This first photograph was taken by Francis Firth in 1857, and is a picture of The Hypaethral Temple in Philae, Egypt. Taken with a wide aperture, and a short shutter speed, the photo shows the temple in great detail, but some of the building is almost whited out because of the overabundant light of the sun. The black and white shows the angular dimensions of the temple. The next photo was taken sometime between 1891 and 1892 by Archibald James Campbell, it is a picture of Fishing Pool, Sassafras Gully. This is another black and white, taken with a wide aperture and slow shutter speed. This makes trees detail really stand out, while the pool appears to slightly blur. There is less light in this photo so there is less contrast between the light and dark areas. The next photograph is the Interior façade of the Sao Borja building in Rio de Janerio, Brazil. The photo was taken in 1945 by Thomaz Farkas. This is another black and white that exposes a contrast between the dark windows of the buildings and the light shade of the sky and building walls. The photo appears to have been taken with a wide angle lens to give the effect of the edges being pulled inward slightly. The picture is striking to the viewer because the eyes are pulled toward the center of the picture even though there is only sky in the center. The next photo is a still life with pieces of glass and a ball. Taken in 1923 by Jaromir Funke, this is a piece that shows the manipulation of a light source. It is interesting how the ball is only half shown, but we see the full roundness of it in its reflection. And the light appears to bend on a piece of canvas the glass is rested upon. This last photograph is a self-portrait of Lo So-man, taken in 1980. This is the only color photo in this gallery, Lo So-man was known for pioneering a lot of techniques with light usage in photography. This photo is a great representation of how well he was able to soften the light so that the face is not over exposed. The background is soft and out of focus, so that the eye of the viewer looks right at the person in the portrait before anything else.
