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https://www.quora.com/Why-did-artists-use-pinhole-cameras-during-the-Renaissance
They did not. The pinhole camera, camera obscura, was an instrument known to the scholars since antiquity. However among the Renaissance artist only Leonardo da Vinci was experimenting with it at the turn of the 15th and 16th centuries, in the per...
https://uk.answers.yahoo.com/question/index?qid=20130614130234AAE0v7X
Jun 14, 2013 · The uses of the pinhole camera were not just restricted to research for different kinds of art and even science related stuff, but mostly for astronomy. …
https://brainly.com/question/1744558
Pinhole cameras were one of the most sophisticated devices of the period, it made tasks much easier it basically worked exactly like the human eye and is something just like tracing.
https://www.saranaclake.com/story/2013/11/camera-obscura-renaissance-camera
Artists in the Renaissance era would use a camera obscura building to gain perspective in their art work. In his writings, Leonardo Da Vinci gives clear descriptions of the projection of an image through a pinhole (specifically in his Codex Atlanticus). Using Camera Obscura made it easier to replicate paintings and other works of art.
https://www.bbc.co.uk/history/british/empire_seapower/vermeer_camera_01.shtml
Feb 17, 2011 · Controversial methods. For more than a hundred years, it has been suggested that the great 17th-century Dutch master Johannes Vermeer made use of the camera …
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https://www.liveabout.com/camera-obscura-and-painting-2578256
Mar 27, 2019 · The Camera Obscura . The camera obscura (literally "dark chamber"), also called a pinhole camera, was the forerunner of the modern camera. It was originally a darkened room or box with a small hole in one side through which rays of light could pass. It is based on the law of optics that states that light travels in a straight line.
https://mymodernmet.com/camera-obscura/
Jul 20, 2020 · Even if Vermeer did use the camera obscura to achieve photographic perspective, his talent shouldn’t be diminished. Painter and writer of Traces of Vermeer (2017), Jane Jelley, writes, “The image from the camera obscura is merely a projection. To capture and transfer this to canvas requires skill, judgment, and time; and its product can only ever be part of the process of making a painting.
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