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| William Henry Fox Talbot |
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| pioneered calotype process was patented. First picture was a stamp. Used it on plant he was a botanist. The language he used to describe photography resonates with the irrational or supernatural. The work on the Daguerre process was taking place at the same time as that of Talbot's work in England on the calotype process. Talbot produced a book called The Pencil of Nature |
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| (early travel)member of Society of Heliographique, Hippolyte Bayard was VP. was Gustave LeGray’s student, and a former painter. Early Travel photographer He began to photograph for painting, and switched to documentary; he’s known for his images of the working class and cathedrals used the calotype process, and became skilled at negative retouching objective in the mission was to record the great architectural monuments of Paris and the landscape of the Midi, a region of southern France. photographed regional social types in France during 1852, giving rise to photographic investigations of ethnography. The photographer used pencil shadings on the negative to lighten the buildings in the background. The figures are posing to imitate movement |
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| (portraits)Scotish painter used calotype photos are not descriptions of anatomical record but instead of the play of light and shadow. thought that Hill, the painter directed the composition of the subjects while, Adamson, trained as an engineer, was an innovative experimenter in the technical process. The Calotype process required much longer exposures than the Dagauerreotype So Hill and Adamson often had sitters close their eyes or look off the frame, rather than blink portraits were taken in direct sunlight. Hill & Adamson produced an estimated 1500- 3000 images (depending on differing accounts) in the less than four productive years of their partnership. |
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| (portraits) a chemist Scottish used calotype photos are not descriptions of anatomical record but instead of the play of light and shadow. thought that Hill, the painter directed the composition of the subjects while, Adamson, trained as an engineer, was an innovative experimenter in the technical process. The Calotype process required much longer exposures than the Dagauerreotype So Hill and Adamson often had sitters close their eyes or look off the frame, rather than blink portraits were taken in direct sunlight. Hill & Adamson produced an estimated 1500- 3000 images (depending on differing accounts) in the less than four productive years of their partnership. |
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| French Poet Baudelaire became interested in photography in the 1850s and denounced it as an art form and advocated for its return to "its real purpose, which is that of being the servant to the sciences and arts". Photography should not, according to Baudelaire, encroach upon "the domain of the impalpable and the imaginary" |
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| (early female practitioner) an intimate of Queen Victoria’s court, who made portraits, and who cut up photographs and inventively arranged them on sheets of paper upon which she painted watercolors. remixed such photographs against watercolor backgrounds, for the amusement of guests. The albums functioned very much as social networking sites like Facebook do today except that these albums are literally “books of faces”, discreetly revealed to a visitor one wants to impress, who might leave their own carte de visite on the table. Photographs are mixed with animals, exotic scenes and domestic interiors, playfully juxtaposing and arranging connections between families. |
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| Welsh landscape photographer, Photo Exchange Club (early female practitioner) |
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| photographed many famous people, used longer exposure to capture peoples movement, early female practitioner/pictorialist |
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| war photographer, MathewBrady trained. Sent to various scenes of conflict He then goes his own way, to Tennessee and to Atlanta to follow General Sherman on his march to the coast Alexander Gardner’s photograph, “home of the rebel sharpshooter”, is a constructed photograph, -No one at the time questioned Gardner’s right to set the scene.-It was accepted as an accurate overall representation of the situation. Gardner's Photographic Sketch Book of the War, published in two volumes in 1866, and illustrated with 100 photographs includes O'Sullivan’s photograph of the Gettysburg battlefield of 1863. OK with death photos, show impact of war. cheif photographer to the Eastern division of the Union Pacific Railway, depicted small town lives, settlers, Native Ams, and military installations an RR construction. |
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| He retired from business in 1856 when he was 48 years old, as he said "I have now enough of this world's goods: let younger men have their chance". He settled down near Penshurst, Kent, where he renamed his retirement home "Hammerfield" and happily pursued his various hobbies including astronomy. He built his own 20-inch reflecting telescope, in the process inventing the Nasmyth focus, and made detailed observations of the Moon. He co-wrote The Moon : Considered as a Planet, a World, and a Satellite with James Carpenter (1840–1899). This book contains an interesting series of "lunar" photographs: because photography was not yet advanced enough to take actual pictures of the Moon, Nasmyth built plaster models based on his visual observations of the Moon and then photographed the models. [1] A crater on the Moon is named after him |
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| was a British astronomer at the Royal Observatory in Greenwich. In 1871, the engineer James Nasmyth partnered with James Carpenter to produce a book about the Moon titled, The Moon: Considered as a Planet, a World, and a Satellite. This work was illustrated by photographs of plaster models representing the lunar surface, with the illumination from various angles. The result was more realistic images of the lunar surface than could be achieved by telescope photography during that period. The authors were proponents for a volcanic origin of the craters, a theory that was later proved incorrect |
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| was a critic and poet of German and Japanese descent one of the first critics to write about photography, with regular essays in Alfred Steiglitz's Camera Notes. |
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| (pictorialism)was an American photographer, painter, and art gallery and museum curator. He was the most frequently featured photographer in Alfred Stieglitz' groundbreaking magazine Camera Work during its run from 1903 to 1917. Steichen also contributed the logo design and a custom typeface to the magazine. Camera Work was designed by Edward Steichen who was in charge of layout Throughout the fifteen years of publication, all but one of the regular issues contained a hand tipped gravure portfolio by a single artist, as well as several additional plates by other artists. In partnership with Stieglitz, Steichen opened the "Little Galleries of the Photo-Secession", which was eventually known as 291 Steichen's photos of gowns designed by couturier Paul Poiret in the magazine Art et Décoration in 1911 are regarded as the first modern fashion photographs ever published. active career, he was renowned as an artist, fashion photographer, curator, writer, and technical innovator. He was an advocate for photography as an art form, and led, along with Alfred Stieglitz, an aesthetic revolution that enabled photography to be considered a medium of expression, and not a mere documentary record of visual facts. |
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| (1852–1934) pictorialism early female was one of the most influential American photographers of the early 20th century. She was known for her evocative images of motherhood, her powerful portraits of Native Americans and her promotion of photography as a career for women. She was famous for her unconventional scenes of mother child relations and portraits of figures such as Rodin and Alfred Stieglitz. The first American woman elected to the Linked Ring, and was included in the Philadelphia Salon (=MOMA today) of 1898; she was also a founding member of the Photo-Secessesion. Stieglitz featured her work in Camera Work as well as in shows he organized. Kasebier began her art career by casually photographing friends, the series was not preconceived |
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| and his wife, Lillian, employed time-lapse photography to verify their study and philosophy of “work simplification,” the relationship of human effort to the volume of work that the effort accomplishes. Gilbreths studied micromotion, which they achieved by attaching a camera to a timing device. They were then able to photograph workers performing various tasks, and they dubbed the essential elements of their subjects’ movements “therbligs” (“Gilbreths” spelled backward). Using such photographs to offer analysis and proof of their effort-versus-efficiency theories, the Gilbreths traveled across the United States, lecturing to engineering and manufacturing audiences. |
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| employed time-lapse photography to verify their study and philosophy of “work simplification,” the relationship of human effort to the volume of work that the effort accomplishes. Gilbreths studied micromotion, which they achieved by attaching a camera to a timing device. They were then able to photograph workers performing various tasks, and they dubbed the essential elements of their subjects’ movements “therbligs” (“Gilbreths” spelled backward). Using such photographs to offer analysis and proof of their effort-versus-efficiency theories, the Gilbreths traveled across the United States, lecturing to engineering and manufacturing audiences. |
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| Louis-Jacques-Mande Daguerre |
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| announced his photographic process in January 1839 , Daguerre's technically superior pictures captures the imagination of the public. |
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| If by photography we mean a process by which a camera image is recorded chemically, then photography’s inventor was Nicephore Niepce. was interested in lithography as a reproductive medium, and so he concerned himself with finding a method of transferring the design to the lithographic stone not manually but automatically, to rescue reproduction from interpretation. 1822 Niepce discovered the light sensitivity of a variety of asphalt called bitumen of judea. This material was common for etchers. Niepce had heard that bitumen of judea bleached on exposure to light, very slightly, but Niepce also discovered a more interesting fact, that the material is soluble in oil of lavender before exposure to light and afterwards is not. 1822 and 1827, Niepce coated a pewter plate with bitumen of judea, placed the plate in his camera obscura, and exposed the plate to light the entire day. He then washed the plate with oil of lavender; the parts that had been hardened by exposure to light remained, but in those areas that represented the darker parts of the original scene, the coating washed away. Niepce called this process heliography meaning sun drawing. |
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| Niepce first learned of Daguerre in Paris on his way to London in 1826 while ordering a camera obscura from the Chevalier (Shu-vell-ee?) brothers. Daguerre had been trying to fix the image of the camera obscura using silver chloride paper for nearly a year. The Chevalier's encouraged Daguerre to write to Niepce. In January 1826, Niepce received a letter from Daguerre The agreement with Niepce seemed to spur him on. He became a tireless experimenter and mentioned his growing interest in silver iodide in a letter dated May 21, 1831. Daguerre wrote: "I think after many new tests that we ought to concentrate our researches on 20,“ "this substance is highly light sensitive when it is in contact with 18." They were writing in code: "20" meant iodine, "18" meant silver plate. Niepce becomes ill, and soon after dies in 1833. Daguerre continues the work. |
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| Wedgwood is credited with a major contribution to photography and technology, for being the first man to think of and develop a method to copy visible images chemically to permanent media. |
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| Wedgwood met a young chemist named Humphry Davy (1778–1829) at the Pneumatic Clinic in Bristol, while Wedgwood was there being treated for consumption. Davy wrote up his friend's work for publication in London’s Journal of the Royal Institution (1802), and titled it “An Account of a Method of Copying Paintings upon Glass, and of Making Profiles, by the Agency of Light upon Nitrate of Silver. Invented by T.Wedgwood, Esq.” The paper was published and detailed Wedgwood’s procedures and accomplishments, |
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| John Herschel loved all natural philosophy, including the observation and laws of the stars. He called it “the most perfect of sciences.“ Herschel’s Experiments Included: Platinum as a photographic medium. Color photography.Waxed paper negative.He Invented: Cyanotype (blueprint) - iron based. Argentotype (Van Dyck brown, kallitype) - iron & silver based. Chrysotype (gold print) - iron based.*He Originated: The use of hypo (sodium thiosulphate) to fix a silver based image. The use of glass as a negative support rather than paper. The terms still used in photography today - hypo, photograph, snapshot, and positive/negative. |
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| (early travel)Frenchman creates early direct positive process on paper Had the disadvantages of both Daguerreotype and Talbot’s Calotype: Direct Positive – no copies could be made Paper substrate – less beautiful and clear than the daguerreotype -Persuaded to postpone the announcement of his process until Daguerre made his -Cost Bayard the recognition of being one of the principle inventors of photography. He viewed photography powerful artform ex. 1840 he responded to this injustice by creating perhaps the first example of political-protest photography, a portrait of himself as a drowned man, upon which he wrote a suicide note on back. Society of Heliographique |
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| Society of Heliographique (early traveling photographer) a famous French artist and the inventor of the wax paper process, began making photographs toward the end of the 1840s. He set up a workshop where he taught informal lessons to those who were interested in photography. Among Le Gray’s students were many famous the painters Charles Negre, Henri Le Secq, and journalist Maxime Developed the idea of soaking the paper in wax and pressing it flat before sensitizing it Allowing for shorter exposure and print times Greater detail, fewer flaws Sensitized paper would keep up to 2 weeks his photographs of landscapes and seascapes that caught the eye of the public. used the collodion process for some of his series of photographs including this one of a forest in 1855 (a work modeled on impressionistic styles)…Le Gray also photographed seascapes, using both collodion and a waxed paper negative process, to capture light moving over the ocean. |
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| was a French philosopher, social theorist, historian of ideas, and literary critic. |
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| was a 19th-century American daguerreotypist and photographer. One of the more prominent and well-known daguerreotypists in the Midwest United States during the 1850s, his studio became one of the first permanent art galleries in Missouri. Although his reputation was limited to the Midwest during his lifetime, he is considered to have been one of the foremost experts in the field of daguerreotype photography in theUnited States during the mid-to-late 19th century. |
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| (early woman photographer)(1799-1871) was trained as a botanist, botanical illustrator and naturalist. She learned the cyanotype process from Sir John Hershel, a family friend, who invented it in 1842. Atkins printed and published Part I of the 12 part British Algae: Cyanotype Impressions in 1843 which contains over 400 images. Her efforts helped to established photography as a medium -- useful, accurate and beautiful -- for scientific documentation. She made 13 known versions of British Algae and, following its completion, went on to produce two other volumes—British and Foreign Ferns and, in conjunction with Anna Austen Dixon (relative of writer Jane), British and Foreign Flowering Plants and Ferns. ethereal blue prints perfectly suggested the watery depths |
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| (1817 - 1901) was a British writer, editor, student of optics andphotographer with a strong interest in innovative techniques, who was active during the 1850s–60s. Reported to have made the first microphotograph, he was also an early advocate of photographic enlargement, as well as compound and combination printing. For seven years Shadbolt was editor of the publication that later became theBritish Journal of Photography. |
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| (1809 – June 21, 1886) was an early British psychiatrist and photographer who made a major contribution to the progress of the craft. A doctor by profession, he opened a private practice inSoho, London, and then decided to specialise in psychiatry, being appointed to Brookwood Hospital, the second Surrey County Asylum. Diamond was one of the founders of thePhotographic Society, was later its Secretary and also became the editor of the Photographic Journal. Diamond was fascinated by the possible use of photography in the treatment of mental disorders; some of his manycalotypes depicting the expressions of people suffering from mental disorders are particularly moving. These were used not only for record purposes, but also, he claimed in the treatment of patients - although there was little evidence of success.Perhaps it is for his attempts to popularize photography and to lessen its mystique that Diamond is best remembered. He wrote many articles and was a popular lecturer, and he also sought to encourage younger photographers. Among the latter was Henry Peach Robinson, who was later to refer to Diamond as a "father figure" of photography. Photographic Society awarded its Medal in recognition of "his long and successful labours as one of the principal pioneers of the photographic art and of his continuing endeavours for its advancement." |
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| Society of Heliographique (early travel) Was concerned with photographing the city’s obscure and forgotten structures as well as the major monuments, and he photographed many demolitions in progress When LeSecq photographed famous buildings, he often photographed the sculptures on them as well creating a document, a record Worked with Caoltype—paper negatives exclusively— he gave up photography in 1856 after paper negatives went out of fashion |
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| Cornelius attempted to perfect the daguerreotype. Around October 1839, Cornelius took a portrait of himself outside of the family store. The daguerreotype produced shows an off center portrait of a man with crossed arms and tousled hair. This self-portrait of Robert Cornelius is one of the first photographs of a human to be produced.Cornelius would operate two of the earliest photographic studios in the U.S. between 1841 and 1843, but as the popularity of photography grew and more photographers opened studios, |
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| Jean-Francois-Antoine Claudet |
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| (12 August 1797 – 27 December 1867) was a French photographer and artist who produced daguerreotypes. He was born in Lyon, was active inGreat Britain and died in London. He was a student of Louis Daguerre. Having acquired a share in L. J. M. Daguerre's invention, he was one of the first to practice daguerreotype portraiture in England, and he improved the sensitizing process by using chlorine(instead of bromine) in addition to iodine, thus gaining greater rapidity of action. He also invented the red (safe) dark-room light, and it was he who suggested the idea of using a series of photographs to create the illusion of movement. The idea of using painted backdrops is also attributed to him.From 1841 to 1851 he operated a studio on the roof of the Adelaide Gallery (now the Nuffield Centre), behind St. Martin's in the Fields church, London. He opened subsequent studios at the Colosseum in Regent's Park (1847–1851) and at 107 Regent Street (1851–1867).In 1848 he produced the photographometer, an instrument designed to measure the intensity of photogenic rays; and in 1849 he brought out the focimeter, for securing a perfect focus in photographic portraiture. He was elected a fellow of the Royal Society in 1853, and in 1858 he produced thestereomonoscope, in reply to a challenge from Sir David Brewster. In 1851 he moved his business to 107 Regent Street, where he established what he called a "Temple to Photography." |
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| Two of the most famous early practitioners of the daguerreotype. Charged $33 dollars per plate when other studio were charging as low as 25 cents. It later dawned on photographers that portraits made with more artistry could justify higher prices. The new dogma was summarized as follows ‘without artistic knowledge to correct its blemishes, photography is not entirely truthful.’ Southworth and Hawes never employed others to operate the camera, as did other famous daguerreotype studios such as John Plumbe or Mathew Brady. Their style is peculiar to themselves: presenting beautiful effects of light and shade, and giving depth and roundness together with a wonderful softness or mellowness. They approached public portraiture with a different aesthetic than those made for private consumption. |
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| Gaspard Felix Tournachon Nadar |
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| Nadar was the pseudonym of Gaspard-Félix Tournachon(6 April 1820, Paris – 23 March 1910), a French photographer, caricaturist, journalist, novelist, and balloonist. Examples of Nadar's photographic portraits are held by many of the great national collections of photographs. He took his first photographs in 1853 and in 1858 became the first person to take aerial photographs. He also pioneered the use of artificial lighting in photography, working in the catacombs of Paris. He is credited with having published (in 1886) the first photo-interview (of famous chemist Michel Eugène Chevreul, then a centenarian), and also took erotic photographs. From 1895 until his return to Paris in 1909, the Nadar photo studio was inMarseilles (France). |
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| Holmes invented the "American stereoscope", a 19th century entertainment in which pictures were viewed in 3-D.. came up with "photographic intimacy" a friendship est. by exchanging images b/w two people who havent met. |
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| travel photography was a French photographer, best known for his floral still lifes, Parisian street scenes, and grand Alpine landscapes. One of the most influential French photographers of the 19th century, he used contemporary innovations in photographic reproduction to market his photographs worldwide. In his later years, he used photographic techniques to reproduce famous works of art, which helped advance the field of art history. |
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| pictorialism was a portrait painter before a photographer...his first combination print made in 1855, is from a desire to maintain uniformity of focus across a photographic print. -Freed from instantaneous origin, the combination print like a painting requires labor, skill, and time. ‘The two ways of life’ made in 1857, from more than 30 negs, and was ultimately 36 in. Wide by 16 high. Rejlander’s work exemplified the plasticity of photography...that it is not necessarily confined to one moment in time or one vantage point. Correcting the photographic limitations and “mistakes” in focus and light. -Criticism of Rejlander- not using photography as it was intende -Photography here is used as more than a recording medium, it is the idea of using fiction not to dupe or deceive but towards a greater truth. thought to be one of the first deliberately double exposed photographs of this time. |
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| was an English watercolourist and an innovator in mid-nineteenth century photography. In the 1850s he joined the London Photographic Society and the Photographic Exchange Club of London. In 1858, many of his photographic portraits were published in Portraits of Eminent British Artists. Use combination printing He favored the discreet and harmonious arrangements of the children. He stressed the virgin beauty of these young girls reflects a deep commitment to the ideals for feminine innocence that were central to the pre-raphaelite movement. |
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| portraits was a French journalist,caricaturist and photographer. He co-founded the magazine,Le Diogène, and founded the review, Le Boulevard. He is best known for his numerous portraits and caricatures of political, literary and artistic Parisian figures |
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| (pictorialism)produced stereographs influenced by sentimental or moralizing paintings and engravings. Tableaux vivants (set ups) |
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| early women British photographer who made photographs of her daughters in their London home. Her photographs emphasize privacy. Like many Victorian mothers, Hawarden collected photographs of her children and pasted them into albums. But unlike most conventional albums, Hawarden's images overflow with sexuality. Her pictures raise issues of gender, motherhood, sexuality, and photography’s attachment to loss, duplication, illusion and fetish. Intimate interactions are staged...staging is a predominant quality of Hawarden’s photographs, but they avoid compositional symmetry and stiff poses...her images move to a spatial compositional irregularity...space, props and objects and adornments attain equal weight with the subjects. |
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| Charles Lutwidge Dodgson, better known as, Lewis Carroll, was an English author, a lecturer in mathematics at Christ Church near Oxford, an Anglican deacon and photographer, perhaps best known for “Alice’s Adventures in Wonderland”, written in 1865, and “Through the looking glass”, written seven years later. His specialty became portraiture, and among his subjects were some leading people of the day, including Tennyson, Christina Rossetti, and Holman Hunt, the painter. |
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| took up photography in 1852, inspired by Rejlander’s two ways of life. The limitations of photography, as well as his painting background, caused him to pursue combination printing. In Robinson’s work, every picture tells a story. Robinson legitimizes combination printing by way of classical ideals (especially with reference to the female body), Robinson cites the following classical anecdote...”rather more than 2 thousand years ago Zeuxis, of Heraclea, painted his famous picture of Helena for the people of Crotona, in the composition of which he selected, from 5 of the most beautiful girls the town could produce, whatever he observed nature had formed most perfect in each, and united them all in one single figure. A reference to the dim traditions of antiquity might perhaps be considered out of date in treating of an art which was discovered only a few years since; but the purpose...is to induce you to do in photography something similar to that which the old greek did in painting, that is, to take the best and most beautiful parts you can obtain suitable for your picture, and join them together into one perfect whole.” Robinson justifies composite printing in a dismembered female subject (by a male gaze)...the female body of classical perfection from which to measure photographic transgressions. The poem ‘The Lady of Shalott’ by Tennyson wrote in ‘Pictorial effect in photography’ in 1869: ...the laws of balance, contrast, unity, harmony, are to be found in all good works of art, independent of what medium is used...for photography to be art it must look towards these goals. Robinson basically founded the Pictorialist movement when he began writing about it in a book titled Pictorial Effect in Photography the most widely read photography book of the 19th century, and which advocated the basic canons of painting “composition and light and shadow” as the “guiding laws” of an art photograph—This book was one of the few early detailed written accounts on photography to focus on the aesthetics of picture making, |
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| a French painter and one of the founders of the Barbizon school in rural France. Millet is noted for his scenes of peasant farmers; he can be categorized as part of the movements of Realism and Naturalism. painting is dead at the invent of photography |
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| war photographer photographs are regarded as the visual record of the crimean war. practiced in Yorkshire, carrying out photography in the sort of conditions which awaited him in the Crimea. He fitted out a photographic van with:-five cameras-700 glass plates in three different formats-laboratory materials-and a bed. Fenton used the fastest method then available, the collodion process. He was able to take photographs which he regarded as "almost instantaneous" with exposure times of between 3 and 20 seconds. The majority of his photographs are portraits, either of the Commanders or of the officers and men. Instead of battles, the dead and wounded, the field hospitals, and the devastation... He makes instead a photograph of what war leaves behind. He turns to metaphor. Probably his best known photograph “The Valley of the Shadow of Death," (1855) Upon returning from the Crimean war, Roger Fenton published bound volumes of his prints, however they did not sell well, as people did not wish to keep mementos of an event which most would wish to forget. other photographic accomplishments (besides the Crimean war) include compiling inventories of churches, abbeys, gothic revival architecture, and topographical views…with these, Fenton made large salt and albumen prints from collodion negatives, perfect in execution. |
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| travel photographer was the photographer for Clarence King’s Geological Explorations of the 40th parallel, the land between Sierra Nevada and the Rocky Mountains. And from 1871-73 O’Sullivan was part of another geological expedition to the west of the 100 meridian, traveling into Death Valley. views the west as less picturesque and more as hostile. Since O’Sullivan’s main purpose was scientific and not creating images for a paying public, his visual style differs from other west coast photographers. Rather than a boundless landscape of isolation, O’Sullivan’s landscapes are marked, and measured. Enjoyed surveying alot. |
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| war photographer first photo book of war to Mathew Brady, at that time the most famous photographer in the US, who produced a book of images of the American Civil War. Brady photographed the war from the Union side. Brady’s pictures did not mean pictures made by himself but those images he published from others. In the four years of that war, the first modern war in terms of the media and military technology‚ over 8,000 photographs were taken. Brady had 35 separate operational centers with sometimes more than twenty photographers whose work he co-ordinated. The necessary long exposure time and cumbersome chemicals and collodion process keeps them from photographing the action of war.Photographic wagons moving around between the fronts were sometimes mistaken for ammunition wagons. Both Confederate and Union troops called the black wagon the "Whatizzit wagon". |
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| travel photography asked a cabinetmaker in 1861 to build a huge camera for him capable of making negatives measuring 18 by 22 inches, called mammoth plates. With this instrument, Watkins was able to capture the enormous scale of the vast landscapes of the American West as well as intricate details. Carleton Watkins is well known for his photographs of Yosemite. the site discovered by white settlers in 1851 and was an organized tourist site by 1856. Yosemite was considered to be a natural work of art. Watkins traveled to Yosemite Valley in 1861, using a mammoth camera (18x22 inches), Watkins initiated a central idea of American landscape photography…that god was in the details…a concept that can be felt a hundred years later in the work of Ansel Adams revisiting Yosemite. |
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| Claude-Joseph Désiré Charnay (2 May 1828 – 24 October 1915) was a French traveller and archaeologistnotable both for his explorations of Mexico and Central America, and for the pioneering use of photography to document his discoveries. |
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| Although trained as a medical doctor, Dr. John Murray excelled as a photographer. The Scottish-born doctor was introduced to photography around 1849, while in the Medical Service of the Army of the East India Company. Stationed near the Taj Mahal in Agra, he evidently developed a considerable interest in the Mughal architecture of the region. Throughout the forty-year period that Murray lived and worked in India, he systematically recorded many famous buildings in and around Agra and the northern state of Uttar Pradesh. |
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| travel photographer an Englishman and devout Quaker, founded a photographic printing firm, Frith and Hayword, which remained in business for over 100 years. Frith took with him large cameras and collodion equipment and material. photographed with waxed negatives. Frith eventually held a stock of 1 million images sold in more than 2,000 shops. Frith produced numerous books illustrated with photographs of Egypt and the Holy Lands, even illustrated a Bible. |
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| was a French neurologistwho revived Galvani's research and greatly advanced the science of electrophysiology. clinical photography. n 1855 he formalized the diagnostic principles of electrophysiology and introduced electrotherapy in a textbook titled, De l'electrisation localisée et de son application à la physiologie, à la pathologie et à la thérapeutique. A companion atlas to this work titled, Album de photographies pathologiques, was the first neurology text illustrated by photographs. Duchenne's monograph, Mécanisme de la physionomie humaine – also illustrated prominently by his photographs – was the first study on the physiology of emotion and was seminal to Darwin's later work |
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| (pictorialism)was a vehement opponent of combination printing, saying that it violated the truth of nature, by giving a hard outline to subjects. Both his and Robinson’s goal was to represent nature truthfully, but they disagreed on what form that representation was to take...Robinson saw truth as an essential ideal, while Emerson saw truth in the experience of nature. Emerson’s book ‘Naturalistic Photography’ published in 1889, states that no method of picture making, photography included, can avoid interpretation, and be entirely objective. By stating that all images are subjective in degree, his central question then becomes what is a truthful interpretation...a mere transcript of nature is impossible...a photographer can only give a translation or impression but this impression can be more or less truthful. In 1886 he was elected to the Council of the Photographic Society, and embarked upon a series of lectures to put forward his views. In 1889 P.H. Emerson produced an influential (if controversial) book entitled “Naturalistic Photography for Students of Art.” which one writer described as "like dropping a bombshell at a tea-party." In it he made the case in which truth and realism would replace contrived photography.This was at the time pictorialism was in vogue, and Emerson was making the plea that contrived photography, with such manipulation as combination printing, (patchwork photographs), should have no place in photography. Emerson’s main claim was that one should treat photography as a legitimate art in its own right, rather than seek to imitate other art forms; |
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| pictorialism/abstraction Stieglitz encouraged him to abandon pictorialism and experiment with the principles of cubism that led to his break-out images of 1916. Strand became a proponent of straight, unmanipulated photography, in which the photographer accepted and embraced the limitations of the medium—and to make the best photo possible w/ the lens & film available, w/ an emphasis on sharpness and clarity This style becomes an aesthetic standard series of 11 Strand images were reproduced in the final issue of Camera Work, and Stieglitz praised their connection to modern life—focus on geometric form, sharper focus, and getting closer to subject to eliminate context; |
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| was a French photographer andpainter, most famous for his photographs of automobile races, planes and fashionable Parisian women but he also produced vast numbers of images in all formats and media including glass plates in various sizes, some of the earliest autochromes, and film in 2¼” square and 35mm. His greatest achievement was his set of around 120 huge photograph albums, which compose the finest visual autobiography ever produced. |
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| travel photography an ethnologist and photographer of theAmerican West and of Native American peoples |
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| pictorialism He studied with Gertrude Kasebier. was born in Boston, moving to England as a young man. In 1910 & 1911 Coburn traveled through the American West, pursuing the tonalists’ favorite subject—the natural landscape Tonalism, typified by an idealized, often melancholic, personal, romatic interpretation that favored muted color and mood They were more interested in a sense of abstraction, less intent on defining the natural land formations, and more in breaking them down into shapes and form he breaks it down into its component parts concentrating on one aspect at a time playing with a sense of space, which reduces scale By 1912, pictorialism had run its course for Coburn and he was ready to push his work forward by combining modern notions of personal freedom and futurist attitudes about the dynamic character of modern times to move towards abstraction; |
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| (pictorialism)was a photographer, a modernist, and a promoter of photography as fine art—he may have done more to push photography forward as art in the public eye than anyone else. There were two main stages in Steiglitz photographic career: - at first he produced somewhat romanticized pictures in an Impressionistic style,- he later moved toward a more straight forward approach when he returned to the states. Stieglitz shocked readers by stating it was acceptable to use only a portion of the original negative; -serious imagemaking could occur after the shutter was pressed; demonstrated it w/ Winter,Fifth Avenue-He joined the proper “moment” w/ post-camera strategies in the darkroom He showed that:- weather conditions did not have to be a deterrent to picture-making- chance operations could be incorporated into the process—photographing in the snow was a pain at this time (carrying equipment, low light meant long exposures, cold, how to expose for the snow)-demonstrated physical endurance and commitment to the image-And he demonstrates the power of a good crop editor of Camera Notes, created Camera Works In 1905 Stieglitz founded Gallery 291, giving the group a permanent exhibition and operating space Gallery 291 featured European and American pictorialists, as well as European modernists Stieglitz underwent a change in his aesthetic thinking—-he decided that for photography to grow, it had to stop mimicking other mediums and return to its original “straight” foundation: -the direct unmanipulated, camera-made view—placed optimum clarity, sharpness of detail, and “purity” of materials, at the forefront. His use of the full frame, instead of cropping, became a badge of honor, an announcement that the full frame had been visualized b/f the shutter was released; no post-visualization methods, the composition stood on its own integrity—and a photograph should look like a photograph and not an etching or painting |
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| took up photography in late 1880s usually producing unexceptional family portraits and trip mementos, occasionally created a bold experiment with composition. attempted to align art w/ cutting edge of science of the modern world |
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| was aDanish American social reformer, "muckraking" journalistand social documentary photographer. He is known for using his photographic and journalistic talents to help the impoverished in New York City; those impoverished New Yorkers were the subject of most of his prolific writings and photography. he is considered one of the fathers of photography due to his very early adoption of flash in photography. |
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| documentary photograph was an Americansociologist and photographer. Hine used his camera as a tool for social reform. His photographs were instrumental in changing the child labor laws in the United States |
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| His research using images was expanded in his 1872 book The Expression of the Emotions in Man and Animals, one of the first books to feature printed photographs, which discussed the evolution of human psychology and its continuity with the behaviour of animals. |
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| At the 1901 Pan-American Exposition and at the 1893 World's Columbian Exposition, where Little Egypt performed bellydance, and where the photographers Charles Dudley Arnold and Harlow Higginbotham took depreciative photos, presenting indigenous people as catalogue of "types," along with sarcastic legends |
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| was a Russian photographer and cinema pioneer. After the outbreak of World War I, Viktor returned to work in the family photography agency, shooting the revolutionary events of 1917-1918 and taking part in the creation of a documentary film on theFebruary Revolution of 1917, titled Chronicle of the revolution in Petrograd. His dynamic and still shots served as the foundation for directors Sergei Eisenstein and M. Chiaureli in the creation of films about the revolution of 1917. Viktor photographed the events of the October 1917 uprising, and directed the photography of the Petrograd Soviet. He was one of the progenitors of film and photographic depictions of Vladimir Lenin, filming Lenin in the eighth and ninth congresses of the Russian Communist Party in 1919 and 1920, and during the second and third congresses of the Comintern, in 1920 and 1921. He created portraits ofGrigori Zinoviev, Lev Kamenev, Stalin and other Soviet and Party leaders, essentially acting as a staff photographer in Smolny. |
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| The physiognotrace is an instrument designed to trace a person's physiognomy, most specifically the profile in the form of a silhouette: it is also known as physionotrace in French. The instrument is a descendant of the pantograph, a drawing device that magnifies figures. |
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| Daguerre was an artist and theatrical designer who owned a theater in Paris. This theater, the Diorama, provided a popular spectacle consisting of large, painted scenes that were shown in succession, changing before the viewers’ eyes. |
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| a photographic printing process that gives acyan-blue print. The process was popular in engineering circles well into the 20th century. The simple and low-cost process enabled them to produce large-scale copies of their work, referred to as blueprints. Two chemicals are used in the process: Sir John Herschel discovered this procedure in 1842 |
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| “Photogenic drawings”-Henry Fox Talbot Photography, he explained, is a way of letting nature substitute his own pencil for that of the artist. Published over 2 years in 6 parts, a total of 24 photographic plates appeared accompanied by a short text. The Pencil of Nature is recognized as the first commercially produced book to be illustrated with photographs from a camera This book constitutes the first philosophy of photography, a demonstration of its causes, effects and possibilities. Talbot created a kind of museum within the Pencil of Nature, that begins to collect and use photography, in classification and for the display of artifacts. Copying artwork: Documentation: Photorealism: Camera/Angle/Lighting Effect: |
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| A silver-plated copper plate is exposed to the fumes of heated iodine in darkness and placed into a camera obscura. After a camera exposure of from three to thirty minutes, the plate is removed in darkness and placed in a chamber containing heated mercury fumes. The mercury reacts with the exposed silver iodide image creating a dark grey "amalgum" on the surface of the plate. By 1835 Daguerre had created his first mercury "developed" image but was still unable to stop it from fading when exposed to light. By 1837 he discovered that a warm solution of table salt (NaCL) and water would sufficiently fix the image allowing long-term viewing under daylight conditions. Thus the daguerreotype was of very limited utility. It found its special function in making pictures for the smallest and most private of audiences‚ the families of uncelebrated men and women. Daguerreotypists made portraits of millions of people who were unknown beyond their own village, people whose forebears had never before been portrayed as individuals but only as representative types. For a number of reasons, including the imperfections of Bayard and Talbot’s process, the daguerreotype was the method of photography that first took the world by storm. |
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| Mass produced/cheap Another form of photography that became incredibly popular during the latter half of the 19th century was the stereograph. Stereographic photographs helped turn photography into an industry, by stoking the viewer’s desire to see more of the world. Originally stereographs were made with two cameras side by side. Later, cameras were made with two lenses. |
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| is the technique of using two or more photographic images in conjunction with one another to create a single image. Combination printing was popular in the mid-19th century due to the limitations of the negative's light sensitivity and camera technology. For example, the long exposures required at the time to create an image would properly expose the main subject, such as a building, but would completely overexpose the sky. The sky would then lack detail, usually appearing as solid white. Hippolyte Bayard was the first to suggest combining two separate negatives, one of the subject matter and a properly exposed negative of clouds, to create a balanced photograph. The technique was also used to create new, original compositions. Photographers such as William Lake Price and Oscar Rejlander are famous for using combination printing. Rejlander's Two Ways of Life is one of the most distinguished examples of the technique, combining 32 negatives to create the final image. |
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| visiting card, pocket sized portrait, was devised as a direct result of the collodion negative process. / greatly reducing production costs portrait, introduced and patented in 1854 by Disderi. This fad that Disderi unleashed had to do with redefining how a portrait could be used, as something handed out to family and friends. The process was not welcomed by every photographer, it was criticized for its small format and number of prints, however market demands required photographers either to conform or risk going under. This small image was 3-4 1/2 in x 2 1/2 in. and mounted on a slightly larger card. It was produced by taking eight exposures during one sitting whole body portraits paved the way to photographing the famous Carte-de-vistes were cheap.They were small and easy to collect They were made with the very popular Albumen Prints |
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| First time that photographs were used to find criminals during wartime |
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| Civil War- wet plate collodian |
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| camera wagons, often mistaken for ammunition wagons, couldn’t take action photos so staged and portrait images |
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| a type of intaglio process in which the actual image is etched into the surface of a plate or metal cylinder. The image consists of tiny cells (or wells) engraved into the cylinder; there may be as many as 22,500 ink wells per square inch. When the cylinder is rotated in a fountain of ink, the excess ink in the non-image area is removed by a thin piece of stainless steel called a doctor blade. The size and depth of each ink well determines how much ink will be deposited on the substrate. When paper is passed between the plate cylinder and rubber impression roller, it acts like a blotter and absorbs the remaining ink in the microscopic wells. In gravure printing there are sheetfed and webfed (rotogravure) presses. Sheetfed gravure is targeted at limited production runs of fine art prints, high quality art, photographic books, advertising leaflets, and higher denomination postage stamps. Rotogravure is targeted at larger runs of 300,000 copies or more and includes weekly or monthly magazines, mail order catalogs, specialized packaging, wallpaper, and some decorative laminates. Both presses require plate-making (or cylinder engraving) and proofing, which is often very expensive. Color corrections and last-minute changes often require cylinder retouching, and this can sometimes be slow and very time-consuming. The print quality of photographs using gravure is often superior to other printing processes. Both press configurations are direct printing, so ink-and-water balance is not a variable for controlling image density. The inks are either petroleum-based or water-based, and the use of electrostatic assist allows for better ink transfer on substrates with hard surfaces and poor ink absorption. Gravure gives a true halftone effect where photographs tend to have greater contrast and detail due to heavy ink films and use of finer screen rulings. Because of the cell structure, fine details in type-matter and line-work are of critical concern. When using type styles containing serifs, it is advised not to use type sizes smaller than eight point. Overall, gravure is great for long runs (300,000 or more) and capable of maintaining color consistency on a wide range of substrates. |
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| IDK WTF to say about this… that’s pretty broad.. photography is industrialized Kodak is mass producing cameras and anyone can take pictures… pictorialism..postcards… challenge for art photography.. |
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| X-ray detectors vary in shape and function depending on their purpose. Imaging detectors such as those used for radiography were originally based on photographic plates and later photographic film uranium rays, |
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| a novel by Tiphaigne de la Roche, Charles-François published in 1760. It is most famous for predicting the modern day process of photography according to M. W. Marien |
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| obscura for "dark", together "darkened chamber/room"; plural: camera obscuras or camerae obscurae) is an optical device that projects an image of its surroundings on a screen. It is used in drawing and for entertainment, and was one of the inventions that led tophotography and the camera. The device consists of a box or room with a hole in one side. Light from an external scene passes through the hole and strikes a surface inside where it is reproduced, upside-down, but with color and perspective preserved. The ability of the new rays to produce photographs gave them great popular appeal and brought Roentgen fame. Many articles appeared in photography journals, and The New-York Times indexed the new discovery under photography. Since the rays exposed photographic plate, the public assumed they were some form of light. The physicist Roentgen concurred. |
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| performs an opticalsuperimposition of the subject being viewed upon the surface upon which the artist is drawing. The artist sees both scene and drawing surface simultaneously, as in a photographic double exposure. This allows the artist to duplicate key points of the scene on the drawing surface, thus aiding in the accurate rendering of perspective. At times, the artist can even trace the outlines of objects. |
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| The Historical Monuments Commission |
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as a government advisory body responsible for documenting buildings and monuments of archaeological, architectural and historical importance in England. It was established in 1908
"Formed prior to the disclosure of photography to the world, the commission was charged with listing, surveying, and making recommendations for the historically correct restoration of French Medieval and Gothic Architecture." |
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| the word coined from the Greek kalos meaning beautiful and typos meaning impression talbotype is an early photographic process introduced in 1841 by William Henry Fox Talbot, using paper coated with silver iodide THE LATENT IMAGE & THE CALOTYPE PROCESS In 1840 Talbot discovered the latent image by the use of gallic acid applied to an exposed but not visible image. Good quality writing paper was coated successively with solutions of silver nitrate and potassium iodide, forming silver iodide. Then further sensitized with solutions of gallic acid and silver nitrate. After exposure the latent image was developed with a further application of gallo-nitrate solution, which had the same function as the mercury developer in the Daguerreotype. The negative was fixed with hypo and rinsed with water. The positive print was made on photogenic paper Talbot’s Calotype did catch on was in Scotland with its use by David Octavius Hill and Robert Adamson. |
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| is a combination of art and photography. In brief, it is a method of either etching, painting or drawing on a transparent surface, such as glass, thin paper or film and printing the resulting image on a light sensitive paper in a photographic darkroom. It is a process first practiced by a number of French painters during the early 19th century |
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| The short-lived but highly influential Pre-Raphaelite movement was a reform group of artists and poets founded in 1849. Their main objective in art was to reject the dramatic, artificial Mannerist painting styles succeeding Raphael and Michelangelo (hence the term "Pre-Raphaelite") and to create more genuine, humble representations of their subjects. They painted brightly-colored, evenly-lit scenes with a particular emphasis on realism, romanticism, elaborate detail, medieval history, symbolism, and nature. |
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| Both the Civil War and USGS photographic works point up an important feature of documentary photography: the production of an archive of historical significance, and the distribution to a wide audience through publication. The US Government published Survey photographs in the annual Reports, as well as portfolios designed to encourage continued funding of scientific surveys. |
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| is described as a group of photographic styles and theories developed in Europe and America between 1840 and 1920...the purpose of which was to establish photography as an art. A central idea in pictorial theory is that photography is an elastic medium that can be used by an artist to interpret nature in a similar way that a painter would. Theories of painting, such as academicism, naturalism, impressionism, and symbolism were all part of pictorialism at one time or another. |
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| 1902 – Alfred Stieglitz founded the Photo Secession. This is a revolutionary organization that fought for the recognition of photography as art. They promoted art over science, aesthetic pursuits over profit, and symbolism over literalism. They were constituting a dividing line between a work of art and a mere picture. Emphasized the distinction between:- photography as visual reporting & -photography as visual expression Goal: “loosely to hold together those Americans devoted to pictorial photography in their endeavor to compel its recognition, not as a handmaiden of art, but as a distinctive medium of individual expression.” |
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| (also known as "The Brotherhood of the Linked Ring") was a photographic society created to propose and defend that photography was just as much an art as it was a science formed in 1892 against Photographic Society of Britain, motivated to propelling photography further into the fine art world. Members dedicated to the craft looked for new techniques that would cause less knowledgeable to steer away, persuading photographers and enthusiasts to experiment with chemical processes, printing techniques and new styles. links thought themselves as members of a spiritual and aesthetic fellowship. |
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| invented by Coburn rejected the cool placidity of cubism and emphasized abstraction and movement; Coburn used a prism in front of the lens to distort, flatten, multiply and transform his subject into 2-dimensional form rejection of nature as subject was received w/ disapproval and he abandoned his investigations |
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| an antique photographic technique from the Victorian era (beginning about 1867–68), which captures movement in several frames of print. These prints can be subsequently arranged either like animation cels or layered in a single frame. It is a predecessor to cinematography and moving film, involving a series of different cameras, originally created and used for the scientific study of movement |
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| Modernist photography in America |
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| 1902, Stieglitz founded the Photo-Secession group with members such as Edward Steichen, Gertrude Käsebier andClarence Hudson White, which had the objective of raising the standard and increasing the awareness of art photography. At that point, their main style was "pictorialist", which was known for modifying photos through soft focus, special filters or exotic printing processes, to imitate the style of paintings and etchings of that time. For means of publication, Stieglitz, as the driving force of the movement, started the magazine "Camera Work", In the early 1920s the photographers moved towards what they called "straight photography". In contrast to the pictorialist style, they now rejected any kind of manipulation in the photographic process (e.g. soft lens, special developing or printing methods) and tried to use the advantages of the camera as a unique medium for capturing reality. Their motifs were supposed to look as "objective" as possible. |
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| Despite the multiple print making possibility of Talbots process, Daguerre's technically superior pictures captures the imagination of the public. Its as if natures skin had literally been peeled off in the image. It appears as the thing itself suspended in time held in the hand. |
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| Society of Heliographique |
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| of which Hippolyte Bayard was the vice president. They received itineraries and instructions detailing the localities that they were to photograph. A majority of these photographers were actually painters who began using the camera as a means of gathering information for their canvases. |
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| The process of manufacture was broken down into a series of specialized tasks. 1) The albumen is beaten to a foam using steam-driven churns. 2)The albumen is then fermented in large casks for several days 3)Paper is then floated on the albumen solution and hung on racks to dry.The pace of work was especially feverish in the spring and summer, when egg production was at its peak and elevated temperatures were easier to maintain in drying and fermentation rooms. 4) The coated paper is "calendered" in rolling presses to make it more flexible. 5) Finally the paper is sorted into different quality levels and packed for shipment |
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| spotlighted the portfolios of Photo-Secessionists and leading European practitioners, along with historic photographers such as Hill & Adamson and Julia Margaret Cameron; -the journal also included articles by noted authors and critics, including George Bernard Shaw and Gertrude Stein; which raised the level of critical discussion Camera Work is a portrait. It is a portrait of Stieglitz for it documents each step in his transition from a youthful experimenter, preoccupied with a range of subject matter and technique, to a mature artist able to express the intimate and the spiritual through a refined perception of the people and places closet to him. |
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