Various cameras

A camera is a device that records and stores images. These images may be still photographs or moving images such as videos or movies. The term camera comes from the word camera obscura (Latin for "dark chamber"), an early mechanism for projecting images. The modern camera evolved from the camera obscura.

Cameras may work with the light of the visible spectrum or with other portions of the electromagnetic spectrum. A camera generally consists of an enclosed hollow with an opening (aperture) at one end for light to enter, and a recording or viewing surface for capturing the light at the other end. A majority of cameras have a lens positioned in front of the camera's opening to gather the incoming light and focus all or part of the image on the recording surface. The diameter of the aperture is often controlled by a diaphragm mechanism, but some cameras have a fixed-size aperture. Most cameras use an electronic image sensor to store photographs on Flash memory. Other cameras including the majority from the 20th century use photographic film.

The still camera takes one photo each time the user presses the shutter button. A typical movie camera continuously takes 24 film frames per second as long as the user holds down the shutter button, or until the shutter button is pressed a second time.

History[link]

Camera obscura

The forerunner to the photographic camera was the camera obscura.^[1] In the fifth century B.C., the Chinese philosopher Mo Ti noted that a pinhole can form an inverted and focused image, when light passes through the hole and into a dark area.^[2] Mo Ti is the first recorded person to have exploited this phenomenon to trace the inverted image to create a picture.^[3] Writing in the fourth century B.C., Aristotle also mentioned this principle.^[4] He described observing a partial solar eclipse in 330 B.C. by seeing the image of the Sun projected through the small spaces between the leaves of a tree.^[5] In the tenth century, the Arabic scholar Ibn al-Haytham (Alhazen) also wrote about observing a solar eclipse through a pinhole,^[6] and he described how a sharper image could be produced by making the opening of the pinhole smaller.^[5] English philosopher Roger Bacon wrote about these optical principles in his 1267 treatise Perspectiva.^[5] By the fifteenth century, artists and scientists were using this phenomenon to make observations. Originally, an observer had to enter an actual room, in a which a pinhole was made on one wall. On the opposite wall, the observer would view the inverted image of the outside.^[7] The name camera obscura, Latin for "dark room", derives from this early implementation of the optical phenomenon.^[8]

The actual name of camera obscura was applied by mathematician and astronomer Johannes Kepler in his Ad Vitellionem paralipomena of 1604. He later added a lens and made the apparatus transportable, in the form of a tent.^[9][10] British scientist Robert Boyle and his assistant Robert Hooke developed a portable camera obscura in the 1660s.^[11]

The first camera obscura that was small enough for practical use as a portable drawing aid was built by Johann Zahn in 1685.^[12] At that time there was no way to preserve the images produced by such cameras except by manually tracing them. However, it had long been known that various substances were bleached or darkened or otherwise changed by exposure to light. Seeing the magical miniature pictures that light temporarily "painted" on the screen of a small camera obscura inspired several experimenters to search for some way of automatically making highly detailed permanent copies of them by means of some such substance.

Early photographic cameras were usually in the form of a pair of nested boxes, the end of one carrying the lens and the end of the other carrying a removable ground glass focusing screen. By sliding them closer together or farther apart, objects at various distances could be brought to the sharpest focus as desired. After a satisfactory image had been focused on the screen, the lens was covered and the screen was replaced with the light-sensitive material. The lens was then uncovered and the exposure continued for the required time, which for early experimental materials could be several hours or even days. The first permanent photograph of a camera image was made in 1826 by Joseph Nicéphore Niépce using a sliding wooden box camera made by Charles and Vincent Chevalier in Paris.^[13]

Similar cameras were used for exposing the silver-surfaced copper Daguerreotype plates, commercially introduced in 1839, which were the first practical photographic medium. The collodion wet plate process that gradually replaced the Daguerreotype during the 1850s required photographers to coat and sensitize thin glass or iron plates shortly before use and expose them in the camera while still wet. Early wet plate cameras were very simple and little different from Daguerreotype cameras, but more sophisticated designs eventually appeared. The Dubroni of 1864 allowed the sensitizing and developing of the plates to be carried out inside the camera itself rather than in a separate darkroom. Other cameras were fitted with multiple lenses for photographing several small portraits on a single larger plate, useful when making cartes de visite. It was during the wet plate era that the use of bellows for focusing became widespread, making the bulkier and less easily adjusted nested box design obsolete.

For many years, exposure times were long enough that the photographer simply removed the lens cap, counted off the number of seconds (or minutes) estimated to be required by the lighting conditions, then replaced the cap. As more sensitive photographic materials became available, cameras began to incorporate mechanical shutter mechanisms that allowed very short and accurately timed exposures to be made.

The electronic video camera tube was invented in the 1920s, starting a line of development that eventually resulted in digital cameras, which largely supplanted film cameras after the turn of the 21st century.

Mechanics[link]

Image capture[link]

19th century studio camera, with bellows for focusing

Traditional cameras capture light onto photographic film or photographic plate. Video and digital cameras use an electronic image sensor, usually a charge coupled device (CCD) or a CMOS sensor to capture images which can be transferred or stored in a memory card or other storage inside the camera for later playback or processing.

Cameras that capture many images in sequence are known as movie cameras or as ciné cameras in Europe; those designed for single images are still cameras. However these categories overlap as still cameras are often used to capture moving images in special effects work and many modern cameras can quickly switch between still and motion recording modes. A video camera is a category of movie camera that captures images electronically (either using analog or digital technology).

Lens[link]

The lens of a camera captures the light from the subject and brings it to a focus on the film or detector. The design and manufacture of the lens is critical to the quality of the photograph being taken. The technological revolution in camera design in the 19th century revolutionized optical glass manufacture and lens design with great benefits for modern lens manufacture in a wide range of optical instruments from reading glasses to microscopes. Pioneers included Zeiss and Leitz.

Camera lenses are made in a wide range of focal lengths. They range from extreme wide angle, wide angle, standard, medium telephoto and telephoto. Each lens is best suited a certain type of photography. The extreme wide angle may be preferred for architecture because it has the capacity to capture a wide view of a building. The normal lens, because it often has a wide aperture, is often used for street and documentary photography. The telephoto lens is useful for sports, and wildlife but it is more susceptible to camera shake.^[14]

Focus[link]

Auto-focus systems can capture a subject a variety of ways; here, the focus is on the person's image in the mirror.

Due to the optical properties of photographic lenses, only objects within a limited range of distances from the camera will be reproduced clearly. The process of adjusting this range is known as changing the camera's focus. There are various ways of focusing a camera accurately. The simplest cameras have fixed focus and use a small aperture and wide-angle lens to ensure that everything within a certain range of distance from the lens, usually around 3 metres (10 ft) to infinity, is in reasonable focus. Fixed focus cameras are usually inexpensive types, such as single-use cameras. The camera can also have a limited focusing range or scale-focus that is indicated on the camera body. The user will guess or calculate the distance to the subject and adjust the focus accordingly. On some cameras this is indicated by symbols (head-and-shoulders; two people standing upright; one tree; mountains).

Rangefinder cameras allow the distance to objects to be measured by means of a coupled parallax unit on top of the camera, allowing the focus to be set with accuracy. Single-lens reflex cameras allow the photographer to determine the focus and composition visually using the objective lens and a moving mirror to project the image onto a ground glass or plastic micro-prism screen. Twin-lens reflex cameras use an objective lens and a focusing lens unit (usually identical to the objective lens.) in a parallel body for composition and focusing. View cameras use a ground glass screen which is removed and replaced by either a photographic plate or a reusable holder containing sheet film before exposure. Modern cameras often offer autofocus systems to focus the camera automatically by a variety of methods.^[15]

Some experimental cameras, for example the planar Fourier capture array (PFCA), do not require focusing to allow them to take pictures. In conventional digital photography, lenses or mirrors map all of the light originating from a single point of an in-focus object to a single point at the sensor plane. Each pixel thus relates an independent piece of information about the far-away scene. In contrast, a PFCA does not have a lens or mirror, but each pixel has an idiosyncratic pair of diffraction gratings above it, allowing each pixel to likewise relate an independent piece of information (specifically, one component of the 2D Fourier transform) about the far-away scene. Together, complete scene information is captured and images can be reconstructed by computation.

Some cameras have post focusing. Post focusing means take the pictures first and then focusing later at the personal computer. The camera uses many tiny lenses on the sensor to capture light from every angle of a scene and is called plenoptics technology. The current Plenoptic camera can serve as has 40,000 lenses working together to grab the optimal picture.^[16][17]

Exposure control[link]

The size of the aperture and the brightness of the scene controls the amount of light that enters the camera during a period of time, and the shutter controls the length of time that the light hits the recording surface. Equivalent exposures can be made with a larger aperture and a faster shutter speed or a corresponding smaller aperture and with the shutter speed slowed down.

Shutters[link]

Although a range of different shutter devices have been used during the development of the camera only two types have been widely used and remain in use today.

The Leaf shutter or more precisely the in-lens shutter is a shutter contained within the lens structure, often close to the diaphragm consisting of a number of metal leaves which are maintained under spring tension and which are opened and then closed when the shutter is released. The exposure time is determined by the interval between opening and closing. In this shutter design, the whole film frame is exposed at one time. This makes flash synchronisation much simpler as the flash only needs to fire once the shutter is fully open. Disadvantages of such shutters are their inability to reliably produce very fast shutter speeds ( faster than 1/500th second or so) and the additional cost and weight of having to include a shutter mechanism for every lens.

The focal-plane shutter operates as close to the film plane as possible and consists of cloth curtains that are pulled across the film plane with a carefully determined gap between the two curtains (typically running horizontally) or consisting of a series of metal plates (typically moving vertically) just in front of the film plane. The focal-plane shutter is primarily associated with the single lens reflex type of cameras, since covering the film rather than blocking light passing through the lens allows the photographer to view through the lens at all times except during the exposure itself. Covering the film also facilitates removing the lens from a loaded camera (many SLRs have interchangeable lenses).

Complexities[link]

Professional medium format SLR cameras (typically using 120/220 roll film) use a hybrid solution, since such a large focal-plane shutter would be difficult to make and/or may run slowly. A manually inserted blade known as a dark slide allows the film to be covered when changing lenses or film backs. A blind inside the camera covers the film prior to and after the exposure (but is not designed to be able to give accurately controlled exposure times) and a leaf shutter that is normally open is installed in the lens. To take a picture, the leaf shutter closes, the blind opens, the leaf shutter opens then closes again, and finally the blind closes and the leaf shutter re-opens (the last step may only occur when the shutter is re-cocked).

Using a focal-plane shutter, exposing the whole film plane can take much longer than the exposure time. The exposure time does not depend on the time taken to make the exposure over all, only on the difference between the time a specific point on the film is uncovered and then covered up again. For example an exposure of 1/1000 second may be achieved by the shutter curtains moving across the film plane in 1/50th of a second but with the two curtains only separated by 1/20th of the frame width. In fact in practice the curtains do not run at a constant speed as they would in an ideal design, obtaining an even exposure time depends mainly on being able to make the two curtains accelerate in a similar manner.

When photographing rapidly moving objects, the use of a focal-plane shutter can produce some unexpected effects, since the film closest to the start position of the curtains is exposed earlier than the film closest to the end position. Typically this can result in a moving object leaving a slanting image. The direction of the slant depends on the direction the shutter curtains run in (noting also that as in all cameras the image is inverted and reversed by the lens, i.e. "top-left" is at the bottom right of the sensor as seen by a photographer behind the camera).

Focal-plane shutters are also difficult to synchronise with flash bulbs and electronic flash and it is often only possible to use flash at shutter speeds where the curtain that opens to reveal the film completes its run and the film is fully uncovered, before the second curtain starts to travel and cover it up again. Typically 35mm film SLRs could sync flash at only up to 1/60th second if the camera has horizontal run cloth curtains, and 1/125th if using a vertical run metal shutter.

Film formats[link]

A wide range of film and plate formats has been used by cameras. In the early history plate sizes were often specific for the make and model of camera although there quickly developed some standardisation for the more popular cameras. The introduction of roll film drove the standardisation process still further so that by the 1950s only a few standard roll films were in use. These included 120 film providing 8, 12 or 16 exposures, 220 film providing 16 or 24 exposures, 127 film providing 8 or 12 exposures (principally in Brownie cameras) and 35 mm film providing 12, 20 or 36 exposures – or up to 72 exposures in the half-frame format or in bulk cassettes for the Leica Camera range.

For cine cameras, film 35 mm wide and perforated with sprocket holes was established as the standard format in the 1890s. It is still used for nearly all film-based professional motion picture production. For amateur use, several smaller and therefore less expensive formats were introduced. 17.5 mm film, created by splitting 35 mm film, was one early amateur format, but 9.5 mm film, introduced in Europe in 1922, and 16 mm film, introduced in the US in 1923, soon became the standards for "home movies" in their respective hemispheres. In 1932, the even more economical 8 mm format was created by doubling the number of perforations in 16 mm film, then splitting it, usually after exposure and processing. The Super 8 format, still 8 mm wide but with smaller perforations to make room for substantially larger film frames, was introduced in 1965.

Camera accessories[link]

Accessories for cameras are mainly for care, protection, special effects and functions.

• Lens hood: used on the end of a lens to block the sun or other light source in order to prevent glare and lens flare.
• Lens cover: covers and protects the lens during storage
• Lens adapter: sometimes called a step-ring, adapts the lens to other size filters
• Lens extension tubes allow close focus in macro photography
• Flash equipment: including light diffuser, mount and stand, reflector, soft box, trigger and cord
• Care and protection: including camera case and cover, maintenance tools, and screen protector
• Large format cameras use special equipment which includes magnifier loupe, view finder, angle finder, focusing rail /truck.
• Battery and charger^[18][19]

Camera designs[link]

Plate camera[link]

The earliest cameras produced in significant numbers used sensitised glass plates and are now termed plate cameras. Light entered a lens mounted on a lens board which was separated from the plate by an extendible bellows. Many of these cameras, had controls to raise or lower the lens and to tilt it forwards or backwards to control perspective. Focussing of these plate cameras was by the use of a ground glass screen at the point of focus. Because lens design only allowed rather small aperture lenses, the image on the ground glass screen was faint and most photographers had a dark cloth to cover their heads to allow focussing and composition to be carried out more easily. When focus and composition were satisfactory, the ground glass screen was removed and a sensitised plate put in its place protected by a dark slide. To make the exposure, the dark slide was carefully slid out and the shutter opened and then closed and the dark slide replaced. In current designs the plate camera is best represented by the view camera.

Large-format camera[link]

The large format camera is a direct successor of the early plate cameras and remain in use for high quality photography and for technical, architectural and industrial photography. There are three common types, the monorail camera, the field camera and the press camera. All use large format sheets of film, although there are backs for medium format 120-film available for most systems, and have an extensible bellows with the lens and shutter mounted on a lens plate at the front. These cameras have a wide range of movements allowing very close control of focus and perspective.

Medium-format camera[link]

Medium-format cameras have a film size somewhere in between the large format cameras and the smaller 35mm cameras. Typically these systems use 120- or 220-film. The most common sizes being 6x4.5 cm, 6x6 cm and 6x7 cm. The designs of this kind of camera show greater variation than their larger brethren, ranging from monorail systems through the classic Hasselblad model with separate backs, to smaller rangefinder cameras. There are even compact amateur cameras available in this format.

Folding camera[link]

The introduction of films enabled the existing designs for plate cameras to be made much smaller and for the base-plate to be hinged so that it could be folded up compressing the bellows. These designs were very compact and small models were dubbed vest pocket cameras.

Box camera[link]

Box cameras were introduced as a budget level camera and had few if any controls. The original box Brownie models had a small reflex viewfinder mounted on the top of the camera and had no aperture or focusing controls and just a simple shutter. Later models such as the Brownie 127 had larger direct view optical viewfinders together with a curved film path to reduce the impact of deficiencies in the lens.

Rangefinder camera[link]

As camera and lens technology developed and wide aperture lenses became more common, range-finder cameras were introduced to make focussing more precise. The range finder has two separated viewfinder windows, one of which is linked to the focusing mechanisms and moved right or left as the focusing ring is turned. The two separate images are brought together on a ground glass viewing screen. When vertical lines in the object being photographed meet exactly in the combined image, the object is in focus. A normal composition viewfinder is also provided.

Single-lens reflex[link]

Olympus E-420 Four Thirds entry-level DSLR with a 25mm pancake lens.

In the single-lens reflex camera the photographer sees the scene through the camera lens. This avoids the problem of parallax which occurs when the viewfinder or viewing lens is separated from the taking lens. Single-lens reflex cameras have been made in several formats including 220/120 taking 8, 12 or 16 photographs on a 120 roll and twice that number of a 220 film. These correspond to 6x9, 6x6 and 6x4.5 respectively (all dimensions in cm). Notable manufacturers of large format SLR include Hasselblad, Mamiya, Bronica and Pentax. However the most common format of SLRs has been 35 mm and subsequently the migration to digital SLRs, using almost identical sized bodies and sometimes using the same lens systems.

Almost all SLR used a front surfaced mirror in the optical path to direct the light from the lens via a viewing screen and pentaprism to the eyepiece. At the time of exposure the mirror flipped up out of the light path before the shutter opened. Some early cameras experimented other methods of providing through the lens viewing including the use of a semi transparent pellicle as in the Canon Pellix^[20] and others with a small periscope such as in the Corfield Periflex series.^[21]

Twin-lens reflex[link]

Twin-lens reflex cameras used a pair of nearly identical lenses, one to form the image and one as a viewfinder. The lenses were arranged with the viewing lens immediately above the taking lens. The viewing lens projects an image onto a viewing screen which can be seen from above. Some manufacturers such as Mamiya also provided a reflex head to attach to the viewing screen to allow the camera to be held to the eye when in use. The advantage of a TLR was that it could be easily focussed using the viewing screen and that under most circumstances the view seen in the viewing screen was identical to that recorded on film. At close distances however, parallax errors were encountered and some cameras also included an indicator to show what part of the composition would be excluded.

Some TLR had interchangeable lenses but as these had to be paired lenses they were relatively heavy and did not provide the range of focal lengths that the SLR could support. Although most TLRs used 120 or 220 film some used 127 film.

Ciné camera[link]

A ciné camera or movie camera takes a rapid sequence of photographs on strips of film. In contrast to a still camera, which captures a single snapshot at a time, the ciné camera takes a series of images, each called a "frame" through the use of an intermittent mechanism. The frames are later played back in a ciné projector at a specific speed, called the "frame rate" (number of frames per second). While viewing, a person's eyes and brain merge the separate pictures to create the illusion of motion. The first ciné camera was built around 1888 and by 1890 several types were being manufactured. The standard film size for ciné cameras was quickly established as 35mm film and this remains in use to this day. Other professional standard formats include 70 mm film and 16mm film whilst amateurs film makers used 9.5 mm film, 8mm film or Standard 8 and Super 8 before the move into digital format.

The size and complexity of ciné cameras varies greatly depending on the uses required of the camera. Some professional equipment is very large and too heavy to be hand held whilst some amateur cameras were designed to be very small and light for single-handed operation. In the last quarter of the 20th century camcorders supplanted film motion cameras for amateurs. Professional video cameras did the same for professional users around the turn of the century.

Image gallery[link]

• 

  1922 Kodak

• 

  Opened up Cine Kodak, used 16mm movie film

• 

  Silvestri Flexicam

• 

  Voigtländer Brillant twin-lens reflex camera.

• 

  Contax S of 1949 — the world's first pentaprism SLR

• 

  1952 Voigtlander Vito II

• 

  Asahiflex IIa of 1955

• 

  Kodak Retina IIIC of 1957

• 

  Nikon F of 1959 — the first 35mm system camera

• 

  Voigtländer Vitoret of 1962

• 

  1988 A Soviet-era LOMO LC-A camera

• 

  2003 — Canon EOS 300D, a model that sparked the popularity of consumer-level DSLRs

• 

  Nikon Coolpix 5200 One in a line of small cameras by Nikon

• 

  A phone camera

See also[link]

Types[link]

Brands[link]

[edit] Radar Imaging

Other[link]

	Photography portal
	Film portal

• Flash (photography)
• Photographic filter
• Tripod (photography)
• Viewfinder
• Cameras in mobile phones

Bibliography[link]

References[link]

External links[link]

Wikimedia Commons has media related to: Camera

• How camera works at How stuff works.

This article is outdated. Please update this article to reflect recent events or newly available information. Please see the talk page for more information. (November 2010)

Tokio Hotel
Tokio Hotel, 2010. L-R: Georg Listing, Bill Kaulitz, Tom Kaulitz, and Gustav Schäfer
Background information
Origin	Magdeburg, Germany
Genres	Pop rock,[1][2] alternative rock,[3] emo,[4] glam rock,[5] power pop,[6][7][8][9]
Years active	2001–present
Labels	Universal Music Germany, Cherrytree, Interscope
Website	www.tokiohotel.com
Members
Bill Kaulitz Tom Kaulitz Georg Listing Gustav Schäfer

Tokio Hotel is a rock band from Germany, founded in 2001 by singer Bill Kaulitz, guitarist Tom Kaulitz, drummer Gustav Schäfer and bassist Georg Listing.^[10] The quartet have scored four number one singles and have released three number one albums in their native country, selling nearly 5 million CDs and DVDs there.^[11] After recording an unreleased demo-CD under the name "Devilish" and having their contract with Sony BMG Germany terminated, the band released their first German-language album, Schrei, as Tokio Hotel on Universal Music Germany in 2005. Schrei sold more than half a million copies worldwide^[12] and spawned four top five singles in both Germany and Austria. In 2007, the band released their second German album Zimmer 483 and their first English album Scream which have combined album sales of over one million copies worldwide and helped win the band their first MTV Europe Music Award for Best InterAct. The former, Zimmer 483, spawned three top five singles in Germany while the latter, Scream, spawned two singles that reached the top twenty in new territories such as France, Portugal, Spain and Italy. In September 2008, they won in the US their first MTV Video Music Award (VMA) for Best New Artist. In October 2008, they won four awards including Best International Artist and Song of the year at Los Premios MTV Latinoamérica (MTV Video Music Awards Latin America) held in Mexico. Tokio Hotel became the first German band ever to win an award at the MTV VMAs and also at the MTV Latin America Awards. They also picked up the Headliner award at the MTV Europe Music Awards 2008 held in Liverpool on November 6, 2008 and the Award for Best Group on November 5, 2009 at the MTV Europe Music Award (EMA) held in Berlin. They won an Award for Best World Stage Performance on November 7, 2010 at the MTV Europe Music Awards in Madrid. In July 2011, they became the first German band to win an MTV Video Music Awards Japan (VMAJ). And won MTV's 2012 Musical March Madness.

History[link]

[edit] Formation (2001 - 2004)

Tokio Hotel by vocalist Bill Kaulitz and guitarist Tom Kaulitz, who are identical twin brothers, drummer Gustav Schäfer and bass-guitarist Georg Listing. The four met in 2001 after a live show in a Magdeburg-Club, where Listing and Schäfer, who knew each other from music school, watched from the audience while Bill and Tom Kaulitz played on the stage.^[13][14] Under the name Devilish, the band soon began playing in talent shows and small concerts.^[15] After Bill Kaulitz's participation in a children's Star Search in 2003 at age thirteen (which he lost in the quarter-final), he was discovered by music producer Peter Hoffmann. Devilish changed their name to Tokio Hotel: "Tokio", the German spelling of the Japanese city Tokyo, due to a love of the city, and "Hotel" due to their constant touring and living in hotels.^[13] Soon after Sony BMG took them under contract, Hoffmann hired David Jost and Pat Benzner into the team of creators and authors, and had them give the teens instruction on songwriting and instrument playing; most of the songs of the first album were written by Hoffmann, Jost and Benzer (including the singles "Scream" and "Rescue me" which were completely written by them), only the single "Unendlichkeit" was written completely by Tokio Hotel themselves. Shortly before release of their first album, Sony terminated their contract. The band is now one of the biggest modern acts from Germany and the biggest in 20 years.

[edit] Schrei (2005 - 2006)

Bill Kaulitz performing in Hessisch-Lichtenau, Germany in 2006.

In 2005, Universal Music Group took Tokio Hotel under contract and developed a marketing plan. Their first single, "Durch den Monsun" ("Through the Monsoon"), quickly rose in the charts, appearing on the German official Media Control single chart at #15 on August 20, 2005 and eventually reaching #1 on August 26, 2005; it also reached #1 on the Austrian singles chart. Their second single, "Schrei" ("Scream"), climbed to the #5 position in the German charts. These two songs were written by singer Bill Kaulitz together with their group of producers Peter Hoffmann, David Jost, Pat Benzer and Dave Roth. Their debut album, Schrei, was released on September 19, 2005, and was certified triple gold by the BVMI in 2006 for selling over 300,000 copies in Germany.^[16] In 2006, a third and fourth single, "Rette mich" ("Rescue Me") and "Der letzte Tag" ("The Final Day"), were released; both reached #1 as well. "Der letzte Tag" contained a B-side called "Wir schließen uns ein", which was also accompanied by a music video.

[edit] Zimmer 483 (2007 - 2008)

The first single off their second album Zimmer 483 (Room 483), called "Übers Ende der Welt" (later re-released in English under the name "Ready, Set, Go!"), was released on January 26, 2007 and quickly reached #1 in Germany and Austria, and #2 in France. Zimmer 483 was released in Germany on February 23, 2007, along with a deluxe edition of the album containing a DVD. The album's second single, "Spring nicht" ("Don't Jump") was released on April 7. The tour accompanying the release of the album, The Zimmer 483 Tour, was scheduled to start in March 2007, but was delayed by two weeks because the band members wished to have a different stage design. A third single, "An deiner Seite (Ich bin da)" ("By Your Side"), was released on November 16. The single contains the B-side "1000 Meere" ("1000 Oceans"), for which a music video was also produced. On April 28, 2008 Tokio Hotel released their single "Heilig" but no music video for the single was released, because of the tight schedule they had.

[edit] Scream (2007 - 2008)

Tokio Hotel's first English language album, Scream, was released on June 4, 2007 throughout Europe. In Germany, the album was released as Room 483 in order to emphasize the continuity with their last German album Zimmer 483. Scream contains English versions of a selection of songs from their German-language albums Scream and Zimmer 483. "Monsoon", the English-language version of "Durch den Monsun", was the first single from the album. "Ready, Set, Go!" (the translation of "Übers Ende der Welt") was released as the album's second single and "Don't Jump" (the translation of "Spring nicht") as the third single. A video for "Scream", the English-language version of their 2005 hit "Schrei", was also recorded, and was released to the iTunes Store in early March 2008.

Tokio Hotel gave their first concert in the United Kingdom on June 19, 2007. "Ready, Set, Go!" was released in the UK as the band's first single on August 27, 2007. The song reached #77 in the UK Singles Chart.

Tokio Hotel won an MTV Europe Music Award for Best InterAct on November 1, 2007 and were also nominated for Best Band. They performed "Monsoon" at the event.

Tokio Hotel released their first US single, simply called "Tokio Hotel", in late 2007. The single contains the tracks "Scream" and "Ready, Set, Go!", and was available exclusively at Hot Topic stores. Their second US single, "Scream America", was released on December 11, 2007. The single contains the track "Scream" and a remix of "Ready, Set, Go!" by AFI's Jade Puget. In February 2008, the band toured North America for five dates starting in Canada and finishing up in New York.^[17] After appearing and performing live on MuchMusic, while touring in Canada, "Ready, Set, Go!" entered the MuchOnDemand Daily 10, a countdown of videos chosen by viewers. It remained there for over a week, then returned to the top of the MOD Daily 10 chart on April 8. "Scream" was released in Canada on March 25 and in the US on May 6. The "1000 Hotels" European Tour began on March 3, 2008 in Brussels and continued to locations including The Netherlands, Luxembourg, France, Spain, Portugal, Italy, and Scandinavia, and was scheduled to finish on April 9; during the concert in Marseille, France on March 14, Bill started to experience vocal problems.^[18] He let the audience sing more frequently than normal and instead of the original 21 songs that were on the set list, they only played 16 songs. Bill apologized, in German, for his bad singing and explained that he was sick. Two days later, the band canceled Lisbon, Portugal concert minutes before it was supposed to commence. The rest of the "1000 Hotels" Tour and a scheduled North American Tour were cancelled following an announcement in Bild by the band's manager that Bill Kaulitz had to undergo surgery to remove a cyst on his vocal cords.^[19][20]

Bill Kaulitz had been putting strain on his voice after playing 43 concerts in the 1000 Hotels tour without vacation.^[21] He had to undergo Larynx surgery on March 30 to remove a cyst that had formed on his vocal cords.^[22] The cyst was the result of a throat infection that went untreated.^[23] Following his surgery, Bill was unable to speak for twelve days, and had four weeks of vocal rehabilitation.^[24] If Bill had continued singing the rest of the tour, his voice would have eventually been permanently damaged.^[18][25] Tokio Hotel started performing again in May 2008^[26] and after that they embarked on a 2nd part of their 1000 Hotels European Tour adding many Open Air concerts and wrapping up the tour on July 13 in Werchter, Belgium.

[edit] North American Tours and Humanoid (2009 - 2010)

This section is outdated. Please update this section to reflect recent events or newly available information. Please see the talk page for more information. (November 2010)

Tokio Hotel embarked on a second tour of North America in August 2008, which included a performance at the Bamboozled festival in New Jersey. The band's music video for "Ready Set Go!" was nominated for Best Pop Video at the 2008 MTV Video Music Awards,^[27] where they also won the award for Best New Artist.^[28] They returned to North America again in October 2008 for a month long tour of concerts and record store signings. In December 2008, a behind-the scenes DVD called Tokio Hotel TV – Caught on Camera was released. It contains footage from Tokio Hotel TV and backstage feature stories of the previous year on disc one entitled "History – The very best of Tokio Hotel TV!". A deluxe edition contains a second disc entitled "Future – The road to the new Album!" which features footage of the band on promotion tours and preparing for their third studio album.^[29]

In between the North American tours, the band returned to their record studio in Hamburg to record their third studio album, Humanoid, which, according to their producer David Jost, is currently set for release on October 2 in Germany & October 6, 2009 in the U.S.^[30][31][32] This is despite earlier statements predicting a March/April 2009 release or a May/June 2009 release.^[33][34][35] The album was recorded in both German and English with both versions were released simultaneously worldwide.^[34][35]

On August 10, it was announced on MTV news that the first German single would be "Automatisch" and its English counterpart, "Automatic", would also be released as a first single in the United States. On August 20, MTV Buzzworthy released a video which previewed "Automatic" and Cherrytree Records announced that the English version of the song would be released in the US on September 22.^[36][37] Nevertheless, the video for the single was released on September 3.

On November 2, it was announced on Tom's Blog that the second English single would be "World Behind My Wall" and its German counterpart, "Lass uns laufen", would be the second German single.^[38] The music videos for both versions were released on December 14 and December 15.

On June 24, the live music video for their single, "Dark Side of the Sun" was released on the band website.

On July 20, 2010 they released their second live album Humanoid City Live from Milan, Italy On November 22, 2010, their new song "Hurricanes and Suns," premiered on the Greek radio station Mad Radio. It was included in the bonus track on all versions of "Tokio Hotel: Best Of," a compilation album of their most successful songs. As well as the single for the 'Best of' release. The album will also include "Mädchen aus dem All", the first song the band recorded in a studio.

On December 14, 2010 their 'Best of' was released. December 2 was the World Premiere of the video for "Hurricanes and Suns" on their Official Website. On April 28, 2011 they received the "Fan Army FTW" award at the MTV O Music Awards, the networks first online award show. A clip of Bill and Tom thanking their fans was played after the winner was announced.

Tokio Hotel performed their first concert in Asia (excluding their concert in Israel) at the Audi Showcase in Singapore, followed shortly by the TM Connects With Tokio Hotel event in Malaysia, promoting the sales of their album Humanoid. They concluded the series of mini-concerts with Taiwan. They returned to Malaysia a couple of months later to perform at MTV World Stage Live in Malaysia 2010. They performed in Tokyo on December 15, 2010, after their South American Tour concluded in Distrito Federal, Mexico on December 2, 2010. In February, 2011 Tokio Hotel travelled to Japan to complete a second promo tour. A number of TV appearances and media interviews took place between February 8 and February 11.

On June 24, 2011 Tokio Hotel performed in Japan at “The Next Premium Night Tokio Hotel in Tokyo". The event was presented by Audi A1 and 150 fans were chosen to win tickets to attend the show. The event was the band's first acoustic performance in Japan. On June 25, 2011 the band performed live at the MTV Video Music Aid Japan in Tokyo. The show, which was formerly called the Video Music Awards Japan, was used as a music benefit to raise money for the Japanese Red Cross in order to help those who were affected by the recent earthquake.

Modeling and commercials[link]

This section is outdated. Please update this section to reflect recent events or newly available information. Please see the talk page for more information. (January 2010)

On January 19, 2010, lead singer Bill Kaulitz teamed up with twins Dean and Dan Caten of DSquared to walk the runway at a fashion event in Milan.^[39] Kaulitz made two appearances, as he opened and closed DSquared's Menswear Autumn/Winter 2010 show to Tokio Hotel song "Screamin".^[40]

Car maker Audi hired the two frontmen to star in their new advertising campaign to attract the younger generation. They were featured in an episode of Tokio Hotel TV (on Tokio Hotel's website) and also in a commercial.^[41]

On August 4, 2010, Tom Kaulitz got his own Reebok shoe commercial.^[42] Reebok signed the 20-year-old Tokio Hotel guitarist and sneaker addict to model shoes for the company. "At home, I created a little room like a little storage room," he said of his sneakers. He also said that he gets 10 new pairs a week.^[42]

Best Of Tokio Hotel (2010)[link]

At 13th December in Germany and 14th December internationally Tokio Hotel released their first compilation album named "Best Of". It comes in two languages: english and german. It contains the most popular songs from all the previous albums and two new songs: "Hurricanes and Suns" (was recorded for Humanoid but not included in it) and "Mädchen aus dem All" (was recorded for Schrei but not included in it).There is a deluxe edition too which comes with both german and english versions of album and a bonus DVD with all Tokio Hotel's music videos and "making of" scenes.

[edit] New album and duet with Far East Movement (2011 - present)

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After finishing "Welcome To Humanoid City Tour" Bill and Tom with their manager David Jost moved to Los Angeles and still are living there. They said they are working on the new album, which will be released in the late 2012. Paparazzies caught Bill, Tom and Gustav in a shop in Los Angeles. MTV said the new album will be named "Dark Anthem".^[43]. Bill and Tom released an app named "BTK Twins" for iOS (16 January 2012),^[44] and Android(19 December 2011),^[45] for keeping in touch with their fans. Here Bill and Tom post their photos, videos and text messages, and fans can leave messages for posts. Bill and Tom answer to these comments very often. The app costs 2.99$, and if a user wants to leave comments besides watching only he must pay 0.99$ a month. Tokio Hotel launched a service named "VIP Call".^[46] Fans may pay 4.99 Euros for a month or 3.49 Euros for 3 months and Tokio Hotel call them and leave audio messages. Fans can even ask them questions and Tokio Hotel will answer to them. On 18 May 2012 Far East Movement released an album named "Dirty Bass". In it there is a song named "If I Die Tomorrow" which is a duet with Bill. Far East Movement accepted there will be a music video released for "If I Die Tomorrow" soon. Bill Kaulitz will take part in shootings too.

Band members[link]

• Bill Kaulitz - lead vocals
• Tom Kaulitz - guitar, piano, backing vocals
• Georg Listing - bass, keyboards, synthesizers, backing vocals
• Gustav Schäfer - drums, percussion, backing vocals

Discography[link]

Studio albums

• Schrei (2005)
• Zimmer 483 (2007)
• Scream (2007)
• Humanoid (2009)
• Best Of (2010)

Awards[link]

Since the release of the "Durch den Monsun" single in 2005, Tokio Hotel have gone on to win 104 awards in various categories and countries.

2005

2006

2007

2008

2009

2010

2011

2012

References[link]

External links[link]

Wikimedia Commons has media related to: Tokio Hotel

• Official site
• Cherrytree records profile
• Interscope records profile
• Tokio Hotel on MySpace
• Tokio Hotel on Facebook
• Tokio Hotel on Twitter
• Tokio Hotel on MTV