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56-555: Before working on chronophotography and motion pictures, Anschütz had already received much acclaim for his instantaneous pictures of flying storks in 1884. In 1885, Anschütz made his first chronophotographs of horses, sponsored by the Prussian minister of Culture. Initially, he used 12 cameras, later on 24. The quality of his pictures was generally regarded to be much higher than that of pioneer Eadweard Muybridge 's chronophotographic series. He continued with studies of horses in motion at

112-582: A Manhattan facility after the turn of the century, and a few years later to a studio in the Bronx . Filming locations around the United States and abroad were used. The company had the same senior executives as the more profitable National Phonograph Company , to which Edison paid more attention. Edison was also distracted by other enterprises including storage batteries, iron ore and cement, which competed for finance and led to loss of focus. In February 1911

168-407: A gun as its purpose was to photograph short sequences of the natural movement of birds during their flight, which took twelve successive photographs on a set of discs. The disc contained 12 openings around its circumference. In front of this disc was a second disc pierced with a slit. Pressing the trigger of the gun began a mechanism to rotate the discs. The disc carrying the 12 frames rotated 1/12 of

224-758: A 1.25 m (4 ft 1 in) disc. It was demonstrated at the Elektrotechnischen Messe in Frankfurt on 16 May 1891 and exhibited there from 18 July to December, with over 17,000 spectators in the first 2.5 months. Models were demonstrated or installed in Berlin, Warschau, Amsterdam, Brussels und New York. The machine was licensed to Joe Livingston for Schwarz & Co in New York for the US since 9 September 1891, and to Edgar Cohen for worldwide exploitation (except for Germany and

280-523: A Single Bowl) , Raufende Jungen (Boys Fighting) , Zwei Herrn eine Prize Schnupftabak nehmend (Two Men Taking a Pinch of Snuff) , Einseifen beim Barbier (Latherin Up at The Barber's) , Tabakschnupfender Alter (Old Man Taking Snuff) and Skatspieler (Card Players) . Little of Anschütz' motion picture output has yet resurfaced. Although many examples of his printed chronophotography survived, all that could be found (as of 2016) from his later entertainment-oriented work

336-414: A base to form the zoetrope-type drum. Each strip had the appropriate amount of slots in between the lithographed pictures and the base could be turned into a vertical position. Anschütz produced two simplified versions in 1891. The zoetrope-type Schnellsehers were mainly made for people to use at home and Anschütz probably wanted to make his work available to many people through commercial exploitation, but he

392-487: A black background before and after treatment. This and Marinescu's related films are considered early documentary films . The professor called his works "studies with the help of the cinematograph," and published the results, along with several consecutive frames, in issues of "La Semaine Médicale" magazine from Paris, between 1899 and 1902. As photography became the dominant source of accurate depiction of life, art no longer necessarily had to capture life. Now liberated from

448-719: A different scene. This Elektro-tachyscope was shown to paying spectators in Vienna in November 1890, and probably in Brussels in 1891. In 1893, the Edison Manufacturing Company started the wide distribution of their long-awaited Kinetoscope , which had been in slow development since 1888. After initial experiments based on phonograph cylinders, they had shortly worked on a design based on the Schnellseher automat. Their main ambition

504-651: A fast succession of electric flashes from a synchronized Geissler tube , while the wheel was hand-cranked to rotate at a speed of approximately 30 frames per second. About four spectators could watch the images on a 12.5 cm (4.9 in) wide milk glass screen in a wall in a small darkened room. Anschütz introduced the first successful model from 19 to 21 March 1887 at the Kultusministerium (Ministry of Culture) in Berlin , receiving much praise from invited colleagues, politicians, and scientists. From 16 July to 26 August 1887,

560-416: A folding hand camera with a “ focal-plane shutter ,” an early model of a folding bellows, and a flatbed-type press camera that allowed photos to be taken at 1/1000 second exposures. This enabled a faster setup of Muybridge's multiple-camera system, able to take more exposures faster due to the rapidity of the shutter speed. He also invented a personal viewer for his chronophotographs, a revolving disk in which

616-477: A frame, and multiple aspects of time and motion can be recognized in several related paintings, including Jean Metzinger 's Danseuse au café (Dancer in a Café) (1912). Marcel Duchamp 's famous Nu descendant un escalier n° 2 (Nude Descending a Staircase, No. 2) (1912) was directly influenced by Muybridge's Woman Walking Downstairs (1887) and the works of Marey. Edison Manufacturing Company The Edison Manufacturing Company , originally registered as

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672-531: A large debt with Siemens & Halske for large orders of Schnellsehers. Siemens & Halske started to commercially exhibit the remaining 52 copies themselves as an attempt to lift some of Anschutz' debt and helped him with the development of his new project that aimed to project motion pictures on a large screen. On 6 November 1894, Anschütz patented a projector with two intermittently rotating large disks and continuous light. On 25, 29 and 30 November 1894, he introduced his new device with two linked discs projecting

728-471: A machine in action. Improvements in the sensitivity of photographic emulsions made exposures of less than a second possible. Without the need to hold poses for a long time, early instantaneous photography eventually made real-time chronophotography possible. In 1873, Leland Stanford , former governor of California and horse enthusiast, hired Eadweard Muybridge to create an instantaneous photograph of one of his horses at full speed. Initially thinking it

784-549: A part of the track, with electro-magnetic shutters triggered by tripwires. Muybridge's first chronophotographic sequences were published as The Horse in Motion cabinet cards in 1878. The images of the horse caused astonishment to the public all over the world, as the poses deviated from most traditional depictions and were much less graceful than expected. After initial enthusiasm, physiologist Étienne-Jules Marey became dissatisfied with Muybridge's multiple-camera method and developed

840-556: A revolution while the disc carrying the shutter slit revolved once, so that each of the 12 openings appeared in turn behind the lens and was exposed through the slit. [3] When printed, it gave the same effect as his layering process. (Eventually, Marey was able to photograph on actual rolls of film and project the frames in sequence. ) Depending on the purpose of the chronophotograph, it could later be affixed to any of several devices either to be displayed in motion or to compare phases of motion in layers. Chronophotography's original purpose

896-499: A studio at Charlottenstr. 59 in Berlin, where frequent demonstrations of Schnellsehers took place to at least 1900 (and less frequently until years later). Early January 1890, Anschütz presented a new type of chronophotography on the glass wheel Schnellseher to emperor Wilhelm II's family: "Sprechende Porträts" (Speaking Portraits). He introduced it publicly on 16 January 1890 at the Photographic Association in Berlin. At

952-579: A study of different angles of a model. In 1844 Antoine Claudet exhibited some "portraits multiples" at l'Exposition , including a self portrait series of twelve pictures showing his face from the left side profile to the right side profile. He had made the pictures in London in 1843 with a simple multiplier device that allowed successive exposures of parts of Daguerreotype plates in a very short time. Claudet regarded these pictures as curious specimens of photography of little practical use and forgot about it. After

1008-545: A tenth of a second. Georges Demeny , Marey's assistant, developed even further applications for the reproduction of movement, primarily in creating a simple projector called the stroboscope . He and German photographer Ottomar Anschutz shared the development of projecting technology, using chronophotographs and projectors to create movement much like the projection we know today. Anschutz carried this concept even further, developing chronophotographs to run through his projectors as entertainment. Anschutz then managed to develop

1064-416: A very early form of pixilation . The earliest known realistic concept of motion picture recording was published by Joseph Plateau , in an 1849 article about improvements for his fantascope. He had discussed the possibility of the combination of the fantascope and stereoscopic photographs with the inventor of the stereoscope , Charles Wheatstone . Plateau came up with an early conception of stop motion as

1120-527: The Chronophotographic gun in 1882, inspired by Jules Janssen 's photographic revolver. Albert Londe was hired as a medical photographer by neurologist Jean-Martin Charcot . In 1882, he devised a camera with nine lenses and intricate timing system to study the physical and muscular movements of patients. Over time Londe refined this system to be able to take a sequence of twelve pictures in as little as

1176-602: The Königlichen Militärreitinstitut  [ de ] (Royal Military Institute) in Hanover during 1886. From the beginning, Anschütz wanted to reproduce the recorded actions and worked on devices to enable this. In 1886, he built a machine with a 1.5 m (4 ft 11 in) wheel that had twenty-four, 9 cm × 13 cm (3.5 in × 5.1 in) glass plate photographs attached to its circumference. The pictures were illuminated from behind by

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1232-827: The United Edison Manufacturing Company and often known as simply the Edison Company , was organized by inventor and entrepreneur Thomas Edison and incorporated in New York City in May 1889. It succeeded the Edison United Manufacturing Company , founded in 1886 as a sales agency for the Edison Lamp Company , Edison Machine Works , and Bergmann & Company, which made electric lighting fixtures, sockets, and other accessories. In April 1894,

1288-678: The Edison laboratory's Kinetoscope operation, which was about to be commercialized, was brought under the Edison Company umbrella. In 1900, the United Edison Manufacturing Company was evidently succeeded by the New Jersey–incorporated Edison Manufacturing Company. The company's assets and operations were transferred to Thomas A. Edison, Inc. in 1911. The Edison United Manufacturing Company

1344-753: The Elektrotachyscope. He started with chronophotography studies of horses for the military in 1885. In 1888, he made motion studies of animals in the Breslau Zoo . He also recorded acrobats, dancers, athletes, boxers, wrestlers, sports and horse races. Already more an artistic and skilful photographer than a scientist, he chose different subjects when he started commercially exploiting the Schnellseher as an attraction. He recorded several comical scenes based on everyday life, including Lustige Fahrt (Funny Journey) , Zwei ZimmerleuteFrüstückend (Two Carpenters Breakfasting) , Familie essend aus einem Topfe (Family Eating from

1400-502: The Mayer brothers patented a "multiplicateur" in 1850 Claudet contested the priority of their invention. In 1853 André-Adolphe-Eugène Disdéri popularized the multiplier through the mass production of cartes de visite . The advent of stereoscopic photography (mainstream since the early 1850s) led to the belief that photography could be further developed into a perfect illusion of reality. Photographic recordings with motion and colour were

1456-493: The Schnellseher picture loops and after 1895 Anschütz' career in motion pictures was diminished to the sales of home model Tachyscopes at his studio. Inventory of known presentations of Schnellsehers Hardly any differentiation between the many variations of Schnellseher is clear from the available reports. For this table, if no precise information is available, devices exhibited before 1890 are assumed to be rotating wheel Electrotachyscopes, those exhibited in 1890 are assumed to be

1512-705: The US) since 19 October 1892 (as Electrical Wonder Company from 12 November 1892 to 2 December 1893). Electrotachyscope automats were installed in popular venues in New York, in Paris, in Boston, at The Crystal Palace in London, at the Berlin Zoo, and in more cities. About 34,000 people came to view the motion pictures in July and August 1892 at the Ausstellungspark in Berlin. The Elektrotachyscope

1568-434: The best way to obtain the necessary stereoscopic picture sequence, but did not get around to bringing this plan to fruition. Eventually, the idea was communicated to French publisher and instrumentmaker Jules Duboscq . On 12 November 1852, Duboscq filed the "stéréoscope - fantascope ou bioscope" as an addition to his earlier stéréoscope patent. He shortly marketed the device, with little success. The only known extant disc shows

1624-538: The camera became the dominant source of accurate depiction of life. As the technology became more sophisticated, so did the activities for which people used cameras. Around 1840/1841 Francis Ronalds documented his first idea to use photographic methods to make scientific recordings. His first machine was built in April 1845 to continuously trace the varying indications of meteorological equipment on photographic paper. The cameras were supplied to numerous observatories around

1680-487: The choice to look through one of three rows with 19, 20 and 21 apertures. This allowed the use of strips with different amounts of pictures and the choice to view the images either as staying in place or moving around. Scientific chronophotographer Étienne-Jules Marey bought such a Tachyscope in March 1889. It was followed in 1890 by a "Salon Tachyscope" for which the 180 cm (71 in) long picture bands had to be attached to

1736-477: The cylinder machines and the "Talking Portraits" presentations are assumed to be from wheels. From 16 May 1891 onward, most devices are assumed to be the Siemens & Halske automat. Anschütz developed four types of a patented "Schnellseher" or "Tachyscope" that were improved versions of the zoetrope . In September 1887, Anschütz introduced a hand-cranked Tachyscope with a diameter of 58 cm (23 in) and with

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1792-496: The development of projection devices (Muybridge's zoopraxiscope , Anschutz's electrotachyscope , and ultimately, Albert Londe's high-speed multi-exposure camera which ran film through a projector in a new way), the display of chronophotographs as entertainment became more sophisticated and useful than ever before. Before long, cinematic devices spawned from original chronophotographic predecessors, with which audiences could watch continuous loops of entertaining activities (for example,

1848-409: The early 1840s some photographers used multiple cameras, resulting in series of pictures with small differences in time and/or angle. However, changes in poses or angles between exposures were usually aimed at the most advantageous look for the model, not at the slight and regular changes needed for a chronophotographic sequence. Most of the early series with an intended range of regular changes formed

1904-511: The logical next steps. Early series that were actually shot to depict motion sequences, had to be photographed one pose at a time, with intervals, because the necessary exposure times took too long for live recordings. In some cases the results were used in stroboscopic devices, such as the fantascope also known as phénakisticope (available since 1833), the zoetrope (available since 1866) or newly developed devices. The animated results of photographic sequences with live models can be regarded as

1960-576: The moving images on a 6 by 8 m (20 by 26 ft) screen in the darkened Grand Auditorium of a Post Office Building in Berlin. From 22 February to 30 March 1895 commercial 1,5-hour program of 40 different scenes was screened for audiences of 300 people at the old Reichstag and received around 4,000 visitors. In 1895, other motion picture pioneers entered the market of motion pictures projected on large screens, including Max and Emil Skladanowsky with their Bioscop , and Auguste and Louis Lumière with their cinematograph . Their films were much longer than

2016-467: The moving pictures were screened to around 15,000 paying customers at Stadtbahnbogen 21 in the Ausstellungspark in Berlin. During the next few years, Anschütz demonstrated his electrical Schnellseher at many international exhibitions, fairs and conventions, visiting Wiesbaden , Frankfurt and Dresden in 1887, Brussels and Florence in 1888 and Kassel , Saint Petersburg , New York City , Boston , and Philadelphia in 1889. In 1888, Anschütz moved to

2072-400: The one-to-one relationship between a fixed coordinate in space captured at a single moment in time assumed by classical vanishing-point perspective, the artist became free to explore notions of simultaneity , whereby several positions in space captured at successive time intervals could be depicted within the bounds of a single painting. Cubist works regularly depicted multiple angles within

2128-443: The only projected photographic moving images he ever made featured a stop motion animation of the skeleton of a horse. The Roundhay Garden Scene , October 1888 by Louis Le Prince , is the oldest known cinematographic film. Anschütz publicly presented his first Schnellseher in March 1887, presumably as the first device dedicated to the presentation of cinematography. The presentation of his projection Schnellseher on 25 November 1894

2184-451: The photos could be viewed with illumination from an electric spark (rather than projection). Setting up a sequence of cameras to photograph the movement of a subject as it progresses in locomotion originally created chronophotographs. This could be done via tripwire or electrically timed shutter release attached to each individual camera. The photographer then paired together a sequence of twelve different wet-plate photographic prints of

2240-455: The purpose of recording and exhibiting successive phases of motion". The term chronophotography was coined by French physiologist Étienne-Jules Marey to describe photographs of movement from which measurements could be taken and motion could be studied. It is derived from the Greek word χρόνος chrónos ("time") combined with photography . Soon after the introduction of photography in 1839,

2296-555: The same 16 January 1890 presentation, Anschütz introduced a much smaller Schnellseher in a cabinet that could be mounted to a wall or otherwise placed at eye-height. By the end of the year, he was negotiating with Siemens & Halske about the commercial manufacture of such machines. In 1891, Siemens & Halske started production of a coin-operated peep-hole Electrotachyscope, of which approximately 152 copies were made. This version had eighteen to twenty-four, 9 cm × 12 cm (3.5 in × 4.7 in) celluloid pictures in

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2352-414: The scientific study of locomotion , to discover practical information for animal handlers and/or as reference material for artists. Although many results were not intended to be exhibited as moving pictures, there is much overlap with the more or less simultaneous quest to register and exhibit photographic motion pictures . Chronophotography is defined as "a set of photographs of a moving object, taken for

2408-410: The subject in motion. The subject could range from a running horse to a human descending stairs, or inanimate objects being thrown, launched, or falling. To overlap the phases of movement on a single plate, like the work of Marey and Demeny, a photographer would fix a single plate by using strips of celluloid for each separate, irregular image. Marey also later developed a device, shaped in the manner of

2464-478: The thirteenth Cinématograph production) seems very similar to the one image known from Anschütz' Skatspieler . An earlier, related device is described in the 24 January 1878 issue of the journal Nature . Chronophotography Chronophotography is a photographic technique from the Victorian era which captures a number of phases of movements. The best known chronophotography works were mostly intended for

2520-427: The works of Anschütz. Although several are logical examples of motion studies, some seem to have been based on (lost) Schnellseher discs. The Barbershop (produced late 1893, premiered 14 April 1894) is probably an extended remake of Anschütz' (lost) Einseifen beim Barbier" (1890). Fred Ott's Sneeze was probably based on Tabakschnupfender Alter . Auguste and Louis Lumière 's Partie d’écarté (16 January 1896,

2576-439: The world and some remained in use until well into the 20th century. The earliest Daguerreotype photographers already took multiple shots of a subject, mostly to increase their chances of obtaining a successful picture. Making multiple shots of one subject was also a sensible solution when multiple pictures were wanted, since Daguerreotypes could not be reproduced (except by photographing an existing Daguerreotype). At least from

2632-437: The “ peep show ” devices built using Thomas Edison ’s backlighting technology). From these developments in history, cinematography and silent film of moving images were invented. Romanian neurologist Gheorghe Marinescu made the 1898 film Walking Troubles of Organic Hemiplegy , inspired by his earlier work using chronophotography under the influence of Marey. The short film shows patients walking in four directions against

2688-558: Was a fuzzy image with three card players as seen in a detail of a 1926 photograph of a home model automat Schnellseher. By 1886, when Anschütz developed his first Schnellseher and presented it to family and friends, photographic motion pictures recorded in real-time (known as cinematography ) had only been seen from chronophotograph prints in zoetropes or similar devices (and rarely in public). Eadweard Muybridge had mostly shown moving silhouettes traced from his chronophotographs onto glass discs with his zoopraxiscope in lectures since 1880;

2744-525: Was exhibited at the Chicago World's Fair of 1893 as "Greatest Wonder of the World". These machines may have been mistaken for Edison's long-awaited Kinetoscopes that were planned to be installed at the fair, but seem never to have arrived. Before Siemens & Halske were involved, Anschütz had also developed an automated 65 cm (26 in) cylindrical Schnellseher. It had six milk glass screens, each showing

2800-415: Was impossible, Muybridge nonetheless took the challenge, experimented with chemicals and shutter devices for a while, and eventually managed to shoot a hazy image that satisfied Stanford interest in the actual positions of the legs. Some years later, Stanford wanted a series to document all the different positions of a running horse and got back to Muybridge for the project. They used a battery of cameras along

2856-825: Was incorporated in July 1886 to consolidate the sales operations of the various Edison manufacturing concerns. The company went into liquidation—finalized October 31, 1889—and was succeeded by the United Edison Manufacturing Company, incorporated in New York City under New York State law in May 1889. On May 4, 1900, the Edison Manufacturing Company—evidently the successor to the United Edison Manufacturing Company—was incorporated in Newark, New Jersey , with its headquarters located in West Orange . From April 1894 to June 1908, William E. Gilmore

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2912-436: Was presumably the first public instance of the cinematographic projection. The Kinetoscope made by the Edison Manufacturing Company was most likely much influenced by the coin-operated Schnellseher automat, but mainly intended to show longer scenes. Of the 22 films produced by the company from 20 May 1891 ( Dickson Greeting ) to mid-March 1894 ( Boxing Match ), at least 15 have subjects that are very similar to those found in

2968-518: Was to enable longer motion pictures that ideally would reproduce opera performances in combination with the phonograph. The disc format had therefore been abandoned and experiments continued with celluloid film strips. The eventual coin-operated peep-box Kinetoscope automats did show relatively long scenes, but the company was unable to offer a combination with sound. When the Electrical Wonder Company went under in 1893, it left Anschütz with

3024-441: Was to help scientists study objects in motion, primarily humans and animals. It was also used for practical purposes, such as judging timed events and recording historical ones (horse and dog races, performances) and studying the movement of projectiles for war. With Anschutz's development of non-scientific, entertaining chronophotographs, chronophotography became the basis for the invention and development of cinematography. Due to

3080-409: Was very careful to keep the image quality high and chose to manufacture all image strips personally at his studio, which resulted in relatively small quantities. At his own studio in Berlin, Anschütz offered hand-cranked home models with glass wheels and Geissler tubes as well as zoetrope Schnellsehers until at least 1905. Anschütz made many chronophotography series and adapted at least 60 of them for

3136-649: Was vice-president and general manager of the Edison Manufacturing Company. He took over from Alfred O. Tate and was succeeded by patent lawyer Frank Dyer. Edison's films were made by the Kinetograph Department of the Edison Manufacturing Company. Edison's first moviemaking studio—and the world's first—was the Black Maria in West Orange, New Jersey , where production of Kinetoscope films began in early 1893. The Edison Studios productions moved to

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