Physical education and sport through the centuries www.fiep-serbia.

net
2018, 5(1), 93-115
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Original research article DOI: 10.2478/spes‐2018‐0008

SPORTS PHOTOGRAPHY AND HISTORICAL

DEVELOPMENT
Miloš Stamenković1
1 Faculty of Sport and Physical Education, University of Niš, Niš, Serbia
Miloš Stamenković

UDK 93/97:347.783

SUMMARY
Sports photography undoubtedly has a significant place in sports press and
publicism. It's main and primary role is to present sports to the readers as art,
which it is. Sport is characterized by dynamic and varied movements, and the main
role of sports photography is reflected in the fact that it is in this way that sport
shows its essence. Having in mind that photography tells more than a thousand
words it sends a clear message to the reader as well to people who are informed
about events via sports portals. Sports photography is a multidimensional art for
many reasons. When we say “multi”, it primarily refers to a wider range that sports
photography has to offer, which means sports photography is not only directed at
presenting athletes on the move and the main actors who contribute to achieving
the results by their engagement – it also has the role of sports "psychophotography"
which is an analysis and capture of the emotional reaction of an athlete after
winning or losing from the opposing team.

Key words: sports photography, history, multidimensionality, emotional reaction.

Correspondence author
Miloš Stamenković
[email protected]

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1.INTRODUCTION

Photography is a multidimensional art whose main role is to capture an

unrepeatable moment. This is because it observes, or observes things in a
completely different way. Unlike painting, photography is applied because it
shows things incomparably faster in relation, for example, to a painter who is
struggling for months to paint a picture. Photography as an art has had a turbulent
historical development. The Gaton Mat (Gatton Matt) researcher tried to
determine whether the idea that occurred during the Palaeolithic period had any
significance, or whether this period was crucial for the development of a photo in
the future.
It is assumed that the "game" of sunlight, which entered through smaller or
larger holes in the cave, "painted" with the shadow of a different "image" of
silhouettes of people, animals, objects on the walls and cave (figure 1)1. Something
similar can be found in Plato's "State". It describes a cave on whose walls, thanks
to one openings that pass through the light, interesting shadows appear.

Figure 1. The camera оbscura of the Palaeolithic era.

Such a principle of light projection was also known to other thinkers in the
old age. This play of shadows and the reproduction of light in the dark room
probably suggested that the first camera would appear ‐ CAMERA OBSCURA. It is
known that in the ancient times Greeks adored physical activity, that is, physical
exercise, all of which their artists noted. Also, artists of that time were usually
painted on vases in an attempt to capture the action, for example fist fighting, and

1
http://www.paleo-camera.com/theorypage.htm.

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to immortalize it on the vase. We can assume that the Greeks, thanks to their
efforts in painting the vases they used to capture the moment, were crucial for the
development of photography in the future.

1.1 Camera obscura

The breakthrough of today's camera is a camera obscura (dark room).2 The
earliest written record about the camera can be in the writings of Mosis (470 to
390 BC), a Chinese philosopher and a founder of Mohism. The Greek philosopher
Aristotle (from 384 to 322 BC) was acquainted with the principle of the camera
obscura. As early as in the fourth century BC, Aristotle's note of such
reconciliation is found, but the first major step in the field of photography
development begins in the 16th century when the obstruction begins to be used in
practical work as a painting aid.
The camera obscura in its original form is like a dark room,3 which has only
one hole through which a light passes, which projects an inverted image of the
outside world on the opposite white wall of the room (Figure 2).4 The earliest
known model of the camera was used by the Byzantine mathematician and
physicist Anatemi around 500 years.5

Figure 2. A camera obscura in a dark room

2
Muminović Ema. Kronološki prikaz tehnika i produkcija fotografske slike. Neobjavljeni završni rad.
Sveučilište Sjever: Varaždin, 2016.
3
Gernsheim, Helmut. A concise history of photography. New York: Dover Publications, Inc, 1986.
4
https://pixsylated.com/blog/stepping-inside-havana-camera-obscura/.
5
Срдановић, Бранислав. Прошлост Оџака кроз старе фотографије: Из збирке музејске
јединице Народне библиотеке '' Бранко Радићевић у Оџацима од 1880 до 1941. године.
Народна библиотека „Бранко Радичевић“, Оџаци, 2013.

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The first scientific description of the camera was given by the Arabic
scientist, astronomer and mathematician Ibn al‐Haitham (Alhazen 965‐1038)6.
Alhazen noticed that one of the lights was no longer visible on the wall. In
addition, he realized that although the light from each of the lamps was
simultaneously traveling through the hole, there was no interference. This gave
him a pioneering insight into the work of the human eye. Once Plato (Greek
Πλατων), one of the most important philosophers of the Ancient era and the
theoretician of art, wrote that the most beautiful gift that the gods gave man is ‐
his eyes7. Leonardo da Vinci was very interested in how the human eye functioned
i.e. observes the phenomenon as well as objects in its field of vision.
Logically, when a man watching an object, this object is sharp, and the
background is blurry or out of focus, as Leonardo concluded.8 As for the role of
camera obscura, Leonardo was the first to add a lens to the hole through which
the light passes, in order to get sharp images.9 Also, Leonardo da Vinci has made a
small camera obscura and used it for studying perspective drawings. The best
description of the camera was published by the scientist Giovanni Batista de la
Porte at MAGIA DE NATURALIS, for which it was recommended for drawing for
the first time.10
Further, Kepler's work (Johannes Kepler) on the camera has made it
possible for him to solve one of the extraordinary optical puzzles ‐ how the eyes
function with an incisive image that manifested itself on the retina and thus
became the first person to make significant progress in understanding how the
human eye visualizes things i.e. a phenomenon in relation to Al‐Hazen and
Leonardo da Vinci.
The earliest reflex camera was described and illustrated by Professor of
Mathematics, Johann Christoph Sturm, in Collegium experimentale sive curiosum
(1676). Nine years later, Johann Zahn illustrated several camera obscuras in
Oculus artificialis teledioptricus (1685‐86), small enough to be carried anywhere.

6
http://huntington.org/uploadedFiles/_Files/PDFs/Volunteer_Academy/BScameraobscurabbc.pdf.
7
Александровић, Марија. Ликовни ред, акумулација, од хаоса ка смислу. Необјављена
докторска дисертација. Београд, Мегатренд универзитет : Факултет за уметност и дизајн,
Београд, 2014.
8
Hofstetter, Henry W., Graham, Robert. Leonardo and contact lense. Optometry & Vision Science,
1953, 30:1 pp 41-44.
9
Muminović Ema. Kronološki prikaz tehnika i produkcija fotografske slike. Neobjavljeni završni rad.
Sveučilište Sjever: Varaždin, 2016.
10
Gernsheim, Helmut. A concise history of photography. New York: Dover Publications, Inc, 1986.

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These cameras were prototypes of the nineteenth‐century photographic

box and reflex cameras. The photograph was officially published in Paris on
August 19, 1839, when the French scientist François Arago (François Arago)
detailed the properties of the new invention, daguerreotype.11 The term
photography was first used by Antoine Hercules Romulad Florence (Antoine
Hercules Romulad Florence) in 1833, who used his photographic technique to
produce diplomas and labels, but as far as the reproduction of a photographic
image was concerned, it was mostly reproduced poorly.12
Experiments carried out by Johann Heinrich Shulze and Carl Wilhem Sheele
who experimented with light activity on certain subjects as well as experiments by
Thomas Wedgwood, during the 18th century contributed to the emergence of
photography, Thomas Wedgwood, who, at the beginning of the 19th century,
succeeded in painting the image on the skin with silver‐nitrate and silver‐
chloride.13In 1826, the first historical photograph was created with the help of a
camera and the author of the first historical photography was a Frenchman Joseph
Nicéphore Niépce (Joseph Nicephore Niepce).
His first preserved photo from 1826 is a view from the window in Le Gras
(La cour du domanie du Gras).14 Shortly after the first photo was created, his
collaboration with Louis Jacques Mande Daguerre began, resulting with
photographs called daguerreotype in 1839.

1.2 Daguerreotype
Daguerreotypes are unique images on the glass and in terms of quality are
the most resistant of all the images obtained by photographic procedures. The
only imperfection of these photographs was exceptional resistance to mechanical
damage, although they were packaged in small individual boxes and their
application was already discontinued in 1855.
The first photo was created on the daguerreotype in 1838 and its author
was Luis Dager. Due to the fact that the image in the camera obscura was

11
Тодић, Миланка. Историја српске фотографије (1839-1940). Заједничко издање: ИП,
Просвета, Београд, Добрачина 30. Музеј примењене уметности, Београд, Вука Караџића 18,
1993.
12
Marien, Мary Warner. Photography: Cultural History. Laurence king publishing, 2006.
13
Срдановић, Бранислав. Прошлост Оџака кроз старе фотографије: Из збирке музејске
јединице Народне библиотеке ''Бранко Радићевић'' у Оџацима од 1880 до 1941. године.
Народна библиотека ''Бранко Радичевић'', Оџаци, 2013.
14
http://wannabemagazine.com/istorija-fotografije/.

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produced in a relatively shorter period of time, and that shadow changes were
insignificant, thanks to its reproduction process, the daguerreotype provided a
truly impressive picture of exceptional precision. Wiliam Henry Fox Talbot
(Wiliam Henry Fox Talbot) also contributed greatly to the development of
photography and is rightly considered one of the pioneers of the photography that
began to experiment with photogenic drawings and developed new principles of
positive and negative.

2. KALOTYPIA, PHOTOGRAPHY

The Kalotype was created in 1845. It allowed the reproduction of images

according to the positive and negative process. The first photo book "Book of
Nature" appeared in 1844 and presented hand‐made photographic prints.15 The
book clearly shows the specifics of the photograph itself i.e. possibility of
“remembering” or “capturing” nature or appearance as it is in reality.16 We should
also note a major contribution to the development of photography by John
Herschel, not least in terms of nomenclature. In his notebook, the verb "to
photograph" and the adjective ''photographic" appear three weeks before the
German astronomer Madler first printed the "Photographie" in Vossische Zeirung
on February 25, 1839, and Herschel used the term “photo” in his report to the
Royal Society in March 14th. 17 As for practical results, the earliest existing photo
was obtained thanks to Herschel, in September 1839, and the earliest cyanotype
in June 1842. His prediction from 1853 was beyond belief. He foresaw the
microfilm documentation of public documents and works of significance, and then
their enlargement to the dimensions necessary for reading ‐ a plan whose
achievement had to be waited for eighty five years.
1851 marks the beginning of a new era in photography. With the
engagement of English sculptor Frederick Archer (Frederick Archer) and the
introduction of a colony process in the making of photographs, photo
popularization began. As for photographs on glass, Slovenian Janez Puhar (Janes
Puhar) was the first to use glass as the layer carrier.
In 1852, the French Academy appointed him for its member and awarded
him a diploma, in which he was reffered to as "the inventor of glass photography."

15
https://fotografijaer.wordpress.com/2015/11/16/kalotipija/.
16
Bate, David. The memory of photography. Photographies, 2010, 3.2: 243-257.
17
Gernsheim, Helmut & Gernsheim, Alison. Fotografija sažeta istorija. Izdavač: Izdavački zavod ,,
Jugoslavija'', Beograd, 1973.

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A new great discovery in the history of photography happened in 1871, when dr.
Richard Medocks discovered a dry colloidal process. This meant that photographs
did not have to be processed immediately, which simplified the work of the
photographer.
They could now go out in the field and make photographs and then return
to the studio, i.e. they did not have to drag their dark chambers with them to
produce photographs in the field like in a wet colloidal process. It should be noted
that the first photo camera for sale appeared in 1839. It was launched by Francis
West (Francis West), in London. Great progress in the field of photography was
achieved in 1888, when George Eastman produced the first Kodak camera. This
camera was certainly important because it could be bought and used by
everyone.18

2.1 Photographic portrait

The first photographic portrait appeared in 1839. It was done by a chemist
and at the same time one of the pioneers of the photography, Robert Cornelius
(Robert Cornelius)19. The first woman to appear in the photo was Dorothy Ketrin
Draiper. She was photographed by her brother, a famous American photographer,
John Draper, in 1839. The largest flourishing of photographs took place with the
development of albumin photography.
It became cheaper and more accessible to the general public. The famous
Paris photographer, André‐Adolphe‐Eugène Disdéri, invented albumin
photography in 1854, given the fact that there was an exceptional demand for a
large number of copies cheap enough to use them as presents for friends and
relatives, and it was a practical way to reduce production costs i.e. taking eight
portrait shots on a single board. He also introduce in a portrait photo format
"Carte de vista."
A new small photo format of about 5.5 cm x 9.5cm was glued to thin
cardboard substrates of somewhat larger size which were decorated and had a
name of the photographer with prizes he won in the front. The name of the
company included a drawing with symbols, angels, photographic apparatus,
monograms, crowns, printed on the light or dark background of the cardboard.
Later, in France, several groups of photographers were recognized, represented

18
Срдановић, Бранислав. Прошлост Оџака кроз старе фотографије: Из збирке музејске
јединице Народне библиотеке ''Бранко Радићевић'' у Оџацима од 1880 до 1941. године.
Народна библиотека ''Бранко Радичевић'', Оџаци, 2013.
19
https://www.geos.ed.ac.uk/~gisteac/proceedingsonline/AGI2002/TRACK%202/B08.2.pdf.

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by Nadar (Gaspard Felix Tournachon Nadar) began to stand out, and together they
began to make portrait photos in a completely different way to Dizder, without
decoration.

3. PHOTO‐ADVENTURE

Gaspard was a pioneer in many areas: he took his first photo from air 1858,
(Figure 3)20, and four years later he made a successful series of photographs above
Paris21 (Figure 4)22. The images were made from a balloon at a height of 80m. In
May 1860, James Wallace Black took a photo from the air (James Wallace Black).
Samuel King (Samuel King) took a photo at a height of 1200m above Boston,
Massachusetts in 1873.

Figure 3. Gaspard in the balloon makes the Figure 4. A view of Paris from the air
first aerial image

20
http://mentalfloss.com/article/50800/6-feats-aerial-photography-airplane.
21
Gernsheim, Hеlmut & Gernsheim, Alison. Fotografija sažeta istorija. Izdavač: Izdavački zavod
,,Jugoslavija“, Beograd, 1973.
22
https://www.pinterest.com/pin/531002612290385347/.

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It can be said that this period was the basis for the further development of
aerial photography, which ,in the distant future, will
be used with modern technological and digital
modification thanks to this period.
Certainly, besides making photos from the
balloon, which is an exponential innovative
endeavor in the development and improvement of
the future of aerial shooting techniques, it should be
noted that besides the balloon, some people used
kites for taking photos, and the founder of this aerial
photography technique was Artur Batut (Arthur
Batut). In 1889, he fixed the camera on the kite and
made the first aerial footage above Labruguier in
France. In 1903, Julius Neubronner patented a small
camera that was hung around the neck of the bird‐
pigeon (Figures 5 and 6)23 and it was presented in Figure 5. Pigeon‐photoreporter
Bavaria. This little chamber was only 70 grams on photographic duty
heavy, and it could record every 30 seconds.24

Figure 6. A photo made thanks to a pigeon (photojournalist)

Also, history has recorded an interesting fact about Swedish inventor,

Alfred Nobel (Alferd Nobel). He managed (Figure 7)25 to make aerial photography

23
http://www.faena.com/aleph/articles/early-20th-century-aerial-photographs-shot-by-pigeons/.
24
Vugdelija, Karmen. Bespilotne letjelice-primjena i značaj u šumarstvu. Neobjavljeni završni rad.
Sveučilište u Zagrebu: Šumarski fakultet, 2016.
25
http://professionalaerialphotographers.com/content.aspx?page_id=22&club_id=808138&module_i
d=158950.

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by mounting a camera onto a rocket. He managed to make a successful aerial

photography.

Figure 7. Alfred Nobel launched the rocket for which a photo camera was tied

The first aerial photography from the plane was created in 1909, by an
inventor and a pilot ‐Vilbur Wright (Wilbur Wright). During the First World War,
Captain Carlo Piazza (Carlo Piazza) made an attempt to mount the camera onto his
military plane.

3.1 Constant progress

A constant progress in the development of photography is evident, in terms
of making photos as well as taking photos. However, it should be taken into
account that all the photos are of the same color, i.e., the progress is visible in the
camera technology with no progress in color photography.
This brings us back to the Renaissance where artists ‐ painters, thanks to
their artistic talent, recorded things as they are on their canvases, and they were
authentic and realistic. Some artists of that era generally painted landscapes,
portraits and architectural spaces together with the presence of a man "as if it
were real" which, in a jargon sense, meant it was like a photo.
This term originated relatively late and it was definitely not yet fashionable,
and therefore we should not be surprised why this term has not been used earlier.
Certainly, at that time, people knew about camera obscura, which in the
dark room reproducted a picture on the wall. The picture was then manifested in
reverse direction and was mostly used as a drawing tool, and the only painting
that was color was the painting canvas.
The lack of color was especially felt at the beginning, in portrait
photography, since the first appearance of the daguerreotype, in 1839, a certain

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disappointment arose from the impossibility of registering colors, which were

converted into various monochrome shades.26
At a lecture on the color vision theory of Jung
(Jung) and Helmholtz (Helmholtz) at the Royal
Institute in London in May 1861, Sir James Clerk‐
Maxwell demonstrated how three primary colors,
red, blue and green, can make all the possible shades
of color. (Figure 8).27 Certainly, it should be noted
that in Serbia the first color photo was created thanks
to professor Djordje Stanojevic (Figure 9)28.
Furthermore, besides professor Djordje Stanojevic,
who undoubtedly made very significant progress in
the color photography in Serbia, we should certainly
mention Anastas Jovanovic. Anastas Jovanovic, Figure 8. The first color photo
besides Dimitrija Novakovic, was one of the first
photographers in Serbia.
Dimitrije Novakovic, a Serb and a trader born in
Zagreb, took some photos in Belgrade, using silver‐
plated copper sheet. He later gave them to his Holiness,
the Serbian prince. This was the first news about
photography in Serbia. Anastas Jovanović was first
acquainted with a dagerotype apparatus, model no. 3,
the product of the Viennese optician Foitlander.
Furthermore, the first woman being an amateur
photographer in Serbia was Anja Magdalenić, who took
part in the First Exhibition of amateur photographers
in Belgrade. Serbian newspaper Nova Iskra, published
a report about Petar Karađorđević arriving to
Belgrade" which was one of a few reports at the time.
Photos were taken by Marko Stojanović and Isak Levi,
Figure 9. Boy in color amateur photographers . In Belgrade, Anastas Jovanović,

26
Gernsheim, Helmut & Gernsheim, Alison. Fotografija sažeta istorija. Izdavač: Izdavački zavod
,,Jugoslavija“, Beograd, 1973.
27
http://blog.alemdoolhar.com/2011/05/primeira-foto-colorida-completa-150.html.
28
https://www.blic.rs/kultura/vesti/ovo-je-prva-srpska-fotografija-u-boji/e9rxjmj.

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thanks to dagerotype camera, took some photos of "Prince Mihailo Obrenović and
princess Ljubica and the Serbian Armed Forces".29

4. DEVELOPMENT OF SPORT PHOTOGRAPHY

Sport is a system of physical exercise with an agonistic character, seeking to

30
improve personality in order to achieve maximum competitive results. Top sport
represents its segment where these achievements are put to a test against the
absolutely best‐achieved results in the world. In this competition with others, as
well as with oneself, the athlete realizes his sporting dreams with his complex but
also simple movements.
Sport can also be defined as an art that requires every athlete to do his best
to display himself as a top sports artist, as he is in charge of a very complex
motoring activity involving all parts of his body. That is why a photography has a
complex task, that is, i.e. a complex task of "freezing" the athlete's movement.
The question is ‐ how to freeze such a moment having in mind that the
correlation between the photograph and the speed of a movement due to its very
dynamics is negative, because the camera has not been developed in a way that
would enable us to capture such a moment.
The modern era brought a number of better and innovative products in
terms of photography from making the first photo by Niepce in 1826, all the way

29
Малић Горан. Летопис српске фотографије од 1839-2008. Прво издање.Издавач:
Фотограм, ауторски атеље Београд, 2009.
Interesting: Anastas Jovanović was known as a lithograph, photographer, talbotist, painter and
designer. Jovanović earned the first knowledge of the daguerreotype procedure as a student of the
Vienna Academy of St. Ana, where she studied at the painting department. In the middle of the fifth
decade of the 19th century, Jovanovic started working on shooting portraits of insurrections of
leaders, artists, personalities from political life, as well as unknown citizens, friends and children.
During the last Njegos return from Italy, Anastas in his Vienna studio in 1851, several months
before Njegos's death, recorded a talbot portrait, the only photographic testimony of the ruler
"Montenegro and the Hill." He also made a portrait of Peter Vukotic of the future tastes of King
Nikola and others. Njegoš sent a medal to Obilic in gratitude. Prince Danilo came to the idea of
contacting the painter Anastas Jovanovic, where he told him that he wanted to request the
daughter of Prince Aleksandar Karađorđević, so he asked to go to Belgrade and to examine the
mood in connection with it and then to report to him. Further, after the fall of Prince Michael, he
continued to support Obrenovic in 1842. In 1844, he was secretary of Prince Miloš and actively
engaged in the preparation of the Katana Rebellion, which was supposed to enable the return of
Obrenović in Serbia.
(http://www.maticacrnogorska.me/files/55/18%20maja%20djuric.pdf)
30
Премa: Ненад Живановић и др., Теорија физичке културе..... стр. 267.

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to the first color phot. Still, although the technological methodology is evident,
there are still several problems, such as how to take a photo of a "movement on
the move"?

4.1 Photographic aids

The first sports photo was taken in 1843
(Figure 10)31. The authors of this photo were
David Octavius Hill (David Octavius Hill) and
Robert Adamson (Robert Adamson). It usually
took a few minutes for the camera to make such
a photo. Therefore, in order to make such a
photograph, photographers used a photographic
trick. Namely, it was hard to stay in the same
position for a few minutes. In order to avoid
this, photographers mainly used a metal rod
hidden behind an athlete and provided him with
a certain neutral position that would neutralize
the ability of external and internal forces to
disturb the position he took for
photographing.32 Figure 10. First sports photo

4.2 Significant (sports) photographers

Certainly, since the methods for taking
photographs ‐on the move‐ have not yet been
developed, and taking photos of athletes was certainly a
challenge for many photographers, something should be
said about the photographers who left a valuable trace in
the history of photography, as well as sports
photographs.
At the first modern Olympics, the first sports
photographs appeared. Thanks to German photographer
Albert Mayer (Аlbert Mayer) (Figure 11)33, people saw
the photos from the first modern Olympics, and most
Figure 11. Albert Mayer

31
https://www.pinterest.co.uk/pin/563090759643517282/.
32
https://stillmed.olympic.org/media/Document%20Library/Museum/Visit/TOM-Schools/Teaching-
Resources/2017/Sports- Photography/Sports-Photography-Activity-Sheet-EN.pdf.
33
https://www.gettyimages.co.uk/license/857917952.

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importantly, these were the first photographs in history that immortalized

this great event. On the left picture (Figure 13)34 is a letter that appeared on April
9, 1896, in which Ferenc Cemeny (Ferenc Cemeny) proposed that the International
Olympic Committee (IOC) (Figure 12)35 should be photographed at work. In this
letter, his colleague dr Wilibard Gebhart (Wilibard Gebhart) asked the
photographer Alberto Mayer to come to the house of the German publicist Wilhem
Bart (Wilhem Bart)36.

Figure 12. International Olympic Committee

34
http://isoh.org/wp-content/uploads/2015/03/299.pdf.
35
http://www.wikiwand.com/nl/Internationaal_Olympisch_Comit%C3%A9.

Interesting: What is less known is that Albert Mayer was the photographer of the King of Saxony
John (Johann Nepomuk Maria Joseph Anton Xaver Vincenz Aloys Franz de Paula Stanislaus
Bernhard Paul Felix Damasus) and interestingly, he traveled to Athens at his own expense. His
wife, Elizabeth Mayer (Elisabeth Mayer), who was also involved in photography, was also following
him, which also rules the photo in Athens. This couple was a member of the first german Olympic
organization, where Elisabeth Mayer was probably the only woman to be. After finishing the
Olympic games, Majer made a photo album that he presented to the kings and princes. Pierre de
Coubertin thanked Albert Mayer with Olympic medal.
(https://www.bisp-surf.de/Record/PU201207005252).

36
http://isoh.org/wp-content/uploads/2015/03/299.pdf.

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Figure 13. Letter from Ferenc Kemeny Figure 14. Letter from Pierre de Coubertin

In the right picture (Figure 14)37 there is a letter written by Baron Pierre de
Coubertin personally for photographer Albert Meyer, where he asked Mayer to
send a photo album to German Kaiser, to the King of Belgium and Sweden, Prince
of Wales, Prince of Russia, Grand Duke Vladimir (Grand Duke Vladimir). The next
picture (Figure 15)38 represents the passage from 1896 that is to say at the time of
the accreditation that allowed the individual access to the very place of the
sporting event. In this case, it was the Olympic games.

37
http://isoh.org/wp-content/uploads/2015/03/299.pdf.

Interesting: There were only 7 photojournalists, of whom there were five Greeks and one American
beside Mayer. Pictures of this event, one of the most important events in the 19th century, was
mainly photographed by Greek photographer Ianis Lampakis (Iannis Lampakis) along with Albert
Majer (http://www.faap.br/exposicoes/atenas1986/en/index.asp). As for the Greek photographers
next to Lampkis, they were: Nikolaos Birkos (Nikolaos Birkos), Paul Melas (Paul Melas), Nikolaos
Pantzopoulos, (Nikolaos Pantzopoulos), Ioannis Makropoulos (Ioannis Makropoulos). He was an
American who took part in the Olympic Games Tomas Kurtis (Thomas Kurtiz) who also
photographed. (http://isoh.org/wp-content/uploads/2015/03/299.pdf).

38
http://isoh.org/wp-content/uploads/2015/03/299.pdf.

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This accreditation enabled Alberto Mayer

to access the very place of sporting events and to
make historical photos from the first modern
Olympic Games, which was verified by the
Secretary General of the Olympic games, Timoleon
Philemon (Thimoleon Philemon).
It is very interesting to note that during the
first modern Olympic games in Athens in 1896,
Thomas Curtis, who was a competitor at the
Olympic games, was also in charge of the Figure 15. Accreditation for
photographs that we have today. He got a camera the Olympic Games from 1896
from his parents as a gift and with it he took some
remarkable photos from the games. He also
participated in 100 and 110m races39.
As for his camera, he used a camera whose brand was known as "Kodak"
and most likely used another camera in order to produce small, rectangular
photos. We should also mention Burton Homles (Burton Homles), a photographer
who also made a significant contribution to the creation of a historical photo from
the modern Olympics in 1896, and in this photograph we have three contestants
preparing for the marathon (Figure 16)40. Karilaos Vasilakos in the middle
(Charilaos Vasilakos) won the first marathon in history.41

Figure 16. Preparation of marathon Figure 17. Chronophotography

competitors

39
http://news.mit.edu/1996/olymp1896-curtis
40
http://thechive.com/2016/03/10/some-history-of-today-for-throwback-thursday-16-photos/.
41
http://www.likesharetweet.com/inspiring/olympic-moments-history/23/.

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When it comes to nineteenth‐century photographers and the development

of “moving images” (photographs), it is important to mention two photographers,
Edward Muybridge from England (Edward Muybridge) and Etienne Jules Maray
from France (Etienne Jules Maray) and the methods they used to help advance
photography creating a visual narrative.42 Muybridge, who is considered the
creator of moving images, gained the greatest fame thanks to his photographs that
captured movements and activities, while in a short period he also photographed
the American Indians.
From 1883 to 1885 Maybridge conducted an examination of animal and
human movements (Figure 16)43 in all forms under the auspices of the University
of Pensilvania, using thirty‐six cameras with clock‐trigger and gelatin dry panels.
He influenced the French biophysicist, scientist and inventor, Etienne ‐ Zile Mare,
who through the "chronophotography" examined the physiological and
mechanical laws governing human and animal movement and moving.
This period represents one of the stages for further development and
progress of sports photography. Mare studied the relationship between
physiology and sports using a chronophotography (Figure 17)44. He also analyzed
athletes at the Olympics in 1900, using anthropometric measurements, and he
also made studio photos of numerous athletes.45
We should also mention the pioneering undertaking in the development of
mobile photographs by Franz Gilbert and Walter Kamp, who attempted to capture
the movement of the golfer champions in the twentieth century.46 Jules Decrauzat
(Jules Decrauzat) was striving for a different photo, full of dynamics.
He wanted to give a new dimension to a photo, which is to capture
movement and action within a few seconds, and in order to succeed, he had to
take a good angle, timely (Fig. 18 and 19)47. Jules Decrauzat, is considered the first
sports photographer and the first major photo‐reporter in history of Switzerland.

42
Brujić, Mаrija. Kratak uvod u istoriju antropologije fotografije. Issues in Ethnology Anthropology,
2017 12. 1.
43
https://vickielester.com/2014/01/29/eadweard-muybridge-one-of-the-fathers-of-the-motion-
picture/.
44
http://la-manufacture-du-beau.fr/shop/photographies/etienne-jules-marey-saut-a-la-perche-1890/.
45
Brown, Elisabeth H. The Corporate Eye: Photography and the Rationalization of American
Commercial Culture, 1884–1929. JHU Press, 2005.
46
Bedeian, Arthur G. Frank B. Gilbreth, Walter C. Camp and the World of Sports. Management &
Organizational History, 2012, 7,4 319-335.
47
https://petapixel.com/2015/06/03/jules-decrauzat-the-first-swiss-sports-photographer/.

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Figure 18. Analysis of sportsman's Figure 18. One of the first sports
performance. photographs in motion

French Jules Beau (Jules Beau) is also considered one of the first sports
photographers, whose specialty was capturing mostly bicycle sports. His album
was full of men and women posing on their bicycles, much like the photo of Mayor
Talyor (Mayor Talyor), African, who won the world cycling race in 1889, and who
continued to win many world championships in cycling. One of the true pioneers
of sports photography was William Kenzel (Wiliam Kuensel)48.

Figure 19 Figure 20. Viliam Kenzel with featured

camera "Big Bertha"

Kenzel captured many sports photos thanks to a camera called "Big

Bertha", which he developed. (Figures 19 and 20).49 Also, we should mention two
top sports photographers who are very important for the history of sports

48
https://www.detroitathletic.com/blog/2010/04/09/william-kuenzel-of-the-detroit-news-was-a-
pioneer-in-sports-photography/.
49
https://www.pinterest.com/pin/58195020158394839/.

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photography, Martin Munkácsi (Martin Munkácsi) and Lotar Rübelt (Lothar

Rübelt)50.
It is interesting to note, and it is of historical importance, that the first
woman who was involved in sports photography and who initiated the idea of
women being sports photographs, was Sedi K. Miller of Baltimore (Sadie K.
Miller)51. 1910 represents the period of birth of sports photography.
Beginning in 1933, Edgerton and Germasausen expanded their
photography using a multiple flash to study the movement in sports: tennis
players, highboard divers and golf players whose interesting photos of the
movements similar to those of a parrot were captured using 10 flashes per
second.52

5. CONCLUSION

Sports photography undoubtedly has a significant place in sports press and

publicism. It's main and primary role is to present sports to the readers as art,
which it is. Sport is characterized by dynamic and varied movements, and the
main taskof sports photography is to reflect that beauty. Based on all of the above,
it is good to say that photographic history is an extremely wide and diverse area
that abounds with unusual information. They are unknown to most people, and
therefore, the aim of this paper is an attempt to "save" this information from
oblivion. By analyzing published works and books, the information we have come
up with, tells about photographic history, as well as sports photographs. This
information, each for itself and all together, speaks about the efforts of many
people who turned their vision into reality. Thanks to them, we can still strive to
further improvement of photography, as well as to sports photographs that are
important for us..

50
Interesting: Lotar Rubert was a photographer at the Olympic Games held in Berlin in 1936,
where he made a photo of Luis Long congratulating Jessie Owens on the jump.
(http://chagalov.tumblr.com/post/20969410812/luz-long-and-jesse-owens-the-two-contenders-in.)
51
Creedon, Pamela. J. (Ed.). Women, media and sport. Sage, 1994.
52
http://www.fotomuzej.com/fotografija-pokreta.html.

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4. Gernsheim, Helmut & Alison Gernsheim. Fotografija sažeta istorija. Izdavač:
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thursday‐16‐photos/.
50. https://vickielester.com/2014/01/29/eadweard‐muybridge‐one‐of‐the‐fathers‐
of‐the‐motion‐picture/.
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saut‐a‐la‐perche‐1890/.
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55. Bate, David. The memory of photography. Photographies, 2010, 3.2: 243‐257.

СПОРТСКА ФОТОГРАФИЈА И ЊЕН ИСТОРИЈСКИ РАЗВОЈ

САЖЕТАК
Спортска фотографија несумњиво заузима значајно место у спортској
штампи и публицистици. Њена главна и основна улога је да прикаже
читаоцима спорт као уметност што и јесте. Спорт карактеришу динамички и
разноврсни покрети, а главна улога спортске фотографије огледа се у томе да
управо на тај начин, у спортским новинама, прикаже спорт. Јер фотографија
говори више од хиљаду речи, а самим тим и шаље јасну поруку читаоцу, али и
гледаоцима који се о догађајима информишу на спортским порталима.
Спортска фотографија је мултидимензионална уметност из више разлога.
Када кажемо мулти, то се пре свега односи на шири дијапазон која нуди
спортска фотографија, што у преводу значи да спортска фотографија није
само усмерена на сликање спортиста у покрету и главних актера који својом
ангажованошћу доприносе остваривању резултата, већ спортска фотографија
има и улогу спортске „психофотографије“, анализа и хватање емоционалне
реакције спортисте након победе или губитака од противничке екипе.

Кључне речи: спортска фотографија, историја, мултидимензионалност,

емоционална реакција.

СПОРТИВНАЯ ФОТОГРАФИЯ И ИСТОРИЧЕСКОЕ

РАЗВИТИЕ

АННОТАЦИЯ
Спортивная фотография, несомненно, занимает значительное место в
спортивной прессе и публицистике. Главная и важнейшая ее роль ‐
представить читателям спорт как искусство, которым она и является. Спорт
характеризуется динамичными и разнообразными движениями, а главная
роль спортивной фотографии заключается в том, что именно таким образом
спорт демнстрирует свою сущность. Имея в виду, что фотография говорит на
многих выразительных языках, она посылает четкое сообщение зрителю, а
также людям, которые информированы о событиях через спортивные
порталы. Спортивная фотография ‐ многомерное искусство по многим
причинам. Когда мы говорим «мульти», то, прежде всего, подразумеваем
более широкий круг возможностей спортивных фотографий, ведь спортивная
фотография ‐ это не только создание представлений о динамике действий
спортсменов и главных действующих лиц в спорте, которые вносят вклад в
достижение результатов путем их взаимодействия – но это также и

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психологическая спортивная фотография, которая представляет собой анализ

и эмоциональную реакцию спортсмена после победы или поражения от
команды соперника.

Ключевые слова: спортивная фотография, история, многомерность,

эмоциональная реакция.

Reccived on 14.12.2017.
Accepted on 29.01.2018.

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