{"id":386,"date":"2022-08-25T00:40:49","date_gmt":"2022-08-24T21:40:49","guid":{"rendered":"http:\/\/mustafasevdim.com\/?p=386"},"modified":"2022-11-18T00:43:11","modified_gmt":"2022-11-17T21:43:11","slug":"fotograf-makinesine-donusen-camera-obscura-i","status":"publish","type":"post","link":"https:\/\/www.mustafasevdim.com\/index.php\/fotograf-makinesine-donusen-camera-obscura-i\/","title":{"rendered":"Foto\u011fraf Makinesine D\u00f6n\u00fc\u015fen Camera Obscura-I"},"content":{"rendered":"\n

M.\u00d6. 470 y\u0131llar\u0131nda \u00c7inli filozof Mozi ile g\u00f6r\u00fcnt\u00fcn\u00fcn karanl\u0131k odaya aktar\u0131lmas\u0131 ser\u00fcveni ba\u015flamadan yakla\u015f\u0131k 300 y\u0131l \u00f6nce, eski M\u0131s\u0131rl\u0131lar ve Mezopotamyal\u0131lar taraf\u0131ndan fizi\u011fin bir dal\u0131 olarak Optik konusunda ara\u015ft\u0131rma ve geli\u015fmeler ba\u015flam\u0131\u015ft\u0131. G\u00f6r\u00fcnt\u00fc olu\u015fumu s\u00fcre\u00e7lerinin incelenmesi Yunan, Hint ve M\u00fcsl\u00fcman filozoflar taraf\u0131ndan \u00e7e\u015fitli \u0131\u015f\u0131k ve g\u00f6rme teorileri geli\u015ftirilerek devam etti. 11. y\u00fczy\u0131l\u0131n ba\u015flar\u0131nda, \u0130bn-i El Haytham, yans\u0131ma ve k\u0131r\u0131lmay\u0131 ara\u015ft\u0131rd\u0131\u011f\u0131 Optik Kitab\u0131n\u0131 yazd\u0131, g\u00f6zlem ve deneye dayanarak, vizyon ve \u0131\u015f\u0131\u011f\u0131 a\u00e7\u0131klamak i\u00e7in yeni bir teori \u00f6nerdi. Dikey \u0131\u015f\u0131nlar\u0131n e\u011fik \u0131\u015f\u0131nlardan daha g\u00fc\u00e7l\u00fc oldu\u011funu savunuyordu. I\u015f\u0131\u011f\u0131n bir nesneden g\u00f6ze yans\u0131d\u0131\u011f\u0131n\u0131, d\u00fcz \u00e7izgiler halinde hareket etti\u011fini belirtiyor, yans\u0131ma ve k\u0131r\u0131lmalar\u0131 g\u00f6stermek i\u00e7in mercekleri, aynalar\u0131 kulland\u0131\u011f\u0131 deneylerini anlat\u0131yor \u2018camera obscura\u2019 fikrini dile getiriyordu.<\/strong><\/p>\n\n\n\n

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Bilinen en eski mercekler, genellikle kuvars olan cilal\u0131 kristallerden yap\u0131lm\u0131\u015ft\u0131. Bir \u00f6rne\u011fi The British Museum\u2019da sergilenen yakla\u015f\u0131k 3000 y\u0131ll\u0131k \u2018Nimrud merce\u011fi\u2019 (Layard da denir) Sir Austen Henry Layard taraf\u0131ndan T\u00fcrkiye s\u0131n\u0131r\u0131na 200 km uzakl\u0131kta olan Ninova harabelerinde bulunmu\u015ftu.<\/p>\n<\/div><\/div>\n\n\n\n

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Yunanl\u0131lar ve Romal\u0131lar mercek yapmak i\u00e7in cam k\u00fcreleri suyla doldururlard\u0131.1.Y\u00fczy\u0131lda Roma yazar\u0131 ve filozof Pliny, \u0130mparator Nero\u2019nun gladyat\u00f6rler aras\u0131ndaki d\u00f6v\u00fc\u015fleri \u2018smaragdi\u2019<\/em><\/strong> olarak an\u0131lan i\u00e7 b\u00fckey bir z\u00fcmr\u00fct ile izledi\u011fini yazar. 11 ve 13. Y\u00fczy\u0131llar aras\u0131nda \u2018okuma ta\u015flar\u0131\u2019 icat edildi bunlar cam k\u00fcrenin yar\u0131dan kesilmesi ile yap\u0131lan ilkel, bir y\u00fcz\u00fc d\u00fcz di\u011feri d\u0131\u015f b\u00fckey lenslerdir.<\/p>\n<\/div><\/div>\n\n\n\n

Bug\u00fcn kulland\u0131\u011f\u0131m\u0131z g\u00f6zl\u00fckler, y\u00fcksek orta \u00e7a\u011f d\u00f6neminde, 13. y\u00fczy\u0131l\u0131n ikinci yar\u0131s\u0131nda Kuzey \u0130talya’daki “okuma ta\u015flar\u0131” geli\u015ftirilerek icat edildi. <\/strong>R\u00f6nesans ile beraber sanat\u00e7\u0131lar, g\u00f6r\u00fcnt\u00fcleri bir y\u00fczeyden di\u011ferine aktarmak i\u00e7in \u00e7ok \u00e7e\u015fitli teknikler kulland\u0131lar. Baz\u0131 teknikler sanat\u00e7\u0131lar\u0131n do\u011frudan kopyalar\u0131n\u0131 yapmalar\u0131n\u0131 sa\u011flarken, di\u011ferleri tasar\u0131mlar\u0131 yeni bir \u00f6l\u00e7ekte kopyalamalar\u0131na yard\u0131mc\u0131 oldu.1525 y\u0131l\u0131nda Albrecht D\u00fcrer<\/a>, bir dizi \u00e7izim \u00e7er\u00e7evesi ve perspektif makinelerinin bir g\u00f6sterimini i\u00e7eren \u00f6l\u00e7\u00fcm \u00fczerine bir tez yay\u0131nlad\u0131.<\/p>\n\n\n\n

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Ressam Albrecht D\u00fcrer<\/strong><\/figcaption><\/figure>\n\n\n\n

Mercek Kullan\u0131m\u0131 ve sanat\u00e7\u0131lara etkisi<\/h3>\n\n\n\n

 Ayn\u0131 y\u00fczy\u0131lda \u0130talyan hekim Girolamo Cardano 1550 y\u0131l\u0131nda yazd\u0131\u011f\u0131 ‘De Subtilitate Libri’<\/strong> adl\u0131 kitab\u0131nda, Giovanni Battista Della Porta<\/a> ise 1558 y\u0131l\u0131nda yazd\u0131\u011f\u0131 kitab\u0131 \u2018Magiae Naturalis\u2019<\/strong> de, Daniele Barbaro<\/a> 1568 \u2018La pratica della perspettiva\u2019<\/em><\/strong> <\/em>adl\u0131 kitab\u0131nda(sayfa 193<\/a> ve 19<\/a>) camera obscuraya uygun a\u00e7\u0131larda mercek yerle\u015ftirmekten bahsediyordu. Bu y\u00f6ntemde i\u011fne deli\u011fi yerine daha b\u00fcy\u00fck \u00e7apta bir deli\u011fe mercek takmak suretiyle, y\u00fczey \u00fczerinde daha keskin bir odaklanma ile elde edilen g\u00f6r\u00fcnt\u00fcn\u00fcn daha parlak, daha net, daha keskin olmas\u0131n\u0131 sa\u011flam\u0131\u015ft\u0131. Bu a\u015famadan sonra camera obscura sanat\u00e7\u0131lar taraf\u0131ndan da kullan\u0131lmaya ba\u015flanacakt\u0131.<\/p>\n\n\n\n

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La pratica della perspettiva<\/strong><\/figcaption><\/figure>\n\n\n\n


16.,17. ve 18. Y\u00fczy\u0131lda merceklerin geli\u015fimi farkl\u0131 bilim dallar\u0131nda da devam etti. Bu y\u00f6ntemde, g\u00f6zl\u00fcklerden, yeni icad edilen mikroskop (1595) ve teleskopa (1608) kadar bir\u00e7ok alanda kullan\u0131ld\u0131 ve geli\u015ftirildi. 1680 de Robert Hooke<\/a> koni \u015feklindeki bir camera obscuraya d\u0131\u015f b\u00fckey bir mercek yerle\u015ftirdi. \u00dcstelik bu mercek sabit de\u011fil hareketliydi. Hooke bunu yaparken daha b\u00fcy\u00fck veya k\u00fc\u00e7\u00fck resim elde etmeyi, geni\u015fleme ve b\u00fcz\u00fclmeyi de g\u00f6stermek istiyordu. Bu \u015fekilde g\u00f6z bebe\u011fini de taklit etmi\u015f oldu. (Robert Hooke’un \u00f6l\u00fcm\u00fcnden sonraki eserleri<\/a>)<\/p>\n\n\n\n

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Zahn’\u0131n Camera obscuras\u0131<\/strong><\/figcaption><\/figure>\n\n\n\n

Anatomik dersler <\/h3>\n\n\n\n

19. Y\u00fczy\u0131ldaki kameraya en yak\u0131n \u00e7al\u0131\u015fmalar yapan filozof, mucit ve yazar rahip Johann Zahn oldu. 1685 y\u0131l\u0131nda yay\u0131nlad\u0131\u011f\u0131 ‘Oculus Artificialis Teledioptricus Sive Telescopium<\/em><\/strong>‘ (Uzun mesafe Yapay g\u00f6z veya teleskop) (sayfa 207<\/a> ve 203<\/a>)  kitab\u0131nda hem camera obscura hem de sihirli fenerin bir\u00e7ok tan\u0131m\u0131n\u0131 ve resmini buluyoruz. Zahn feneri anatomik dersler i\u00e7in kulland\u0131, teleskop ve scioptric top kullanarak g\u00fcne\u015f g\u00f6zlemleri i\u00e7in at\u00f6lye camera obscuras\u0131n\u0131 resmetti, g\u00f6r\u00fcnt\u00fcy\u00fc dikmek, b\u00fcy\u00fctmek ve odaklamak i\u00e7in ayna ve merceklerin kullan\u0131m\u0131n\u0131 g\u00f6sterdi. Zahn ayr\u0131ca 45 derecelik aynay\u0131 kullanarak \u00e7izim i\u00e7in birka\u00e7 portatif kamera takozu tasarlad\u0131 ve istenmeyen \u0131\u015f\u0131\u011f\u0131 engellemek i\u00e7in yan kapaklar kulland\u0131. \u00c7izimlerde b\u00fcy\u00fckl\u00fc\u011f\u00fc ve makaral\u0131 tekerlekleri sayesinde de odadan odaya kolayca ta\u015f\u0131nabilir hale geldi\u011fini g\u00f6stermektedir.<\/p>\n\n\n\n

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1704\u2019te \u0130ngiliz bilim adam\u0131, matematik\u00e7i do\u011fa filozofu Newton, ‘Opticks’i yay\u0131nlad\u0131 ve tek bir d\u0131\u015fb\u00fckey mercek kullanarak camera obscura ilkesini a\u00e7\u0131klamaya devam etti. Ayr\u0131ca prizmalar ile yap\u0131lan optik deneyleri i\u00e7in camera obscuray\u0131 kulland\u0131. Camera obscura 18. y\u00fczy\u0131lda ve 19. y\u00fczy\u0131l\u0131n ilk yar\u0131s\u0131nda, bilim adamlar\u0131 taraf\u0131ndan de\u011fil, sanat\u00e7\u0131lar taraf\u0131ndan sahiplenildi. \u00c7izim, eskiz ve boyama i\u00e7in kullan\u0131lmas\u0131 te\u015fvik edildi. Caneletto ve Vermeer gibi ustalar genellikle camera obscura kulland\u0131 ve bundan dolay\u0131 hala devam eden tart\u0131\u015fmalar ortaya \u00e7\u0131kt\u0131.<\/p>\n\n\n\n

500 y\u0131ll\u0131k polemik<\/h3>\n\n\n\n

\u0130ngiliz sanat\u00e7\u0131 ve sanat tarih\u00e7isi David Hockney 2006\u2019da yay\u0131nlad\u0131\u011f\u0131 \u2018 Secret Knowledge: Rediscovering the Lost Techniques of the Old Masters<\/a>\u2019 (Gizli Bilgi: Eski Ustalar\u0131n Kay\u0131p Tekniklerini Yeniden Ke\u015ffetmek) kitab\u0131nda Caravaggio, Vel\u00e1zquez, da Vinci ve di\u011fer hiperrealistler gibi sanat\u00e7\u0131lar\u0131n, ba\u015fyap\u0131tlar\u0131n\u0131 olu\u015fturmak i\u00e7in \u2018optik ve mercek\u2019 lerden (camera obscura) yard\u0131m alarak eserlerini olu\u015fturduklar\u0131ndan bahsediyor, bas\u0131nda verdi\u011fi baz\u0131 r\u00f6portajlar\u0131nda eski ustalar\u0131n hile yapt\u0131\u011f\u0131n\u0131 s\u00f6ylemedi\u011fini sonu\u00e7ta “Optik cihazlar kesinlikle resimleri boyamaz ,bu onlar\u0131n usta sanat\u00e7\u0131 olmad\u0131klar\u0131 anlam\u0131na gelmez.\u201d Derken devam ediyordu :<\/p>\n\n\n\n

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Rebmrandt’\u0131n Portresi —- \u0130nci K\u00fcpeli K\u0131z \/ Johannes Vermeer<\/strong> <\/figcaption><\/figure>\n\n\n\n

Vermeer, masa \u00f6rt\u00fcs\u00fc k\u0131vr\u0131mlar\u0131ndaki karma\u015f\u0131k desenleri yakalamak i\u00e7in bir mercek kulland\u0131 m\u0131? Ya da Caravaggio, bir k\u0131vr\u0131m\u0131 yeniden olu\u015fturmak i\u00e7in?<\/em><\/strong><\/p><\/blockquote>\n\n\n\n

Rembrandt bile Hockney\u2019in sorular\u0131na maruz kald\u0131; <\/p>\n\n\n\n

Kendisine ait unutulmaz portrelerini yarat\u0131rken bir mercekten bak\u0131yor olamazd\u0131.<\/em><\/strong><\/p><\/blockquote>\n\n\n\n

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Cevap gecikmedi;<\/p>\n\n\n\n

Susan Sontag, \u00e7\u0131ld\u0131rm\u0131\u015f oldu\u011funu d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fc Hockney\u2019in teorisinin Eski Ustalar\u0131 k\u00fc\u00e7\u00fcmsemedi\u011fi y\u00f6n\u00fcndeki a\u00e7\u0131klamalar\u0131yla alay etti;<\/p>\n\n\n\n

David Hockney\u2019in tezi do\u011fruysa, bu tarihin t\u00fcm \u00e2\u015f\u0131klar\u0131n\u0131n viagra kulland\u0131\u011f\u0131n\u0131 \u00f6\u011frenmek gibi bir \u015fey.<\/em><\/strong><\/p>Chicago Tribune<\/a>,  Los Angeles Times<\/a><\/cite><\/blockquote>\n\n\n\n

Camera Lucida<\/h3>\n\n\n\n

Tam da konu ressamlara ve \u00e7izime gelmi\u015fken \u2018camera lucida\u2019 ya k\u0131saca de\u011finmek gerekir.1600\u2019lerde bir \u00e7ok bilim insan\u0131 camera obscura i\u00e7in merceklerle farkl\u0131 uygulamalar\u0131n\u0131 geli\u015ftirirken, Kepler\u2019in Dioptrice<\/a>\u2019te tarif etti\u011fi  farkl\u0131 bir mercek uygulad\u0131\u011f\u0131 aleti benzer bir tarif ile  1807\u2019<\/strong>de William Hyde Wollaston<\/a> \u2018camera lucida\u2019 olarak adland\u0131racak ve patentini alacakt\u0131.<\/p>\n\n\n\n

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G\u00fcn\u00fcm\u00fczde de \u00e7ok olmasa da hala kullan\u0131ld\u0131\u011f\u0131n\u0131, yeni modellerinin de \u00fcretildi\u011fini s\u00f6yleyebiliriz. Bir ka\u00e7 \u00f6rne\u011fi olmas\u0131na kar\u015f\u0131n bilgi i\u00e7in buraya bir ba\u011flant\u0131<\/a> b\u0131rak\u0131yorum.<\/p>\n\n\n\n

1800\u2019lerde Charles Chevalier’in Paris optik firmas\u0131, foto\u011fraf\u00e7\u0131l\u0131k deneyleri i\u00e7in hem Ni\u00e9pce hem de Daguerre i\u00e7in lensler \u00fcretti. 1812’de Wollaston, \u00f6n\u00fcndeki bir diyafram tutucu ile i\u00e7b\u00fckey taraf\u0131 d\u0131\u015fa bakacak \u015fekilde monte ederek \u201ccamera obscura\u201d dan yans\u0131t\u0131lan g\u00f6r\u00fcnt\u00fcy\u00fc iyile\u015ftirmek i\u00e7in \u201cmenisk\u00fcs\u201d lensi geli\u015ftirdi ve lensi geni\u015f bir alandan keskin bir g\u00f6r\u00fcnt\u00fc alabilecek hale getirdi.1828\u2019de Niepce \u201cWollaston Meniscus\u201dmercek kullan\u0131yordu.Daguerre\u2019de bu merce\u011fi denedi ancak maviye duyarl\u0131 ortamla odaklanma sorunu ya\u015fay\u0131nca vazge\u00e7ti. Chevalier 1829’da Daguerre’nin deneylerinde renk sapmas\u0131n\u0131 azaltmak i\u00e7in akromatik bir mercek (ta\u00e7 cam\u0131 ve \u00e7akmakta\u015f\u0131 camdan yap\u0131lm\u0131\u015f iki elementli bir mercek) yaratt\u0131. Bu tasar\u0131m, di\u011fer lens \u00fcreticileri taraf\u0131ndan da kullan\u0131ld\u0131. Bu lens “Frans\u0131z manzara merce\u011fi” veya k\u0131saca ” manzara merce\u011fi olarak an\u0131l\u0131r.<\/p>\n\n\n\n

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1840 y\u0131l\u0131nda, f \/ 3.6’da ilk geni\u015f diyaframl\u0131 portre lensi d\u00f6rt bile\u015fenli bir lens olan \u201cPetzval Portrait\u201d (modern Avusturya) Viyana’da Peter Wilhelm Friedrich von Voigtl\u00e4nder  taraf\u0131ndan sa\u011flanan teknik tavsiyelerle Alman-Macar matematik profes\u00f6r\u00fc Joseph Petzval taraf\u0131ndan geli\u015ftirilmi\u015ftir. 1850’lerde geli\u015ftirilen daha h\u0131zl\u0131 olan kolodyon (\u0131slak plaka) s\u00fcreci ile, bu lensle donat\u0131lm\u0131\u015f bir kamera bir ila iki dakikal\u0131k i\u00e7 mekan portreleri \u00e7ekebiliyordu.<\/p>\n<\/div><\/div>\n\n\n\n

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\u0130lk ba\u015far\u0131l\u0131 geni\u015f a\u00e7\u0131l\u0131 lens 1862’nin Harrison & Schnitzer Globe\u2019u<\/strong> (ABD) idi. <\/strong>Charles Harrison ve Joseph Schnitzer’s Globe simetrik d\u00f6rt elementli bir form\u00fcle sahipti. <\/strong>Globe’un simetrik form\u00fcl\u00fc, Dallmeyer Rapid-Rectilinear (\u0130ngiltere) ve Steinheil Aplanat’\u0131n (modern Almanya) tasar\u0131m\u0131n\u0131 do\u011frudan etkiledi. Tesad\u00fcf eseri, John Dallmeyer’in Rapid-Rectilinear ve Adolph Steinheil’in Aplanat’\u0131n\u0131n hemen hemen ayn\u0131 simetrik d\u00f6rt elementli form\u00fclleri vard\u0131, bunlar neredeyse ayn\u0131 anda 1866’da ger\u00e7ekle\u015fti<\/strong> ve bunlar\u0131n t\u00fcm\u00fc k\u00fcresel ve alan e\u011frili\u011fi d\u0131\u015f\u0131nda \u00e7o\u011fu optik sapmay\u0131 f \/ 8’e d\u00fczeltti.<\/p>\n<\/div><\/div>\n\n\n\n

Kimya alan\u0131nda ki \u00e7al\u0131\u015fmalar<\/h3>\n\n\n\n

G\u00fcm\u00fc\u015f nitrat<\/strong> \u00f6nemli bir g\u00fcm\u00fc\u015f tuzudur. Renksiz a\u011f\u0131r kristaller te\u015fkil eder, antibakteriyel \u00f6zelli\u011fi vard\u0131r. Bu \u00f6zelli\u011finden dolay\u0131 si\u011fil tedavisinde s\u0131k\u00e7a kullan\u0131l\u0131r. Ayr\u0131ca deriyi ve organik maddeleri karartmada tercih edilir. Deriyi karartt\u0131\u011f\u0131ndan dolay\u0131 cehennem ta\u015f\u0131 ismini alm\u0131\u015ft\u0131r. Bu \u00f6zelli\u011fi ilk defa 13. y\u00fczy\u0131lda nitrik asidin g\u00fcm\u00fc\u015f\u00fc \u00e7\u00f6zerek alt\u0131n ve g\u00fcm\u00fc\u015f\u00fc ay\u0131rma yetene\u011fini belgeleyen Albertus Magnus<\/strong>, elde edilen g\u00fcm\u00fc\u015f nitrat \u00e7\u00f6zeltisinin cildi karartabilece\u011fini belirtmi\u015fti. G\u00fcm\u00fc\u015f nitrat ve g\u00fcm\u00fc\u015f tuzlar\u0131 ile yap\u0131lan deneyler, foto\u011frafik s\u00fcrecin icad\u0131na do\u011fru \u00f6nemli bir ad\u0131md\u0131. Angelo Sala<\/strong> 1614 y\u0131l\u0131nda yay\u0131nlad\u0131\u011f\u0131 bir kitap\u00e7\u0131kta “toz g\u00fcm\u00fc\u015f-nitrat\u0131n g\u00fcne\u015f taraf\u0131ndan karart\u0131ld\u0131\u011f\u0131ndan”<\/em><\/strong> bahsetmi\u015f fakat bilim adamlar\u0131 g\u00fcne\u015fin toz g\u00fcm\u00fc\u015f nitrat \u00fczerindeki etkisi ke\u015ffinin “pratik bir uygulamas\u0131\u201d olmad\u0131\u011f\u0131n\u0131 s\u00f6yleyerek desteklemediler. Bu y\u00f6ntemde Robert Boyle<\/strong> ve Wilhelm Homberg<\/strong> taraf\u0131ndan yap\u0131lan deneylerde de g\u00fcm\u00fc\u015f nitrat\u0131n g\u00fcne\u015fin etkisiyle karard\u0131\u011f\u0131 a\u00e7\u0131klanamad\u0131.<\/p>\n\n\n\n

G\u00fcne\u015f \u0131\u015f\u0131\u011f\u0131n\u0131n g\u00fcm\u00fc\u015f nitrat\u0131 karartt\u0131\u011f\u0131 deneyler 1717 y\u0131l\u0131nda Johann Heinrich Schulze <\/strong>taraf\u0131ndan yap\u0131ld\u0131. \u0130\u00e7inde bir miktar g\u00fcm\u00fc\u015f\u00fcn \u00e7\u00f6z\u00fcnd\u00fc\u011f\u00fc bir tebe\u015fir ve nitrik asitin oldu\u011fu bulamac\u0131n g\u00fcne\u015f \u0131\u015f\u0131\u011f\u0131yla koyula\u015ft\u0131\u011f\u0131n\u0131 ve \u0131\u015f\u0131kla karard\u0131\u011f\u0131n\u0131 g\u00f6stermek i\u00e7in, kar\u0131\u015f\u0131mla dolu bir \u015fi\u015feye kelime kal\u0131plar\u0131 haz\u0131rlad\u0131 ve do\u011frudan g\u00fcne\u015f \u0131\u015f\u0131\u011f\u0131na koydu. Bu da i\u00e7eri\u011fin y\u00fczeyinde g\u00f6lgede kalan karakterlerde metnin kopyalar\u0131n\u0131 \u00fcretti. \u0130zlenimler, \u015fi\u015feyi sallay\u0131nca veya \u0131\u015f\u0131\u011fa genel olarak maruz kal\u0131nca ortadan kalkt\u0131. bir\u00e7ok Alman kayna\u011f\u0131 Schulze’yi foto\u011fraf\u00e7\u0131l\u0131\u011f\u0131n mucidi olarak kabul eder. <\/p>\n\n\n\n

Oksijen Etkisi<\/h3>\n\n\n\n

Kimya alan\u0131ndaki \u00f6nemli ke\u015fiflerden biri de Carl Wilhelm Scheele<\/strong>‘nin “Hava ve Ate\u015fte Kimyasal G\u00f6zlemler ve Deneyler” (Uppsala ve Leipzig, M. Swederus 1777) adl\u0131 eserinde tan\u0131mlad\u0131\u011f\u0131 havadaki oksijenin ke\u015ffiydi. Havadaki oksijenin ke\u015ffi foto\u011fraf tarihi i\u00e7in \u00e7ok \u00f6nemliydi. Scheele, g\u00fcm\u00fc\u015f klor\u00fcr ve s\u0131v\u0131 amonyak \u00e7\u00f6zeltisi ile spektral renklerin g\u00fcm\u00fc\u015f klor\u00fcr \u00fczerindeki \u00e7e\u015fitli etkileri aras\u0131ndaki reaksiyonu a\u00e7\u0131klad\u0131. Onun bulu\u015fu, y\u00fczey \u00fczerinde kal\u0131c\u0131 g\u00f6r\u00fcnt\u00fc elde etme y\u00f6n\u00fcndeki ara\u015ft\u0131rmalara y\u00f6n vermi\u015ftir<\/p>\n\n\n\n

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Sonras\u0131nda bir\u00e7ok bilim insan\u0131 \u0131\u015f\u0131k tayf\u0131 i\u00e7erisindeki renklerden farkl\u0131 maddelere kadar \u0131\u015f\u0131\u011fa etkisini ara\u015ft\u0131rd\u0131, ancak 1819 y\u0131l\u0131nda kimyager ve matematik\u00e7i Sir John Frederick William Herschel<\/a> y\u00fczey \u00fczerinde g\u00f6r\u00fcnt\u00fcy\u00fc elde edebilmek i\u00e7in gerekli madde olan sodyum hipos\u00fclfit maddesini buldu. G\u00fcn\u00fcm\u00fczde hala kullan\u0131lan bu madde sayesinde g\u00f6r\u00fcnt\u00fcy\u00fc sabitlemek m\u00fcmk\u00fcn olmu\u015ftur.1839 da Herschel foto\u011fraf terimini kullanarak negatif ve pozitif terimlerini de uygulayan ilk ki\u015fi olmu\u015ftur.<\/p>\n<\/div><\/div>\n\n\n\n

Foto\u011frafla ilgili ilk deneylerinin tarihi bilinmemekle beraber, 1790-1791 y\u0131llar\u0131nda yaz\u0131lm\u0131\u015f mektuplara istinaden pratik detaylar \u00fczerinde dolayl\u0131 olarak tavsiyelerde bulunuldu\u011fu g\u00f6r\u00fcl\u00fcyor. 20. Y\u00fczy\u0131la kadar kullan\u0131lan fotokopi makinesinin patent sahibi olan James Watt<\/strong>, Josiah Wedgwood<\/strong>‘a \u015f\u00f6yle yazd\u0131:<\/p>\n\n\n\n

Sevgili Efendim, G\u00fcm\u00fc\u015f Resimler ile ilgili talimatlar\u0131n\u0131z i\u00e7in te\u015fekk\u00fcr ederim, evde oldu\u011fumda baz\u0131 deneyler yapaca\u011f\u0131m<\/em><\/strong><\/p><\/blockquote>\n\n\n\n

Porselen \u00fcreticisi Josiah Wedgwood<\/a> 64 ya\u015f\u0131nda \u00f6ld\u00fc\u011f\u00fcnde, miras\u0131n\u0131 o\u011flu Thoma<\/a>s<\/a> Wedgwood<\/a> devrald\u0131 ve hayat\u0131n\u0131n \u00e7o\u011funu ressamlar, \u015fairler ve heykeltra\u015flarla ge\u00e7irdi. Wedgwood, ka\u011f\u0131t ve deri gibi malzemeler \u00fczerinde \u0131\u015f\u0131\u011fa duyarl\u0131 kimyasallar kullanarak, ilk olarak bir camera obscurada olu\u015fan g\u00f6r\u00fcnt\u00fcy\u00fc foto\u011fraflamaya \u00e7al\u0131\u015ft\u0131\u011f\u0131 bilinen ilk ki\u015fidir.<\/p>\n\n\n\n

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Muhtemelen \u00f6\u011fretmeni Alexander Chisholm ve Lunar Society<\/a> \u00fcyelerinden gelen kimya konusunda tavsiyelere de uyarak yapt\u0131\u011f\u0131 bir\u00e7ok deneyinde Wedgwood, g\u00fcm\u00fc\u015f nitratla kapl\u0131 ka\u011f\u0131t ve beyaz deri kulland\u0131. Derinin \u0131\u015f\u0131\u011fa daha duyarl\u0131 oldu\u011fu kan\u0131tland\u0131. T.Wedgewood, deri de dahil olmak \u00fczere bir\u00e7ok farkl\u0131 bazda g\u00fcm\u00fc\u015f nitrat kullanarak yapraklar\u0131n ve b\u00f6ceklerin g\u00f6r\u00fcnt\u00fclerini olu\u015fturmay\u0131 denedi.<\/p>\n<\/div><\/div>\n\n\n\n

G\u00fcne\u015f Resimleri<\/h3>\n\n\n\n

Wedgwood, Bristol’deki Pn\u00f6matik Klini\u011finde Humphry Davy<\/a> adl\u0131 gen\u00e7 bir kimyagerle tan\u0131\u015ft\u0131\u011f\u0131nda, rahats\u0131zl\u0131klar\u0131 i\u00e7in tedavi g\u00f6r\u00fcyordu. Davy ve Wedgwood \u2018G\u00fcne\u015f Resimleri\u2019 ad\u0131n\u0131 verdikleri bu \u00e7al\u0131\u015fmalara devam ettiler. Davy, Londra’daki Journal of the Royal Institution<\/a> Dergisi’nde (1802) yay\u0131nlanmas\u0131 i\u00e7in arkada\u015f\u0131n\u0131n \u00e7al\u0131\u015fmalar\u0131n\u0131 \u015f\u00f6yle yazd\u0131:<\/p>\n\n\n\n

Humphrey Davy’nin g\u00f6zlemleriyle; G\u00fcm\u00fc\u015f Nitrat \u00dczerine I\u015f\u0131k arac\u0131l\u0131\u011f\u0131 ile resimlerin cam \u00fczerine kopyalanmas\u0131 ve profillerin olu\u015fturulmas\u0131 metodu, T. Wedgwood taraf\u0131ndan icat edildi<\/em><\/strong><\/p><\/blockquote>\n\n\n\n

Makale yay\u0131nland\u0131 ve Wedgwood’un prosed\u00fcrleri ve ba\u015far\u0131lar\u0131n\u0131n yan\u0131 s\u0131ra Davy kendi varyasyonlar\u0131n\u0131 da detayland\u0131rd\u0131. Wedgwood ve Davy\u2019nin \u00f6ncelikli hedefi, bir camera obscura ile \u2018ger\u00e7ek d\u00fcnya sahnelerini\u2019 yakalamakt\u0131. \u00c7e\u015fitli nesnelerin g\u00f6r\u00fcnt\u00fcIerini yakalamay\u0131 ba\u015fard\u0131lar ama bunun kal\u0131c\u0131 olmas\u0131n\u0131 sa\u011flayamad\u0131klar\u0131 i\u00e7in bu giri\u015fimler ba\u015far\u0131s\u0131z oldu. Wedgwood, zay\u0131fl\u0131\u011f\u0131 ve ba\u015far\u0131s\u0131zl\u0131\u011f\u0131 nedeniyle deneylerini erken b\u0131rakm\u0131\u015f olabilir. 1805 y\u0131l\u0131nda 34 ya\u015f\u0131nda \u00f6ld\u00fc. Davy de deneylere devam etmemi\u015f gibi g\u00f6r\u00fcn\u00fcyor. Bir iddiaya g\u00f6re* Frans\u0131z baloncu, profes\u00f6r ve mucit Jacques Charles’\u0131n, Wedgwood’dan \u00f6nce ,(yakla\u015f\u0131k 1801) \u0131\u015f\u0131\u011fa duyarl\u0131 ka\u011f\u0131da kayan negatif sil\u00fcet foto\u011fraflar\u0131n\u0131 \u00e7ekti\u011fine inan\u0131l\u0131yor. Charles, 1823’te s\u00fcreci belgelemeden \u00f6ld\u00fc, fakat iddiaya g\u00f6re Louvre’daki derslerinde bunu g\u00f6sterdi.<\/strong><\/p>\n\n\n\n

* G\u00f6r\u00fcnt\u00fcleri kimyasal maddelerle sabitleme fikrinin Charles\u2019a ait oldu\u011funu Fran\u00e7ois Arago yazd\u0131\u011f\u0131 i\u00e7in.<\/strong><\/p>\n\n\n\n

Kaynaklar :<\/p>\n\n\n\n