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Camera obscura
A camera obscura (Latin for "dark room") is an optical device that led to photography and the photographic camera. The device consists of a box or room with a hole in one side. Light from an external scene passes through the hole and strikes a surface inside, where it is reproduced, inverted (thus upside-down), but with color and perspective preserved. The image can be projected onto paper, and can then be traced to produce a highly accurate representation. The largest camera obscura in the world is on Constitution Hill in Aberystwyth, Wales.〔http://www.cardiganshirecoastandcountry.com/cliff-railway-camera-obscura-aberystwyth.php Cliff Railway and Camera Obscura, Aberystwyth〕
Using mirrors, as in an 18th-century overhead version, it is possible to project a right-side-up image. Another more portable type is a box with an angled mirror projecting onto tracing paper placed on the glass top, the image being upright as viewed from the back.
As the pinhole is made smaller, the image gets sharper, but the projected image becomes dimmer. With too small a pinhole, however, the sharpness worsens, due to diffraction. In practice, most camerae obscurae use a lens rather than a pinhole (as in a pinhole camera) because it allows a larger aperture, giving a usable brightness while maintaining focus.
==Role in the modern age==
While the technical principles of the camera obscura have been known since antiquity, the broad use of the technical concept in producing images with a linear perspective in paintings, maps, theatre setups and architectural and later photographic images and movies started in the Western Renaissance and the scientific revolution. While e.g. Alhazen (Ibn al-Haytham) had already observed an optical effect and developed a state of the art theory of the refraction of light, he was less interested to produce images with it (compare Hans Belting 2005); the society he lived in was even hostile (compare Aniconism in Islam) towards personal images.〔Hans Belting Das echte Bild. Bildfragen als Glaubensfragen. München 2005, ISBN 3-406-53460-0〕 Western artists and philosophers used the Arab findings in new frameworks of epistemic relevance.〔An Anthropological Trompe L'Oeil for a Common World: An Essay on the Economy of Knowledge, Alberto Corsin Jimenez, Berghahn Books, 15.06.2013〕 E.g. Leonardo da Vinci used the camera obscura as a model of the eye, René Descartes for eye and mind and John Locke started to use the camera obscura as a metaphor of human understanding per se.〔Philosophy of Technology: Practical, Historical and Other Dimensions P.T. Durbin Springer Science & Business Media〕 The modern use of the camera obscura as an epistemic machine had important side effects for science.〔Contesting Visibility: Photographic Practices on the East African Coast Heike Behrend transcript, 2014〕〔Don Ihde Art Precedes Science: or Did the Camera Obscura Invent Modern Science? In Instruments in Art and Science: On the Architectonics of Cultural Boundaries in the 17th Century Helmar Schramm, Ludger Schwarte, Jan Lazardzig, Walter de Gruyter, 2008〕
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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