MuseumThe Swiss Camera Museum

Exhibits

Exhibits featured with audio

• 1 - Come into the Dark Room!
• 2 - The Eye of Photography
• 3 - The Camera Obscura
• 4 - Optical Views
• 5 - Effects of Light and Shadow
• 6 - From Light Shadow Is Born...
• 100 - The Precursors
• 101 - Joseph Nicéphore Niépce and the Invention of Photography
• 102 -1839: the Invention of Daguerre Unveiled to the world
• 103 -The Museum’s Daguerreotype Collection
• 104 - Daguerrian Excursions
• 105 - 1834: The Photogenic Drawings of Talbot
• 106 - Andreas Friedrich Gerber, a Forerunner in Switzerland
• 107 - Hyppolite Bayard, the Forgotten Inventor
• 108 - The Parisian Opticians, the Chevaliers
• 109 - Johann Baptist Isenring, One of the First Swiss Photographers
• 110 - The Calotypes of Jean Walther
• 111 - The first photographers’ equipment
• 112 - The World in Relief
• 113 - Viewing in 3 Dimensions
• 114 - Ferrotype and Ambrotype
• 115 - Treatment of Negatives and Positives in the Laboratory
• 116 - Abel Niépce de Saint-Victor and the First Negatives on Glass Plate
• 117 - A New Process in 1850: Wet Collodion
• 118 - 1864: the Dubroni Camera Laboratory
• 119 - Retouching Negatives
• 120 - Positive Contact Printing from 1840
• 121 - Shooting Outdoors During the Collodion Period
• 122 - The Gothard of Adolphe Braun
• 123 - Pictures with day-night effects
• 124 - The Megaletoscope of Carlo Ponti
• 125 - Traditional Photographic Processes
• 150 - A model of a photography studio from the end of the XIXth century
• 151 - The entrance hall
• 152 - The waiting room
• 153 - The shooting studio
• 154 - The plate sensitisation and development laboratory, or dark
• 155 - The store room for glass plates
• 156 - The negative retouching studio
• 156 - The laboratory for the preparation of sensitised paper
• 158 - The exposure glass panel of the printing frame
• 159 - The printing laboratory
• 160 - The finishing studio
• 161 - The open air portrait
• 162 - The photographer’s trips
• 200 - The plate era
• 201 - Gelatine bromide plates
• 202 - The photographer’s new tools
• 203 - Pointing the camera
• 204 - Measuring light
• 205 - Mechanics took its place in photography
• 206 - The Photosphere
• 207 - Two one-thousandths of a second
• 208 - The Telephot
• 209 - Magnesium flash photography
• 210 - Eadweard Muybridge and bringing movement back to life
• 211 - The animated image and Emile Reynaud
• 212 - Image animation machines
• 213 - Ottomar Anschütz perfected the zootrope
• 214 - Reproduction and impression
• 215 - Legal photography
• 216 - Multiple image cameras
• 217 - The visitor’s card
• 218 - Passport photo machine
• 219 - The photographic portrait
• 220 - Spy cameras
• 221 - Photography measures the landscape
• 222 - The X-ray
• 223 - Microscopic photography
• 224 - The photographer’s laboratory circa 1900
• 225 - The amateur photographer
• 226 - Colour photography
• 227 - The Lumière brothers’ Autochrome process
• 228 - Photographic optics
• 229 - Stereoscopic photography
• 230 - Military cameras
• 231 - The photographic Jumelle
• 232 - The Ermanox plays with the shadows
• 233 - The Compass – made by watchmakers
• 234 - Cameras you can touch and handle
• 300 - The century of the film
• 301 - Film
• 302 - The first film
• 303 - From one spool to the other
• 304 - “You press the button, we do the rest”
• 305 - The Escopette (literally “Blunderbuss”)
• 306 - Kodaks for everyone
• 307 - Spy cameras
• 308 - Vest Pocket: the soldier’s camera?
• 309 - Sheet film and filmpack
• 310 - Rolleiflex
• 311 - Breaking down movement
• 312 - Bringing the image to life
• 313 - The birth of cinema
• 314 - Before the Leica
• 315 - Leica: “small negatives, large photographs”
• 316 - The tools of the professional photographer
• 317 - The life of an image
• 318 - Artificial light
• 319 - Photography for all
• 320 - Snapshots of real life
• 321 - The reflex camera
• Photographer pigeons…
• 323 - Miniature cameras
• 324 - Colour
• 325 - 1939-1945
• 326 - Japanese cameras
• 327 - Retrofocus and zoom
• 328 - Action!
• 329 - Panoramic photography
• 330 - Hasselblad: destination the moon
• 331 - Polaroid
• 332 - Instamatic
• 333 - The APS format
• 334 - Fully automatic!
• 335 - The industrial laboratory
• 401 - The Digital Revolution
• 402 - 1965 A picture in numbers
• 403 - 1975 The Invention
• 404 - Eikonix and the beginning of digital camera work
• 405 - 1977 Electronic photography
• 406 - 1981 A photograph in “still video”
• 407 - 1984 Digital transmission at the Olympic Games
• 408 - 1990 The first digital machines
• 409 - 1992 the Photo CD
• 410 - 1990 The time of the scanners
• 411 - 1986 Sinar and the digital picture
• 412 - 1995 Digital for everybody
• 413 - Professional digital equipment
• 414 - The ink jet
• 416 - When the digital image lives side by side with conventional photography
• 417 - The Immediate future - Automatic image annotation
• 418 - Augmented reality in your photography: Camille Scherrer and the world of the mountains
• 418 - 1999 Le camphone ou photophone
• 420 - Photoshop
• 422 - Digital technology to stabilise the image
• 423 - Digital photography to the aid of lost colours
• 425 - Animated photography
• 426 - Virtual photography
• 427 - Photography in relief
• 428 - The digital retina
• 429 - Digital technology controlling light
• 430 - 21st century - As long as there are films
• Pinhole Camera Photography
• 501 - The Birth of the Picture as a Showpiece
• 502 - The Magic Lantern up Hill and down Dale
• 503 - Toy Magic Lanterns
• 504 - Illuminated Projection Sessions
• 505 - Preparation of Lantern Plates
• 506 - Photographic Projection
• 507 - Phantasmagorical Shows
• 508 - Around the Animated Image
• 509 - The triple projection lantern
• 510 - Cinema 1900