Thomas Edison and the Lumiere brothers contributed immensely to the modern industry, and art form, we call cinema today. Here he produced photographic plates that were proved to be quite popular at the time. Young Louis began to experiment with his father's equipment shortly after and soon invented a new technique for developing film.
This breakthrough came in when he was only 17 years old. The new technique was called "dry plate," and it proved to be very successful indeed. So much so that his father was able to open a new factory in the suburbs. The same year their father Antoine attended an exhibition in Paris. There he would see Edison's latest invention - The Edison Kinetoscope. This would prove to be a critical moment in the history of cinematography.
He, after Louis' success with the "dry plate," asks them to attempt to develop a cheaper alternative to Edison's Kinetoscope and bulky camera counterpart the Kinetograph. But Antoine went one step further. He saw the potential for the technology to be used to project a film onto a screen so that many people could view it at the same time.
Edison's Kinetoscope, whilst cutting edge, was very limited in comparison to Antoine's grand vision. Louis realized that the main obstacle to their goal of projection was finding a way to automatically create a continuous movement of the film containing the images. Part of the answer to the problem was found by Louis, who suddenly was inspired while lying awake one night. He realized that the same "presser foot" mechanism that drives a sewing machine could be adapted to move small sections, or frames, of film across the lens in quick succession, allowing a short period of time for each frame to be stationary to allow for exposure.
Louis drew up the plans for a prototype camera, which was constructed by one of his technicians at the family factory. This machine, known as the Cinematograph, underwent a number of further developments that made it an extremely versatile tool.
Not only could it create the negatives of an image on film, but it could also print a positive image as well as project the results at a speed of 12 frames per second. He and Auguste then made arrangements to bring a series of short films to a public audience. The audience wasn't quite sure what to make of the new technology. Louis's creative use of the camera had led him to photograph an approaching train from a head-on perspective; some people in the audience were frightened at the image on the oncoming locomotive and in a panic tried to escape—others simply fainted.
Both Auguste and Louis created films for a while, but eventually they handed this work over to others so they could pursue other interests. Louis returned to research on color photography, developing the Autochrome process in His method, although still fairly expensive, provided a level of convenience similar to the dry plate. Autochrome achieved recognition as the best means of producing color images at that time and remained the favored means of color photography for the next 30 years.
In later years, Louis would continue his interest in visual reproduction by developing a photographic method for measuring objects in and inventing relief cinematography techniques in Auguste spent the early s investigating medical topics such as tuberculosis, cancer, and pharmacology. He joined the medical profession in as the director of a hospital radiology department.
His older brother lived to the age of 91 and died in his long-time home of Lyons, France, on April 10, This intermittent movement was designed by Louis and based on the principle of the sewing machine mechanism.
Thereafter, the public shows commenced. Each show comprised ten films and lasted about 15 minutes. There were twenty shows a day, starting at Admission was one franc. News soon spread.
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