However, this is not the case at all. Ever since the inception of photography in 1839, artists have used the public’s belief that photographs are “real” and always tell the truth.

At the National Gallery of Art in Washington, DC there has been an exhibition called,Faking It: Manipulated Photography before Photoshop. This exhibition started in New York City at the Metropolitan Museum of Art, and will end at the Museum of Fine Arts in Houston, Texas. In Faking It, the curator, Mia Fineman, Assistant Curator in the Department of Photographs at the Met, has divided the exhibit into seven parts that start in the 1840’s up through the late 20th century.

Manipulated photography

In the first section, Picture Perfect, we witness how photography was manipulated because of its technical limitations. For example, all photographic processes were mono-chrome or black & white. So to add tan element of realism, daguerreotype plates and photographic prints were hand colored. Also, because of the exposure limitations due to the plates light sensitivity of those early times, photographic artists would make muptiple exposures on several plates and then with masking in the darkroom, blend all of these exposures together. A technique much like the modern equvilant of HDR (High Dynamic Range).

In another section, Artifice in the Name of Art , photographers begin to use this ability to manipulate photographs with their psychological power of “realism and truth” to tell unique or sereal stories. Other sections also show how photographs manipulated to distort the “truth” for purposes of policital propaganda.

For me, the most exciting element of this exhibition was seeing the actual prints of so many images I’ve only known from images in books. Seeing the actual print of Henry Peach Robinson’s, Fading Away was a real joy. Also learning that Edward Steichen‘s portrait of Rodin, was actually a composite was fascinating. Even Mathew Brady got into the act with his group portrait of Sherman and his Officers. Now, we know the artist Man Ray manipulated images, but so did the documentary photographer Lewis Hines. In the mid 20th century you may be aware of Duane MichalsJerry Uelsmann creating dream-like images, but portrait photographer Richard Avedon created interpretive photographs for Vogue.

“Faking It: Manipulated Photography before Photoshop” closes at the National Gallery of Art in Washington, DC this weekend, May 5th, 2013. If you can make a moment to visit, check it out. If you miss it, check out the exhibions web site at both the NGA and the Met Museum of Art. You can also get the catalog on

Source: Jarvis Grant,