History of Series of evolution of cinematography

 Pinhole images: Pinhole photography on the other hand is the capturing of those images and shapes using no lens. A tiny hole replaces the lens. Light passes through the hole and an image is formed in the back wall of the camera. The image is of course upside down because light travels in straight lines
and therefore crosses at the aperture (hole). If an outdoor scene is seen, the sky is at the bottom and ground at the top.
Objects reflect light in all directions, and that rays from the top of an object, when passing through a hole, will produce the lower part of an image.
This is how first image was invented.  Camera obscura effect
The term camera obscura (“dark room”) was coined by Johannes Kepler (1571-1630). At this time, the term had come to mean a room, tent or box with a lens aperture used by artists to draw a landscape. The lens made the image bighter and focused at a certain distance. Thus this type of camera differed from the pinhole camera obscura used by Frisius in 1544. In the 1620s Johannes Kepler invented a portable camera obscura. Camera obscuras as drawing aids were soon found in many shapes and sizes. Both artists and painters used them. During the 19th century several large scale camera obscuras were built as places of education and entertainment.
The meniscus lens, superior to the bi-convex lens, improved the quality of the projected images.  The magic lantern
The magic lantern, a projector with a future that would inevitably become one of the most famous and entertaining inventions in history.
he magic lantern was the forerunner of our current day slide projector and overhead. It however, was without motion. Void of fluidity yet electrifying and
exhilarating in it’s presentation, this little tin box with a chimney was only one of many vital components that make up the art of seeing pictures “move”.
And they all have their special place in the story, and history of cinematography.  The phantasmagoria In the last 18th century The Phantasmagoria shows were often held in old run-down monasteries and chapels to add to the effect. The dark and somber surroundings were ideal for special effects much like those created through Dolby surround sound and darkened theatres of today. Showmen used waxed
sheets to catch images from “moving” lanterns on wheels and smoky rooms allowed images to float and “hang” in the air.  Persistence Of Vision
The first modern steps toward motion pictures were those taken in the direction of the study of persistence of vision. The investigation of this subject appears to have been conducted on a serious note by Peter Mark Roget in 1824. Roget presented a scientific paper detailing his studies and called it `Persistence of Vision with Regard to Moving Objects’. The phenomenon itself was not only known in the 19th century. When digging deep into the history of any subject we can be
astounded at what we find. In 1832 Joseph A. F. Plateau and Simon Ritter von Stampfer in Vienna, Austria, independently of one another, discovered an identical method for creating the illusion. They used flat disks which were perforated with a number of evenly spaced slots. Around the rim of the disk were an equal number of hand-drawn figures. Each figure showed successive phases of movement. Holding the device with the figures facing a mirror, the viewer spun the disk and looked through the slots. The figures reflected in the mirror appeared to move. Plateau’s device, the phenakistoscope, and Stampfer’s, the stroboscope, led to the invention of more elaborate devices using the same principle, such as the zoetrope.  Photography One of the most important constituents in the discovery of motion pictures was the photograph.