History
The camera lucida was patented in 1807 by William Hyde Wollaston. There seems to be evidence that the camera lucida was actually nothing but a reinvention of a device clearly described 200 years earlier by Johannes Kepler in his Dioptrice (1611). By the 19th century, Kepler’s description had totally fallen into oblivion, so Wollaston’s claim was not challenged. The term "camera lucida" (Latin "light room" as opposed to camera obscura "dark room") is Wollaston's. (cf. Edmund Hoppe, Geschichte der Optik, Leipzig 1926)
While on honeymoon in Italy in 1833, the photographic pioneer William Fox Talbot used a camera lucida as a sketching aid. He later recorded that it was a disappointment with his resulting efforts which encouraged him to seek a means to "cause these natural images to imprint themselves durably".
In 2001, artist David Hockney's book Secret Knowledge: Rediscovering the Lost Techniques of the Old Masters was met with controversy. His argument, known as the Hockney-Falco thesis, is that great artists of the past, such as Ingres, Van Eyck, and Caravaggio did not work freehand but were guided by optical devices, specifically an arrangement using a concave mirror to project real images. His evidence is based entirely on the characteristics of the paintings themselves.
The camera lucida is still available today through art-supply channels but is not well known or widely used.
Read more about this topic: Camera Lucida
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