REALITY

RECORDED
arly

Documentary Photography

*-r^

$12.50

ISBN 0-82 1 2-o6l 3-3

Yflii

REALITY RECORDED
Documentary Photography

Early

by Gail Buckland

BLACK AND WHITE PHOTOGRAPHS

205

During the nineteenth century

the

first

it

became possible

for

time in history to bring before a wide public

actual scenes of distant events, of wars

and famines,

of famous persons and intimate scenes, and to record

permanently the look and

particular time

and

detail of the life of a

place. It

can be argued that the

means of passing on

introduction of the camera as a

information has had as large an impact on our society

as the invention of the printing press.

examines the work of

mentary

men who

possibilities of the

This book

explored the docu-

new medium with

a sense

of adventure and with no preconceived notions.

reality recorded presents documentary photographs taken with calotype and wetplate cameras up
to the advent of the dry plate,

barricades in Paris in
fields of

Lucknow

around 1884: the

1848 and 1871; corpses on the

after the Indian

the opening of London's

first

Mutiny of 1858;

underground railway,

1862; a slave pen in Alexandria, Virginia, 1865; a

British

mental hospital patient, 1852; the bound

feet

of Chinese ladies, 1870. Pictures by the great pho-

tographers of England, France, and America are

included Fenton and Talbot, Bayard and Marville,

Gardner, Brady and O'Sullivan

an equally high plane by

men

as well

almost

as

works on

unknown

except to the specialist.

gail buckland,

the American photographic his-

torian, Curator of the

Collection,

London, assembled these

comments on

Many

Royal Photographic Society

pictures,

and she

the photographers and their work.

of the photographs appeared in the major

exhibition at the Victoria and Albert

don, in 1972, From Today Painting

Beginnings of Photography,

helped to organize.

Few

is

Museum, Lon-

Dead:

the

which Gail Buckland

of them have been previously

published.

Jacket photograph:

frank m. sutcliffe: An
Pupil, Tate Hill, Whitby.

Unwilling

U&m

REALITY RECORDED

WILLIAM WILLOUGHBY HOOPER:

St James's Palace, London, 1876.

REALITY
RECORDED
Early Documentary Photography

GAIL BUCKLAND

NEW YORK GRAPHIC

Greenwich, Connecticut

SOCIETY

Book Number 0-8212-0613-3

International Standard

Library of Congress Catalog Card

All rights reserved.

No

reproduced or used

in

Number

74-77570

portion of this book

may

be

any form or by any means without

written permission of the publishers.

Published in Great Britain 1974 by

David

&

Charles (Holdings) Limited

South Devon House, Newton Abbot, Devon, England.

Published in the United States of America and in Canada bv

New

York Graphic

Society, Greenwich, Connecticut 06830.

Printed in Great Britain

Picture Credits

Acknowledgements
Foreword

Changing World

Documentation

New

Recording Conflicts

59

Emergence of a

Awareness

The Royal Family

Notes

Frontiers

36

Social

Personal Family

125

Bibliography

Index

in a

128

126

96

Album

107

74

13

Picture Credits

The photographs reproduced

in this

hook were supplied by courtesy of the following:

Annan, photographers, Glasgow, 79, 80; David Attenborough, 84; Barnado Photo Library,
Denver Public Library, Western History, 40-1; Edinburgh Public Libraries, 19; John
Fordham, 43 (top); Greater London Council Members' Library, 20, 21 (top); Greater London
Council Photograph Library, 26 (bottom); Guildhall Library, City of London, 24 (top); India

92, 93;

Orhce Library, Prints and Drawings, London, 45, 64, 90, 91 (top); Andre Jammes, Paris, 27
82 (top); Kodak Museum, Harrow, England, 16 (bottom), 17, 18, 29, 32 (bottom), 33,

(top), 81,

68; Library of Congress, Washington,

DC, 56

(middle), 56-7, 58, 69, 70, 71, 72-3, 85,

86

(top);

London Transport, 24 (bottom); Metropolitan Toronto Central Library, 87; Musee Carnavalet,
Paris, 24-5, 25,

66 (bottom), 67, 102; National Gallery of Canada, 86 (bottom); National

Maritime Museum, London, 78 (bottom); Her Majesty the Queen, 34 (bottom), 43 (bottom), 56
(top), 59, 63 (right), 82 (bottom), 83, 96, 98, 99, 100, 101, 102, 103, 104-5, 106; Royal Geographical

Society, London, 2, 48 (top), 52, 53, 89; Royal Photographic Society Collection,

London,

27 (bottom), 30 (top), 31 (bottom), 34 (top), 35, 36, 39 (top), 42 (top), 44, 46 (bottom), 51, 87 (top);
Royal Society of Medicine, London, 75 Science Museum London, 13, 15, 16 (top), 28 (bottom),
;

42 (bottom), 46
copyright

W.

(top), 54, 60,

63

Eglon Shaw,

The

(left),

74; Scottish National Portrait Gallery, 77, 78 (top right);

Sutcliffe Gallery,

Whitby, by agreement with the Whitby

Literary and Philosophical Society, 94, 95; Societe Frangaise de Photographie, Paris, 62;

Trustees of the British

(bottom), 22, 23 (right),
Irft)-,

97; Colonel

Museum,
26

(top),

Henry Wood

49, 91 (bottom); Victoria

28

(top), 3

(top),

32

and Albert Museum, London, 21

(top), 47,

48 (bottom), 65, 66

(top),

78 (top

Collection, Royal Photographic Society, 107, 108, 109,

in,

112, 113, 114, 115, 116, 117, 118, 119, 120, 121, 122, 123, 124.

The

following are from the author's collection: 30 (bottom), 50, 55.

no,

TO
Barry

WHO HELPS ME

SEE

AND UNDERSTAND

Ack:nowledeements

should like to thank Dr D. B. Thomas, Keeper, Science

Museum,

for reading the final draft

of the manuscript and for offering many helpful suggestions. I deeply appreciate the help
given to me by my husband and Miss Francesca Kazan during the preparation of the book.
I

Mr John

should like to thank

for assisting
I

me

in

my

White, former librarian of the Royal Photographic Societv,

research and for help with the bibliography and index.

have received support from many people while working on the book and

possibly mention

them

all

here.

could not

should, however, like to thank the following people for their

Mrs Veronica Bamfield; Arthur Gill; June Stanier; John Hannavy; Mr Robert
Mackworth-Young, Librarian, and Mrs Else Benson and Miss Teresa Fitzherbert, Roval
Library, Windsor; Mr Kenneth Warr, Royal Photographic Society; Miss Joanna Drew, The
Arts Council of Great Britain; Mr Brian Coe, Kodak Museum; Mr W. Eglon Shaw, The
Andre Jammes;
SutclifTe Gallery;
Jacques Wilhelm, Musee Carnavalet; Mr Peter Castle
assistance:

and

Mr

Christopher Hobbes, Victoria

&

Albert

Museum; Mr Roy Ainsworth and Mr W.

Nowell, Dr Barnardo's; Mrs Dorothy Castle and

Society; Miss Marion Allum, National

Museum; Mr
Southampton;

Birrell,

Army Museum; Mr M.

Maritime Museum;

Zemach-Fishtrom; Mrs Katherine Michaelson and

making many of the

fine

J.

George Dugdale, Royal Geographical

Brennan, Imperial

War

Mr

D.J. Stagg, Ordnance Survev,

Public Archives of Canada; Mr Harold White; Harvie

B. T. Carter, National

Mr Andrew

Mr

Mr Anthony Fruish of A.

reproductions used in the book.

C. Cooper Ltd for

We

are

now making

history,

means of passing down

have achieved

and the sun picture supplies the

a record of

in this nineteenth

what we

are,

and what we

century of our prog-

JOHN THOMSON
Proceedings of the

Royal G

1891

During March and April 1972 the Arts Council of Great

exhibition entitled 'From today painting

is

The

dead' -

Britain sponsored an

Beginnings of Photo-

graphy. This was a very large exhibition covering the history of photography up
to the advent of the dry plate, around 1884.

Deputy Keeper
in the

at the Science

accompanied Dr D.

Museum, London, and

B.

Thomas,

organiser of the exhibition,

very enjoyable task of visiting numerous photographic collections through-

we looked at thousands of early photographs and selected

we found most interesting to be shown at the exhibition at the Victoria &
Albert Museum, London.
When I was approached by the publishers to do a book based on the exhibition,
I accepted the offer readily. The exhibition brought great enjoyment to thousands
ofpeople who were not familiar with early photography. The public, by not being

out England. Together

those

exposed sufficiently to the charm and uniqueness of early photographs, has been
denied visual documents of their
past alive

own

history. Reality Recorded hopes to bring the

by showing photographs taken by men who believed

new medium - photography - could document life.

The exhibition was much broader in scope than this
little

traits

technical information

or

'art'

who

book, which contains very

and hardly any photographs that are

photography. These

ally a look at early

fervently that this

'straight' por-

topics are covered in other books. It

is

specific-

documentary photography and the extraordinary individuals

recorded with calotype and wet-plate cameras those things they

felt to

be

important. Whether they were photographing the royal family, the building of
the Crystal Palace, the American Civil War, or mental patients, the early docu-

mentary photographers were involved with the problems, advancements and

events of their day. In this respect, they are the precursors of today's photojournalists.

The

invention of photography must be seen as the beginning of modern visual

communications.

It

can be argued that the introduction of the camera as a means

of passing on information has had as big an impact on our society as the arrival of
the printing press. An understanding of today's media is dependent on an awareness of the

first,

the 'primitive', photographic images created over one hundred

years ago.

11

Documentation
in a Changing;

World

Great changes were taking place throughout the world while photography was
still

in its infancy.

The

use of steam and gas together with the development of the

railways were of increasing importance as the population rapidly changed from

being basically rural to urban.

It

was

a period of major building,

formation took place in the cities and towns.

Not

Photographers had very few prejudices and looked

The camera

recorded a quiet street

all

and

a great trans-

the changes were grand.

at the

world with open eyes.

in Paris as precisely as it

did the building of

The camera was a tool with which the photographer could

express how he felt about his own personal world. The documentary photographer
felt the need to interpret his environment in concrete, visual terms. He knew that
as a photographer he could be selective and factual as regards subject matter. The
the Crystal Palace.

camera could not only capture minute

detail

but also the atmosphere of the place.

Before photography could be a tool to record efficiently,

series of modifications.

brief look at the

work of the

development of photography will help give the reader

of the photographs

in this

The earliest permanent

F.

TALBOT:

much

greater appreciation

in 1825-7.

Called heliographs, they were

light-sensitive asphalt,

known

as

bitumen ofJudea,

of lavender. Niepce was partially successful in obtaining camera

photographs by exposing

W. H.

book.

pewter plates coated with the

oil

had to go through

photographic images were produced by the Frenchman

Joseph Nicephore Niepce (1765-1833)

dissolved in

it

early inventors in the

for several hours.

These images were quite

indistinct.

building Nelson's

Column, Trafalgar Square, c 1844.

13

Far more successful than Niepce in producing high quality camera images was

Mande Daguerre (1787-1851) who had been in partnership with

until 1833. The heliographic process was very insensitive and
Daguerre realised the necessity of developing a new process. His procedure was
to coat a copper plate with a thin layer of silver. The silver surface was first
polished and then sensitised with iodine and bromine. The plate was then ready
Louis Jacques

Niepce from 1829

for

exposure

in a

camera. After exposure the image was brought out by the action

On

of mercury vapour; fixing was done with hypo.

physicist

Arago announced Daguerre's discovery

the 7 January 1839, the French

at a

meeting of the Academie

des Sciences although the details were kept secret until August 1839. Portraiture

was not possible at

half an hour.

from several minutes to more than

this time as exposures lasted

Improvements were made and by 1841

portraits

were being taken

in

France and England and the United States. Daguerreotypes were popular during
was, however, a dead-

the whole of the 1840s, especially in France and America.

It

end process. The daguerreotype was indeed

but was costly and the

beautiful,

image could not be reproduced over and over again.

It

was an Englishman, William Henry Fox Talbot (1800-77),

photographic process that evolved into modern photography.

who

It

invented the

was the negative-

positive aspect of Talbot's discovery that allowed for inexpensive, reproducible

images. Talbot had been working since 1833 on trying to capture the image of the

camera obscura directly on to light-sensitive paper, and

in

August 1835 he per-

manently recorded a negative image. These photogenic drawings,

called,

they were

as

needed exposures of about one hour. In September 1840 Talbot discovered

that a brief exposure of one to three minutes produced a 'latent' image which

could be revealed through development with a suitable reagent. This

was

Greek word

called the calotype (from the

type process.

To produce a calotype negative,

nitrate solution

and then

dried. It

washed with water, and again

kalos

meaning

writing paper

new process

beautiful) or Talbo-

is

washed with

silver

then placed in a solution of potassium iodide,

is

When

dried.

required, the paper

treated with a

is

freshly prepared solution of gallo-nitrate of silver (a mixture of silver nitrate, gallic

acid

and

acetic acid).

brought out by
fixed

is

The paper

a further

then exposed in the camera.

is

The image

is

treatment with gallo-nitrate of silver, and after washing,

with hypo. This negative

is

then brought into contact with

common

writing paper that has been soaked in a salt solution, dried, and then coated with
a solution

of ammonia and silver nitrate. After sufficient exposure to light, an

image appears on the writing paper which

and washed. Talbot patented

is

then fixed with hot hypo solution

his process in 1841

and consequently

invention could not be practised freely until 1852

when

1,

however, a

new and

better

marvellous

the patent was suspended

(except for taking portraits for profit which, as previously, was

In 185

this

still

patented).

way of making photographs was announced

by Frederick Scott Archer (1813-57). Archer's process, given free to the world,
was known as the wet-collodion or wet-plate process. This new process produced
negatives on glass. This was accomplished by coating a piece of glass with a solution ot iodised collodion

of silver nitrate.

The

and just before exposure, dipping the

plate had to be

immediately developed and

had

a shorter

fixed.

wet during exposure

The

result

was

glass into a solution

in the

camera and then

a finely detailed negative that

exposure time than either the calotype or the daguerreotype.

quickly superseded these and became the photographic process for

It

many an

ambitious, intelligent, and creative individual until the popularisation of 'dryplates' in the early 1880s.

The wet-collodion

negative was normally printed on albumen paper, which was

introduced by Blanquart-Evrard

from whites of eggs containing

Albumen was the main

in

May

salt

1850.

The paper was coated with albumen

and sensitised before use with

printing paper until around 1890.

silver salts.

\v.

at

H.

F.

TALBOT

La cock Abbey,

w. H.

f.

or friend: group

Wiltshire, c 1844.

TALBOT:

Talbot's children,

19 April 1842.

Photography had arrived and people, events,

accurately recorded. This

how

things appeared

in

first

places,

and works of art could be

chapter takes a look at what was happening and

the years ot the calotype and the wet-plate photograph.

15

i6

H.

W.

F.

TALBOT: Hunger for J

Samuel Smith (1802-92) was

He

wealthy amateur photographer from Wisbech,

Suspension Bridge, c 1845. Designed

Cambridgeshire.

by Brunei, and opened as a toll-bridge

photography became popular. There are no known negatives ofSmith's

in

1845:

nuihe

it

way

was taken doirn

for the present

in

1862

to

Hunger ford

Railway Bridge.

May

always used

paper negative proeess even

the opposite page was probably part of

photographs exhibited

locally in

stand a proposal

new dock. The caption on the mount reads:

left

tor a

hand

distance

in

Wisbech

to help the local

fifteen

minutes,

Smith exemplifies the early photographer who

graphy

as a

taking place in his

virtually

home and
own locale.

unknown and

Museum, England,

SAMUEL SMITH

it is

scries of

townspeople under-

as the

realised the

documentary medium and an educational

small area around his

.1

'Vessels at

show the upper end of bends of river proposed

The exposure was

convert into a dock.'

shire,

after IS

1864.

The bottom photograph on

extreme

SAMUEL SMITH:

after wet-plate

tool.

day was

to

dull.

importance of photo-

He

recorded only

did so with great understanding ot the changes

Like many,

only recently that

has uncovered a large

vertical steam engine

many photographers,

Mr

his

name

Brian Coe, curator ot the

is

kodak

body of this photographer's work.

and four men on

the quayside, Jf "isbecb,

Cambridge-

c 1854.

looking upstream.

Part of the river at low water above

proposed dock, September 1861.

17

The photograph was

taken soon after a

fire

.'-

'

S0t^?'

that destroyed the hall, built in 1618;

the gateway was the only thing that survived.

As

it

was taken during the

cleaning up of the rubble, wheelbarrows, planks, etc, are apparent.

figure' could possibly

-i

The

'ghost

be Smith himself as he obviously was not in the picture

for

the entire length of the exposure. Hunstanton Hall was subsequently rebuilt.

The

facing illustration

is

the result of seven exposures of Edinburgh - Castlehill,

Tolbooth St John Church, the

New

College, the Castle, the National Gallery,

Cowgatehead, the Candlemaker Row. Keith was trying to capture the essence of

Edinburgh on one negative.

Scottish-born

Thomas

Keith (1827-95) was an early amateur calotypist.

doctor by profession, he apparently took up photography

in

1854 and used the

SAMUEL SMITH:
July 1853.

Hunstanton Hall,

THOMAS KEITH:

multiple exposure,

Edinburgh, 1854-6.

waxed-paper process (a method developed by the French photographer Gustave

Le Gray

to

make paper

This would mean taking photographs before 7

light

was

and the shadows

large.

mostly photographed

summertime when the

best.

soft

He

negatives more convenient).

buildings and landscapes, exclusively in

am

light

or after 4

was

at its

pm when

the

His exposure times were from two to eight

minutes.

On

10 June 1856 Keith read a paper to the Photographic Society ot Scotland

which was reported

in

Thomas

Sutton's periodical Photographic Xotes. In

it

he

said

am

commonest cause of

quite satisfied that the

being exposed to a bad or indifferent

atmosphere
I

to

is

so

much

adulterated with

would recommend anyone who

keep

his nitrate bath of

it

will require

There

is

some trouble

no evidence that

1856. His medical

He

smoke

and

in

from the paper

town, where the

thinks of trying this

good strength, never

use the paper freshly sensitised,

failure arises

light, especially

to

method [waxed-paper]

expose

believe after a

little

in

bad light and to

practice he will find

to occasion a failure.

I)r

Thomas

Keith continued photographing after

commitments had become very

great and his health irregular.

took over 220 photographs.

[9

20

P.

H.

colossi

p.

H.

DELAMOTTE:

setting up the

ofRameses the Great, c 1853.

DELAMOTTE:

the

Open

Colonnade, c 1853.

The

original Crystal Palace

was

built in

Hyde Park and housed

tion of 1 85 1, the first international exhibition ever held. It

to

show the world

all

The Great Exhibition

the

new and most

(1852),
H.

DELAMOTTE:

the

which was

Upper
Philip

Gallery, c 1853.

a display designed

up-to-date inventions, innovations, etc.

served to stimulate interest in photography.

photographs exhibited but they were also included

p.

was

the Great Exhibi-

illustrated

in

Company

'juries,

with 155 calotypes.

Henry Delamotte (1820-89) was commissioned by the

Crystal Palace

Not only were

the Reports of the

to take photographs of the

works

in

directors of the

progress of the re-

building of the Crystal Palace in Sydenham. Formerly an artist and early calotypist,

P.

H.

DELAMOTTE:

the

Delamotte documented completely and creatively the building of the

Crystal

Palace at Sydenham, 1839.

21

Crystal Palace from the levelling of the site in 1851 to the opening ceremony

conducted by Queen Victoria on 10 June 1854. Every week Delamotte took

photographs and

his

complete work, originally published

in

two volumes,

is

magnificient achievement and a superb example of how imaginatively a wet-plate

photographer could document events.

The
when

Crystal Palace served as a site for exhibitions, concerts, etc, until 1936

it

was destroyed by

fire.

SERGEANT SPACKMAN

of

the

Royal Engineers: building the first of

the

museum

buildings, 7 April 1856.

UNKNOWN:
minster,

the

Palace of West-

during construction of the

Albert Embankment.

This

embank-

ment was planned mainly for flood

prevention and opened in i86g.

The

paddle-boat was drawn-in after the

photograph was taken, and the Houses

oj Parliament were heavily retouched.

22

Js.1

a 4

li

^^^^KflflP^

Br^*^V

&L
^Vl^Sv

t'Vi

B*^

Br ^1

v^

^H_

JBf

~E-

bjfcfi^-

__^B*^tffl

UNKNOWN:

K*"*"

Above:

/<*<:/>

SffljjlB^

o/^

Great Eastern, 3i January 1858,

with

The

Great Eastern

was designed by

The

Clifton Suspension Bridge.

I.

K. Brunei, famous for the engineering of the

ship, designed to carry 4,000 passengers,

had

six

(left to right) J. Scott-Russell,

masts and five funnels. She was 692 feet long, had a tonnage of 22,500, carried

K. Brunei, Lord

6,500 square yards of sail and her 11,000 horsepower drove a 58 foot paddle wheel.

Henry Wakefield,

I.

She could store 15,000 tons of coal

Derby.

Above

right:

SCOPIC

LONDON STEREO-

AND PHOTOGRAPHIC

COMPANY:
the

jS- JPt-^;^ r~"^"T

^W^"

P|H
*~

I.

K. Brunei

in

front of

launching chains of the Great

Eastern.

in

order to eliminate frequent refuelling.

ship was originally christened the Leviathan but the

more

name

The

Great Eastern appealed

to the general public.

Robert Howlett and Joseph Cundall were commissioned by the

to take photographs of the Great Eastern. Cundall's partner

Robert Howlett produced a

Illustrated Times

George Downes and

set of fifteen stereoscopic slides of the Leviathan.

reporter from the Illustrated Times in an article appearing in the paper for the 16

January 1858 commented on

.

Photography, when

which

it

was prepared

opportunity offered

this set as follows:

discovered, seem to have a noble mission before

first

it,

to perform with a reverent spirit; namely, to seize the

for

the art-education of the masses. Gladly did

we welcome

the marvellous photographs of Egypt, Switzerland, the Louvre, &c, which were
offered us at so reasonable a rate,
bilious feeling

turning away

evoked

in

and which served,

in a

measure, to correct that

by the shop windows of our

in us

pious horror from a 'Sherry,

sir!'

art-publishers. After

or an equally vulgar and con-

ventional 'Group of Choristers!' the eye rested with exquisite satisfaction on a

placid, natural photograph,

but

won you by

its

When photography
renders
in

it

which

which assumed no meretricious charms

to

had been brought to that stage of perfection which

the most valuable assistant to the artist in lieu of being

light

woo you,

very modesty and truthfulness.

he was at

first

inclined to regard

it

its

now

enemy,

the invention of the stereo-

scope seemed destined to give the finishing touch of reality. Unfortunately, the
result has

proved just the opposite; and the curse peculiar to England, that

nothing can become popularised among us without becoming equally vulgarized,

was

visible in this instance. Before

thronged with stereoscopic

separate profession.

It is

slides,

long our shop windows became

while the art became the nucleus of a

true that at

first

the stereoscopic artists adhered to

23

truth,

and gave us principally representations of antique statues, natural scenes,

and buildings; but, before long,

some adventurous genius introduced the

of vulgarity, and doubtless made

his fortune rapidly.

which

subjects, in

it

taint

The most absurd 'made

up'

was a moot-point whether the execution or the design were

the worst, were eagerly purchased by the middle classes, and the stereoscope

nuisance was rapidly assuming the dangerous proportions of the barrel-organ

atrocity

How

tar this evil

is

destined to extend

it is

impossible to foresee;

we, trust, however, that the present bold efforts made by Messrs

How

lett to

Downes and

return to nature and the legitimate use of the stereoscope will meet

with due success,

for

they truly deserve

it

for

the delicacy ot manipulation and

the artistic taste displayed in selecting the various subjects

unknown:

Hoi born Viaduct under

construction, i86g.

UNKNOWN:

the opening

of London's

underground railway, 24

first

May

1862.

This photograph of Gladstone (on

right of the

man with

the white

top hat) and others appears

book

London

titled

Railway from Paddington

Circus

to Fins bury

with photographs to

strate the

works

in a

Metropolitan

in progress,

illu-

pub-

lished in 1862.
In

1862

the

section

first

of

London's underground Metropolitan

Railway was opened.

commonly known

as

It

was

'The Sewer'

and carriages were merely open

trucks. Passengers

were deafened

by the noise and choked by the

smoke of this
in

ing day

advancement

On

the open-

some 30,000

travellers

went simply
24

latest

public transport.

for

the ride.

Charles Marville was an excellent and prolific architectural French photographer.

In the 1850s
this

he worked

for

Blanquart-Fvrard photographing religious

edifices.

At

time his fellow photographers, Hippolvte Bayard, Fdouard Baldus, Gustave

Le Gray, Henry Le Secq, and Mestral, were working

tor

the French government

agency called the 'Commission des Monuments Historiques'

set

up

in 1851.

The

agency was concerned with the preservation of ancient buildings and appointed
the five photographers to
In 1865 Marville

make

thorough survey of its architectural monuments.

photographed the

streets of Paris, often

during rainv davs,

order to bring out the texture of the cobblestone streets so tvpical of old

His documentation of Paris before the great changes occurred

by Napoleon

III

and Baron Haussman

is

a personal

sensitive photographer about the city he

Charles maryille:

knew

in

in

Paris.

the citv enacted

statement bv a perceptive and

so well.

Passage

Tirol i, c 1865.

CHARLES MARVILLE:

rue

Mouf-

fetard Qle la rue LoureineJ, c 1865.

CHARLES

MARVILLE:

down of the Avenue

ing
the

tearing

de I'Opera; hmldy

site

rue

of the rue d Argenteuily near

Faubourg Saint-Honore, c

1865.

25

VISCOUNTESS HA WARDEN:!^
Hawardert's daughters on the balcony,

c i860.

lto-<)*7

Clementine Elphinstone was born

in 1817, the

daughter of a Spanish woman. In

1845 she married Cornwallis Maude, fourth Viscount

They had one

son and five daughters, and

Lady Hawarden's photographs.

except that she

She died

in

Little

won a few medals in

is

it is

Hawarden

(18 17-1905).

their children that appear in

known of her

life

or photographic career

the early 1860s for photographic composition.

January 1865.

UNKNOWN:
before

26

1866.

Broom House, Fulham,

CHARLES NEGRE

Lord Brougham

Charles Negre (1820-80) was a painter

Delaroche.

at Cannes.

He

who had

started taking photographs in 1851

artistic training.

studied under Ingres and

and

his

images

reflect his

The photographers Gustave Le Gray and Henri Le Secq helped

and advised Negre. His photographs are among the most beautiful 'sun pictures'
(the

name given

The

to early photographs) ever

above photograph

a certain style of dress

is

able to

is

made.

included in this chapter because

and demeanour of the upper

show how people looked and dressed:

it

it

depicts so subtly

class at this time.

Photography

can also capture the atmosphere

and character of a group when employed by a creative and competent

ROGER FENTON:
Corner, c

Hyde

1856-7. Although

artist.

Park

the gate-

way

still

nises

Hyde Park Corner without

remains, one hardly recog-

the

traffic.

27

J.

SANFORD:

the

Oxford Arms, an

old inn, C 1875.

This
the-

is

one of a

&

Victoria

scries

of four photographs of Warwick Lane, London, acquired by

Albert

Museum on

Oxford Arms, an example of

November 1876

a gallcricd inn,

casted demolition of the Oxford

for

twelve shillings.

The

The

fore-

was demolished

Arms stimulated

in 1878.

group of photographers to take

action. The Times of 6 July 1877 explains the situation as follows:

When

the ancient hostelry was about to be pulled

and others interested

in

down

in 1875, a few

graphs of the ancient building, and so preserve the one thing about

was

worth preservation. The proposal was made known

really

and we received so much support that

and

existence

The photographs now

a 'Society for

it

was resolved

in

it

which

our columns,

work

in

now

in

to continue the

Photographing Relics of Old London'

similar cases,
.

artists

the antiquities of London determined to secure photo-

is

published are clear, permanent, and taken

from well-chosen points of view.

Most of the photographs of the society were taken by Henry Dixon and A. and
Boole.

When

tive notes

the society

came

to an

end

in 1886,

J.

124 carbon prints with descrip-

had been issued to each subscriber.

EADWEARD MUYBRIDGE:

the

horse Occident in rapid motion, 1S77.

28

Adolphe Bertsch (d 1871) was

French photographer

who made improvements

in

the speed of collodion plates and around i860 designed a camera, an enlarger and

He produced

shutters.

excellent photomicrographs from 1853 onwards,

which

were albumen prints from wet-collodion negatives.

Both William Henry Fox Talbot and the Rev Joseph Bancroft Reade had made
photomicrographs

in

the late 1830s. Fox Talbot was probably the

first

person to

take photographs of magnified objects. According to his Account of the Art of

made photographs of objects magnified sevensummer of 1835.

believed, made his experiments with the solar microscope in 1838.

Photogenic Drawing (1839), Talbot

teen times in the

Reade,

it is

This would pre-date Talbot's publication mentioned above, but not Talbot's
earliest experiments.

assistance to

Taking photographs through the microscope was of great

who

the scientist,

before could rarely

draw

specimens ac-

his

curately.

Eadweard Muybridge

In 1872

photographed the horse Occident, which

first

belonged to the millionaire Leland Stanford. Stanford had wagered $25,000 with a
friend that

when

a horse

is

rapidly trotting

He employed Muybridge

ground.

May

'instantaneous photographs'. In

Occident

at the

it,

make

to

one point, has

at

records of the

all feet

off the

moving horse with

1872 Muybridge made several negatives of

Union Park Race Course

in

Sacramento, trotting laterally in front

of his camera at speeds varying from two minutes and twenty-five seconds to two

minutes and eighteen seconds per mile. Although these photographs and the ones
taken the following year have not been located,

them

win

satisfactory to

more than 'photographic

his

we know

that Stanford found

wager, but Muybridge never claimed them to be

impressions'.

Muybridge's experiments were suspended during the years 1874

unhappy events

to

in his personal life (see

page

39).

By

in

motion.

He

^7^ due

1876, however, he had

returned from Central America and confronted Stanford with a

photographing a horse

t0

new method of

claimed to be able to take photographs at

much improved photographs

newsmen and caused a considerable

1/1000 of a second, and by 1877 his

of the trotting

Occident were distributed to

furore.

The immediate
horsemen and
'saw'

it,

effect

artists.

of Muybridge's photographs were most strongly

The

latter

but had to conceive

its

felt

by

could no longer draw a galloping horse as they

movements

in scientific

terms based on

Muy-

bridge's experiments.

Throughout 1878

to 1879

Muybridge was engaged

in

experiments at Stanford's

Palo Alto Farm. In 1878 he was using twelve cameras with electro-shutters; in

1879 he increased the number of cameras to twenty-four and started photographA.

BERTSCH.

Top:

bee

sting.

Centre: luminous organ of a glow

worm. Above: caterpillar trachea.

ing athletes jumping, fencing, tumbling, etc. Muybridge prepared the pictures
for publication,

binding sets of original prints into a number of albums which he

titled The Attitudes

He
and

of Animals

in

Motion and copyrighted

in his

own name

in 1881.

then travelled abroad meeting eminent scientists such as Etienne-Jules Marey

artists

America
topics

in

such as Meissonier, and gave popular public lectures.

1882 and for the next two years was engaged

'The Attitudes of Animals

in

in

He

returned to

public speaking on the

Motion' and 'The Romance and Reality of

Animal Locomotion'.

Eadweard Muybridge
the

fall

of 1887 as

100,000 studies of

is

best

known today

for his

work which was published

in

Animal locomotion. These photographs were chosen from over

humans and animals he made

at the University of Pennsylvania

during 1884 and 1885.

29

ROGER FENTON:

August 1858.

on the Hodder,

Roger Fenton worked

1854

appointment

his

at the British

as staff

Museum

from

late 1853 t0 !859- In

Double Bridie

March

photographer was confirmed by the Trustees. For

approximately four months a year Fenton photographed works of art belonging

to the

museum. His

prices

were high and he charged twice

much

as

to

photograph

museum as to photograph a work of art in daylight on the roof of the

The Trustees showed great foresight in establishing the position
of staff photographer and in choosing Fenton who was brilliant in photographic
technique. The above photograph is atypical of Fenton's British Museum work
inside the

museum

itself.

in that it

shows people

salted

known

only

collection of these

Society, the British

One

museum. Most of his photographs, printed both on

in the

and albumen paper, are records of pieces of ancient sculpture. Today, the

Museum

photographs are at the Royal Photographic

stating that they have no examples.

of the most important applications of photography

works of

art.

is

the reproduction of

in

Before the invention of photography, the layman and the scholar

were dependent on

artists to try to accurately

architecture, etc. Obviously, these

tions of the original

and

it

endeavour that people had

they could see

in a

handmade reproductions were only

was not

faith in

reproduce paintings, sculptures,

until

photography took over

interpreta-

this field

the reproductions they saw. For the

first

of

time

reproduction the texture of the surface of a sculpture and the

correct proportions in a painting or drawing.

With photography came the dissemination of knowledge about works of

from

all

over the world. People had the opportunity to study reproductions in

books, periodicals, stereocards, and

cartes-de-visite

they would otherwise never be able to

art

works

for

see.

of objects of great beauty that

For the

first

time people could judge

many a 'masterpiece' was considered otherwise by

unknown works were acclaimed. History of art books

themselves and

the public and numerous

had

to be rewritten.

Photography popularised

art

and allowed many

artists to receive

incomes from the profits of mass distribution of their work.

many ways, and perhaps

its

greatest service to the artist

responsibility of verisimilitude in his work, thus allowing

and
30

art

creative.

It

was

him

handsome

helped the

to free
to

artist in

him from the

be more expressive

UNKNOWN:
tion c 1

photographic reproducc

870 of Die Madonna' by Hans

Holbein.

FRANCIS BEDFORD: ^[ Peaceful

fillage, published in The Sunbeam,

,._

Francis Bedford (1816-94) was a leading landscape and architectural photographer

of the 1850s and 60s.

He was

invited

by Queen

Victoria to

of Wales and his party on a tour of the Holy Land

in 1862.

accompany the Prince

series

of forty-eight

of the 175 photographs he took on the trip were published in The Holy Land,
Egypt, Constantinople, Athens,

ROGER FENTON:

the

etc.

(1866).

British

Museum, c 1854.
31

'Perhaps the

1858)

is

gem

of the whole exhibition (Photographic Society of Scotland,

'River Scene - France' by C. Silvy.

has taken our fancy so

The

much

We

as that exhibited

have seen no photograph which

under

this

unpretentious

title

CAMILLE

SILVY:

River Scene

France, 1858.

natural beauty of the scene itself rich in exquisite and varied detail with the

broad

soft

shadows stealing over the whole, produce

inviting beauty

we have

a picture,

which

for

calm

not seen equalled.' 1

Camille Silvy was a Frenchman

who set up a studio in London in

1859 and became

the most successful and fashionable portrait photographer of the time, specialising
in cartes-de-visite.

UNKNOWN:

the photographic build-

ing of the Ordnance Survey

office

in

Southampton, c i8>,g.

The
for

top of the building was used

photographing and printing.

Printing

frames

with negatives

can be seen around the balcony.

Darkrooms were on the ground

floor.

32

UNKNOWN:
Taken
to

for the

Stonebenge,

Ordnance Survey

1867.
to help

encourage the acceptance of plans

for its re-erection.

The Ordnance Survey

encouraged
five

its

has always found photography a great aid in

growth. By 1867,

for

its

work and

example, the Ordnance Survey had published

books each containing photographs.

Of these, one was about

the survey done

of Stonehenge, one was ofjerusalem, and three were of the ordnance survey done
in Sinai.

The photographs

in

the last three volumes totalled 153.

could be purchased separately for

gel

or

od unmounted, or

At the same time the Ordnance Survey was

Any photograph
6J mounted.

also offering eighty-five views as

either photographs or photozincographs (a photomechanical printing process).

They were

also selling photozincographic facsimiles of parts of the

Domesday

book, national manuscripts, maps, etc. In 1862 a book titled Photozincography and
Other Photographic Processes Employed at the Ordnance Surrey

Captain A.

De

C. Scott and Colonel Sir

Office,

Southampton by

Henry James was published.

33

member of the Amateur Photographic Association whose

was HRH The Prince of Wales. The association had for its objective

Rimington was
president

'the printing

and interchange of the productions of Amateur Photographers,

order that the thousands of interesting and valuable negatives,

plate-boxes of Amateurs,

may be brought

the reach of the general public'.

34

now

buried

in

in

the

before the notice and placed within

rimington: of Comes.

COUNT DE MONTIZON:
c

The Hippopotamus at the Zoological Gardens, Regent's Park,

1854.

'This animal was captured in August 1849,

White Nile; and was sent over

Queen

Victoria.

He

to

when

quite young, on the banks of the

England by the Pasha of Egypt

arrived at Southampton on

of the same day was safely housed

in

May 25,

as a present to

1850; and on the evening

the apartment prepared for him at the

Zoological Gardens, where he has ever since been an object of great attraction.

'Taken on Collodion with

ROGER FENTON:
anchor, 11

the

Fleet

double Lens, by instantaneous exposure.' 2

at

March 1854.

35

One
is

of the most exciting aspects of researching early documentary photography

the discovery of facts about the lives of the photographers and the circumstances

under which they took their photographs.

ordinary group of individuals.

superb

skill,

They

On

the whole they constitute an extra-

displayed sheer determination, real bravery,

and a wonderful sense of excitement and adventure. Off they went

with their calotype or wet-plate apparatus (the

cumbersome)

to every corner of the world.

enormous but the

The photographers

made

being very heavy and

difficulties

satisfaction of being the first (or

precisely a particular place

36

The

latter

they faced were often

one of the

first)

men

to record

the challenge very worthwhile.

each had different reasons for going exploring with their

ROGER FENTON:

the

new palace

and cathedral oj the Kremlin, from

wall, 1852.

the

Maxime DuCamp

cameras.

who accompanied

(1822-94),

his

friend

Gustave

Flaubert to the Middle East between 1849 ar>d 1851, had a commission from the

French Minister of Education to photograph monuments and

East.

The

Near

sites in the

best 125 of the 200 calotype prints he took were printed at Blanquart-

Evrard's Imprimerie Photographique and published in book form with text.

Egypte, Nubie, Palestine

et

book with

Syrie (Paris, 1852), the first travel

sold well, the subject matter being of great interest to

actual prints,

most Frenchmen.

Using the waxed-paper process, Roger Fenton recorded impressions of Russia

in

the year 1852. Looking at the prints today the

Russia

is

feel

of mid-nineteenth century

strongly conveyed; the salted-paper prints themselves look like relics of

a vanished empire.

The empty

and bold outlines of the Russian buildings

streets

appear strange and mysterious on the coarse sensitised writing-paper. Fenton

went

to Russia on a

commission to photograph the works

being built over the Dneiper, designed

for

Nicholas

progress of a bridge

in

III

by Robert Vignoles.

Vignoles, like Fenton, was to be one of the founders of The Photographic Society

of London. Once Fenton finished his assignment, he travelled about Russia

making

a very fine set of documentary photographs.

One of

the leading landscape photographers and publishers of continental

and English views was Francis Frith (1822-98). In England,

was

a great

demand

as in France, there

views of the Middle East. Frith went on three expeditions

for

there, the first being in 1856, to take photographs to sell as stereocards

and

for publication in

books and portfolios. At

prints of three sizes, the photographer

The problems

fifth

when he

cataract over 1,500 miles

time photographers did not

to use three different cameras.

travelled

as a

up the Nile

1859

(in

up the Nile) were numerous. He

took with him three cameras - the largest taking 20

wicker-work carriage, which served

prints,

contact printing, and to obtain

would have

Frith faced in the 1850s

going beyond the

this

made by

use enlargers for printing. Prints were

and

16 inch plates - and a

darkroom and

for sleeping.

Frith was not very prone to giving advice to photographers but, on one occasion

he did say the following at

in 1858,

...

confess

some

materials,

scarcely

for ever,

but rather slowly;

collodion half a second

more or

taking about forty seconds.

less

know often what

scarcely ever

do not prefer to work rapidly upon

sort. I

away

meeting of The Photographic Society:

am extremely careless, and

same time, with ordinary

pass

for if

exposure

fail

to

a landscape,

you

may

are

spoil

produce

use; at the

a picture of

from which

may

working with rapid

your picture.

prefer

The name of Frith became very popular as F. Frith & Co published more and
Frith's own negatives, or from those of his employees and other

more views from

photographers with

whom

he had agreements. Around the turn of the century

Frith of Reigate began the lucrative enterprise of producing and selling picture

postcards, mostly of British towns, beauty spots, beaches, festivals, churches, etc.

Having

laid in a

good stock of provisions and hermetically-sealed

arranged them with cameras, chemicals,

and cooking

utensils

from Ladak,

who

for

stores,

and

bedding, portmanteaus,

on the backs of sixty strong coolies (hardy mountaineers

agreed to accompany us the whole journey),

the 3rd ofjuly [1867].

prepared

glass, tents,

we

left

Simla on

The south-west monsoon had already set in, but we were

as we knew too surely we should get it. Four

any amount of rain,

easy stages along the capital Thibet road brought us to the village of Narkunda,

where the picturesque

These
grapher

are the

travellers'

bungalow formed

words of Samuel Bourne

who went

to India, set

up

(1

my

first

picture. 2

834-1912), the Nottingham photo-

photographic business

in

1861 with a

Mr

Shepherd, and soon became the leading landscape photographer there. Bourne

37


was an extraordinary individual and

a truly

magnificent photographer. His work

has a timeless perfection and although he was well aware of the limitations of

photography,
second

two statements concerning

the following

The photographer

not often equalled today. Relating his feelings on his

is

Himalayas (Bourne made three expeditions;

1865-6 when he reached the Manirung Pass, 18,600

finally in

work

his

trip to the

might here

who

home, who

are

summon up

he made

and comparatively

has colour as well as outline to convey the

our

for. If

artists at

crowding on the heels of each other and painting continually the

courage to

home some

hundred

country

find a ready sale in this

idea of

hundred times before, would only

new

the Himalayas, they would find

visit

for a lifetime, or a

people at

'bits'

something worth coming

find

same old scenes which have been painted

enough

feet high)

his craft:

can only deal successfully with

short distances; but the artist,

idea of distance,

1864, and

in 1863,

and what

lifetimes;

for their

They would

works.

what the Himalayas

subjects

of importance, would

is

also furnish to

which we of

are really like,

the camera can hardly do. 3

and
.

later:

Far be

whose

it

from

me

unfair comparisons,

requiring
as

to depreciate our beautiful art, or join the ranks of those

interest, jealousy, or ignorance of its capabilities

and

raise a stupid cry

or no artistic

little

have with those

and

skill

about

taste. I

its

have

induced them to make

being a mechanical process,

as little

sympathy with these

who would place its results on a level with the finest prowho try as hard as they can to alienate the sympathies

ductions of colour, and

and good-will of

by

artists

talking a lot of preposterous nonsense which, to

impartial and sensible people,

rageously absurd. But while

tions of photography,

would be very amusing

yield to

none

in

if it

cannot help remarking (and those

were not so out-

admiration of the finest produc-

who have had large

me out in this

experience with the camera in mountainous countries will bear

assertion) that

more or

it fails

much

the former appearing

the rendering of distances and mountains

less in

too hazy and indistinct, the latter unnaturally

dwindled down and distant. This remark, of course, does not apply

which are

close to the

Bourne wrote

to

mountains

camera. 4

articles for

the British Journal of Photography describing his

adventures in the Himalayas.

The

trips alone

took great courage and physical

strength and, coupled with the fact that Bourne was using wet-plate apparatus
all

the time and in the most difficult of situations, one can only

tion for a

man

so dedicated

and proficient

in his

work.

feel

great admira-

An excerpt from his writings

about his third trip gives an example of the type of problems Bourne faced

in

securing his unique images:

When
in

we were

looked out next morning

by mountain

and shut

seemed absolutely no passage out anywhere

walls that there

except that by which

so completely surrounded

we had come. 'Tis true the stream still rolled on through

now it was hemmed in by 2,000 feet of preci-

the narrow opening before us, but

pice on either side ...
curiosity

me our path
plainly

saw

...

and

that,

compared with

One

called

this

false step,

in eternity

shuddered
dangerous
.

one

my

as

village guide, and,

was giving him

with

a feeling of intense

a poser, asked

him

to

show

surveyed the nature of this perilous track, and

Manirung

as the

Pass had been,

it

was safety

itself

little slip,

and

the next moment.

face to the rock, held

38

and a consciousness that

should have found myself in the stream

dare not look

down

in

such places, but,

my

on to the hand of my attendant who, being without shoes,

How my

could secure a firmer tooting.

them unwieldy things

like tent-poles,

coolies with their

profound mystery to

own words

Bourne's

me

at this day.

complement

are the best

some of

loads,

ever contrived to get safely over this five

miles of walking on a ledge, instant death staring

remains

heavy

them

in

the face at every step,

to his photographs. Unlike so main-

photographers, Samuel Bourne realised that descriptive notes concerning the conditions under

which certain photographs were taken greatly enhanced the value

of the images

tor posterity.

A most

remarkable photographic personality

is

Kadweard Muybridge (1830-

known for his studies of subjects in motion. Because of the importance

human and animal locomotion photographs, Muybridge's other photography

1904), best

of his
is

often overlooked.

Edward James Muggeridge (Muybridge's

1850

United

for the

States,

but

it

was not

original

until

name)

left

England

in

about

1867 that he became known

as

photographer. In that year he travelled to Yosemite Valley, California, taking

views on whole-plate and stereo cameras.

The

sale

of some of these views

1868

in

under the trade mark 'Helios, the Flying Studio' proved extremely

successful. In

1868 Muybridge was appointed to accompany General Halleck

order to take

in

views of the military ports and harbours of Alaska, newly acquired by America

from Russia.

From 1868
Treasury and

He was

to 1872

War Departments

in

documenting aspects of Californian

1872 Muybridge photographed

months and taking

Late

to take views along the west coast of the

particularly interested in

Again

supplies

Muybridge was engaged by the Lighthouse Board and the

a line of

in

and photographic

Flora Stone, a girl

much younger

than

and Rulofson of San Francisco commissioned Muybridge

to take stereoscopic pictures in

he returned home

his provisions

for six

glass negatives.

Muybridge married

1871 or 1872

in

life.

Yosemite, this time going

pack mules to carry

which included 20 X 24 inch

himself. In 1873 Bradley

in

ISA.

the

North California of the Modoc Indian War.

When

of 1874 he learned that his wife had a lover, and

fall

shot him. Muybridge was charged with murder but was acquitted and released
early in 1875.

He

pany

photographs along their route through Central America and one

to take

month

received an assignment from the Pacific Mail Steamship

he was

after his release

in

Com-

Panama. Muybridge travelled and photographed

extensively throughout the west coast of Central America and Mexico.

He

pro-

duced photographs of subjects never before recorded with the camera, such
cultivation and preparation of coffee,

life in

as

Indian villages, ruins of Panama, etc.

His photographs brought fame and $50,000. 6

In 1877

Muybridge

successfully

about 1892 he was engaged

1894 he returned to his
years later

having lead

in

photographed

a horse in

home town of Kingston-upon-Thames where he

a life full

Among

many

'the grand old

Vermont and went west with

to explore the great 'wild

man of the

Mormon wagon

national parks'. In 1866 he

train as a

an ox team. In 1868 he started a photographic business

in

left

bull-whacker driving

Omaha and

in

addition

commercial work he travelled about the surrounding areas mainly photo-

graphing the

local Indians.

In 1869 Jackson
Pacific

died ten

the most colourful and attractive was William Henry Jackson (1843-

1942) called by

to his

until

of adventure.

America produced many photographers yearning

west'.

motion and

studying animal and human locomotion. Around

Railway.

It

went on

to

official

photographic tour along the newly completed L nion

was during

Hayden asked Jackson

1879 Jackson was

this

time that he met the geologist Dr F. V. Hayden.

accompany him on

his

1870 survey and from then until

photographer of the United States Geological Survey

39

Territories. In 1871 he

Grand Tetons;

photographed

1873 in what

in

now

is

around south-west Colorado, and

in

the Yellowstone region; 1872 in the

the

Rocky Mountain National Park; 1874

1875 went

in

X 24

Colorado with a camera that took 20

into the San Juan

inch negatives.

Many

Mountains of
of these areas,

such as Yellowstone, had never been photographed before. This should come as

no surprise to anyone

The amount
The following

familiar

with the photographic process used

in

the 1870s.

of equipment alone that the photographer needed was staggering.

a list

is

of the items Jackson took with him on his

first trip

with the

Hayden surveys:
Stereoscopic camera with one or
5

11

more

pairs of lenses

X 8 in Camera box plus lens

X 14 in Camera box plus lenses

Dark tent
2 Tripods
10 lbs Collodion

36 oz Silver nitrate
2 quarts Alcohol
10 lbs Iron sulfate (developer)

Package of filters
\\ lbs Potassium cyanide (fixer)
3

yds Canton flannel

Box Rottenstone (cleaner

Negative boxes

for glass plates)

6 oz Nitric acid
1

quart Varnish

Developing and fixing trays

Dozen and
Scales

a half bottles of various sizes

and weights

Glass for negatives, 400 pieces 7

Jackson's photographs of the

West served

to validate the tales that

the natural wonders that existed in North America.

were told of

The photographs

not only

amazed the average American; they greatly impressed the members of the United
States Congress - to the extent that they set apart Yellowstone region as a national

park.

Company

Jackson formed the Jackson Photograph and Publishing

and produced numerous stereo-cards

for

home viewing from

in

Denver,

the photographs he

took while travelling around the country on horseback. Not only did Jackson
travel across America,

Harper's Weekly

he also went around the world

half of Siberia gives a clue to the incredible stamina of the

active, adventurous,

and creative

life

until his

To name them

all

would be an impossible

some of them gives our own

There

is

lives a

an album of calotypes

by C. G. Wheelhouse

The

in

new

man who

task.

To

frontiers

learn

lived an

with camera

something about

sense of adventure.

the collection of the Royal Photographic Society

titled Photographic Sketches from the Shores

of the Mediterranean.

following note appears inside the front cover:

These photographs were taken by me

in

the years 1849-50

when

in

charge of a Yachting party consisting of Lord Lincoln, afterwards

Newcastle and

40

for

death at the age of ninety-nine.

There were many other glorious men who conquered new

at hand.

photographer

as a

between 1894 and 1896. Knowing that Jackson travelled across

War

Minister

[in

1854] during the Crimean

War;

medical

Duke of

his brother

Lord Robert Clinton; Mr. Egerton Harcourt; and Mr. Granville Vernon of

Grove

Hall near Retford.

The photographs were

taken by what was then called the Talbot-type pro-

only recently introduced by Mr. Fox Talbot, and

cess, a process

which

to obtain 'negative' pictures, on paper, from

ft

endeavour

a first

'positive' ones eould be

printed at will, and as often as desired.

They were

*'3W

taken on simple paper, no glass plates or films having, at that

when completed were made as transparent as possible

aid of a warm flat iron and blotting

time, been invented, and

by being saturated with white wax, with the

by which means they were

paper,

On

also

made tough and

durable.

the completion of the tour these negatives were given to Lord Lincoln,

and were

unhappily, destroyed by a

all,

fire

by which Clumber,

was nearly burned down

seat in 'the Dukeries',

in

1879,

his

(March

Lordships
26th).

C. G. Wheelhouse

Some of the

captions to his photographs are extremely colourful and describe

the problems facing the

The Doorway

Lisbon -

This

first

photographers when they travelled

of the Convent of San Geronimo.

believe to have been the

Photography, or

as

in distant lands:

it

first

photograph ever taken

was then sometimes

in Portugal.

called 'Heliography',

had never

been heard of there.

market was being held around the Convent

at the

time

mob soon collected around me, and would have been dangerous
well guarded
cipation of

by members of the crew

some such

whom

took

had

not been

had taken with me,

and

it,

in anti-

difficulty.

Cadiz - Plaza d'Isabella Seconda.

my

This,

second attempt was more disastrous

To obtain

it I

still!

had unwittingly got onto the

fortifications and, just as

was

congratulating myself on the prospect of a good probable success, an Officer

and a dozen

soldiers closed

around and arrested me, believing

taking a plan of the fortifications, and, certainly

my

me

to be a spy

apparatus looked very

like it!
I

was unable

to explain

my

object,

and was

at

once marched off to the

Guard House.

Meanw hile
r

the

members of the crew who had accompanied me reported

to

Lord Lincoln what had happened and he put himself in communication with

who came at once to investigate

knew me having been [an] old schoolfellow!

the English Consul (Mr. Brakenbury)

charge, and he, happily

He had

never heard of photography, and did

no spy - but the doctor

his best to explain that

the

was

in medical charge of the Yacht, practising a recently

discovered art for obtaining picture by the aid of sunlight, and after long consideration succeeded in procuring
Seville

my

release after twelve hours detention.

- The Guard House.

Here again

had hastily

to snatch

what I could get

where I succeeded

in

getting a

Giralda tower of the cathedral

UNKNOWN: W.
Tosemite Valley,

1S73-

H.

Jackson

in

Observation Point,

Petra - El Khasneh, a temple

In the

been

attempt

killed

Magician and 'up

Jerusalem -

The

in

my way

to another point

good view of the market square with the

r

the distance.

hewn out of solid

to obtain this

had

fairly

soon became

as the soldiers

alarmed at something quite new to them, and make

rock.

photograph and the others

in

Petra

should have

not been well guarded - the Edomites thinking

to'

was

something dreadful!

Walls and Davids

Tower

[a

blurred photograph].

very windy day - Camera unsteady.

4i

Opposite, top:

FRANCIS FRITH:

Damascus, 1837.

Bottom FRANCIS

frith:

the

Landing Place, Luxor,

1857-

C.

G.

WHEELHOUSE:

the

guard-

house at Seville, 1849.

The Rev
to

He went

Calvert Jones was a Swansea clergyman and a friend of Talbot.

Pompeii

in

1846 and some of his negatives were purchased by Talbot

These were printed by Nikolaas Henneman (1813-75?),

Dutchman by

in 1847.

birth

and

Talbot's former valet, at Talbot's Reading establishment (and possibly later at

Talbot's establishment on Regent Street).

through stationers and bookshops.

42

The

calotypes were sold to the public

Probably

JONES:
1846.

the

REV

calvert

the House ofSallust, Pompeii,

41
Edllrrll

SAMUEL bourne:
upper walk,

Bund

SAMUEL BOURNE:
group of Bhooteas.

44

Poona,

the

Gardens.

Darjeeling,

Samuel Bourne wrote

Our next march brought us to the Beas, a considerable river which rises in the
Rotung Pass, at the head of the beautiful valley to which it gives its name. It is
sometimes called

Kulu

sides of the

also the

The

district.

Kulu Valley, because

the principal one in the

it is

road lay for some miles along the

left

mountains being here very steep, with few

bank of the Beas, the

trees,

but covered with

grassy turf, affording ample pasturage for sheep and goats. Presently
cross the river,

fear

before on

my journey to Kashmir.

to

me;

had crossed rivers upon

But the doctor looked upon them with

a traveller

and too much accustomed

Himalayas to make any scruples about the matter, and forthwith com-

to the

mitted himself to their buoyant

steersman pushed

by the
and

new

and misgiving, though he was too old

as the

to

which was here about eighty yards wide, by means of'mussocks',

or inflated buffalo skins. These were not

them

we had

off,

inflation. I

force of the current as rapidly as he

feet

won't say he did not shut

his eyes

and he found himself being carried down the stream

was conveyed by the

little

paddles

of the steersman to the opposite bank. However, he stood on terra

firma on the other side, while

150 yards the

men

had yet to

soon paddled back

for

cross.

me,

Running up the bank about

after

which

all

our coolies and

baggage had to be brought across by the same means. This occupied about three
hours, one of the loads nearly

some

rapids below, but

coming

to grief

by being

carried

down

discharged his load, and who, seeing the danger, rushed to the rescue
to save the

SAMUEL BOURNE:
crossing

the

Beas,

1865 or 1866.

muSSOcks for

below

Bajoura,

While

man and

this

close to

was happily rescued by another mussockman who had

in

time

his charge.

was going on

grouped

number of the mussockmen with

their

skins on the river bank, and took a photograph of them, which to those un-

acquainted with this

mode of crossing

rivers looks a

most mysterious

picture. 8

45

unknown:
China,

the

i8~o.

Great
This

Wall of
has

been

attributed to Francis Frith but there

is

no evidence to suzzest he visited

China.

LIEUT.

J.

A.

PAPILLON:

garden

in

Temple of Longevity, Canton, c i86y.

From an album of work by

Amateur Photographic
46

the

Association.

FELICE

A.

BEATO:

SatSlWLl's

Palace, Tedo, c 1862--.

These two photographs

graphic Views of Japan

many

are

two of the many

(Yokohama, 1868). Beato went

years there photographing Japanese

as well as palaces, towns, temples,

tine

panoramas, which,

covers.

FELICE

BEATO:

Many

beautiful views that appear in Photo-

like

officials,

to

and the countryside.

most of his work,

Japan

in

1862 and spent

peasants and ordinary families

He

are found in

also took

extremely

albums with Japanese

of his Japanese photographs possess a strange mystical quality.

Kanukura,

1862-7.

47

-3*

It

JP

JOHN THOMSON: Kwangtung coast

near

Amoy,

China, 1872.

The

following

When

is

customer enters

conveying by
honest

a description given
a

shop the proprietor,

his well-dressed

trading, will

by the photographer:
a

grey-headed man perhaps, but

person a profound appearance of old-established

slowly and calmly set

down

his pipe on the polished counter,

or push aside his cup of tea, and then inquire, politely the nature of his cus-

tomer's demands. Should he have the article in stock, he will

fixed

by the members of the guild

obtain

it;

to

which he belongs, or

but should he be discovered underselling

his

sell it at

a higher

the price

one

if he

can

neighbour, he would be

subjected to a heavy penalty. 9

JOHN THOMSON:

Physic

Street,

Canton, c 1871.

The

brothers Louis Auguste and Auguste Rosalie Bisson were well-known

Parisian photographers

whose most memorable work was done

Alps

The

in

Blanc

in

the early 1860s.

i860

or '61.

the

Way

Up,

French

summit of Mont

i860 and although unable to succeed, they brought back a superb collec-

tion of views.

BISSON FRERES: On

Bisson brothers tried to reach the

in the

The

following year, Auguste, with twenty-five porters to carry his

photographic equipment and supplies, reached the summit and took the

first

photographs from there.

49

UNKNOWN:

Probably

Kasan, Russia c 1870.

william carlton

WILLIAMS: Loggia
Florence, c 1870.

50

delta Signoria,

'"ii.

X.

" i iM
william ENGLAND:
ous stereoscope views

instantane-

of Paris, 1861.

The importance

home cannot be

of the stereoscope in the Victorian

over-

emphasised. Antoine Claudet, the eminent daguerreotypist, described this recreation as follows:

The

stereoscope

is

the general panorama of the world.

It

brings to us in the

cheapest and most portable form, not only the picture, but the model, in a
tangible shape, of all that exists in the various countries of the globe;

duces us to scenes

known only from

intro-

it

the imperfect relations of travellers,

leads

it

us before the ruins of antique architecture, illustrating the historical records of

former and

lost civilizations,

which we have become

we

the genius, taste, and power of past ages, with

as familiarized as if we

had visited them. By our

fireside

have the advantage of examining them, without being exposed to the

fatigue, privation,
gratification

and

risks

of the daring and enterprising

and instruction, have traversed lands and

who,

for

our

seas, crossed rivers

and

artists

valleys, ascended rocks and mountains with their heavy and cumbersome

photographic baggage

10
.

William England (d 1896) was one of the

first

photographers employed by

London Stereoscopic Company. His photographs of Ireland, America,

Switzerland were seen by

thousands of people.

Society in 1863 and served on

its

He

joined

travel. In

council from 1867 until his death.

He then went

to

Formosa and

China and the

Illustrations

Amoy he

travelled a considerable distance into the interior.

Thomson

visited

results of his travels

of China and

Its

crossed

Returning to

Fuchow, Chusan, and Shanghai, making

frequent visits to the interior and going as

in

applying

Macao and Hong Kong, taking

photographs by the wet-plate process wherever he went. From

to

in

1865 he sailed from England to the Malay Peninsula and

proceeded to Siam and Cambodia.

the coast of China,

and

The Photographic

John Thomson (1837-1921) was one of the most dedicated pioneers

photography to

Paris

The

far

north as Peking.

were published

People (1873-4).

over Cyprus, Thomson photographed on

n 1878

He spent

in four

five years

volumes entitled

when England had just

taken

the island and his photographs and

accompanying text were published under the

title

Through Cyprus with

the

Camera

51

in the

Autumn 0/1878

(1879), in

two volumes with

sixty

permanent photographs.

In the introduction of Through China with a Camera (1898)

why he has

made my

Since the time

when

ancient

has been

cities, it

add not only to the

use of photography.

52

Thomson

explains

always been dedicated to the combination of photography and travel

I

journey into Cambodia to examine

its

but to the permanent value of

his

work by the

entrance

to the cathedral, Famagosta, Cyprus,

1878.

Bottom:

the

Paphos, Cyprus, 1878.

first

my constant endeavour to show how the explorer may

interest,

JOHN THOMSON. Top:

ruins

of Neo

JOHN THOMSON. Top: women

well, Levka, Cyprus,

at

1878. Bottom:

Greek monks, St Pantalemoni, Cyprus,

1878.

The camera

has always been the companion of my travels, and has supplied

the only accurate means of portraying objects of interest along

the races with which

came

in contact.

Thus

it

came about

been able to furnish readers of my books with incontestable

of my 'bona

fides',

and

to share with

face to face for the first time

my

that

route,

and

have always

pictorial

them the pleasure experienced

evidence

in

coming

with the scenes and the people of far-off lands

53

n'

EADWEARD muybridge:

probably

Warm

Spring Indian

Camp, c 1873.

eadweard muybridge:

1875.

54

coffee,

Las

Nubes,

Guatemala, 1875.

eadweard muybridge:

EADWEARD MUYBRIDGE:

busking

Central America, 1875.

coffee pickers

at their ablutions,

GEORGE WASHINGTON WILSON. Top:

North Golton, Orkney. Bottom

the Stones

of

Stemits, Orkney.

55

UNKNOWN:

the Delhi

1877. 'Durbar*

is

durbar

the Persian

TIMOTHY O'SULLIVAN:

in

honour of Queen Victoria becoming Empress of India,

c

word for a ceremonial gathering of court'.

old mission church,

New

Mexico, 1873.

w. H. JACKSON:
56

Tosemite Valley.

<

.'-

if

'

#>v

<z

Timothy H.

O'Sullivan was probably born in 1840 in

learned photography

in

was one of the leading

years

New

the

Civil

many

hundreds of

feet

underground

Photographing

went

to

in

Montague Wheeler

in

At Virginia

the

York

City.

Having

went

to the fortieth parallel

on

City, Nevada, he photographed

Comstock Lode mines using magnesium

Thomas Oliver Selfridge's Darien Expedition, O'Sullivan

1870. The following year he joined First Lieutenant George

flares.

Panama

In 1867 O'Sullivan

geological surveys.

New

Mathew B. Brady, O'Sullivan

He was employed for over seven

gallery of

War photographers.

by Alexander Gardner.

his first of

York

for

in

the Engineer Corps' Geological and Geographical Surveys

and Explorations West of the 100th Meridian. Here he took magnificent photographs depicting the grandeur of the south-west part of the United States. Again
in

1873 and 1874 O'Sullivan joined Wheeler on surveys of the West. In 1880 he

received the appointment of chief photographer to the Treasury Department in

Washington DC.
58

On

14 January 1882 O'Sullivan died of tuberculosis.

TIMOTHY O SULLIVAN:

summit

of Wahsatch Range, Utah. Taken

1867 during
tion

in

the geological explora-

of the fortieth parallel.

Excerpt from a letter written

18 and 20
...

May

in

the Crimea by Roger Kenton to William

1855:

make slow

progress, though as far as

very anxious to return home, as

cannot make up

and subjects

my mind

likely to

my

interests

to leave until

8th Hussars, 1855.

of

the

have secured pictures of the persons

forgotten. Photographers

tively; their's

was the medium that could record

convincingly.

Think how much more

'real'

the Battle of Waterloo would be to us today

cookhouse

my power no time is lost. am

are suffering in my absence, but

lies in

be historically interesting. 1

Wars and uprisings should not be

ROGER FENTON:

Agnew,

faithfully,

knew

this instinc-

and more important,

the American Revolution of 1776 or

if

we had photographs

depicting the

men and

events of the confrontations. Photography has greatly enriched our

historical

awareness by allowing us to

Roger Kenton, one of the

first

'see' as well as

'know' our past.

photographers to 'cover' a war, faced physical

hardships and mental strain in 1855

War.

When

he

first

arrived, there

when he went

may have been

to

photograph the Crimean

kind of glamour attached to his

mission, but he quickly learned of the gruelling realities of the war, and yearned
to return

home.

and stayed

until

He had

an obligation, he

he became

Roger Fenton arrived

tion

Balaclava on 8

&

Sons, Manchester,

countrymen and

March

to posterity

1855. His patrons for the expedi-

who wanted photographs

to sell to the public. Victorian tastes

made photographs showing dead

fare.

to his

were Queen Victoria and Prince Albert. He was financed by the publishers

Thomas Agnew
war

in

felt,

ill.

soldiers or the misery

and wretchedness of war-

Fenton, an upper-class Victorian, photographed with

officers relaxing, scenes

illustrating the

would have been offended had Fenton

of the harbour, the campsites,

etc.

'taste',

The

and showed

officers'

uniforms,

the soldiers' faces, the paraphernalia in the harbour, the tents, the terrain -

all

serve to give a greater reality to the documentation of the war. Roger Fenton was
a discreet

war photographer

men's wars'.

60

in

what has been described

as 'the last

of the gentle-

ROGER FENTON:

the photographic

van with Sparling on the box, 1855.

Fenton took two

assistants

with him to the Crimea: Williams, handyman and

cook, and Marcus Sparling(seen in the photograph) as driver and groom. Although

men helped with

both

the photographic work, Fenton alone took the photo-

graphs.

The van Fenton brought

merchant and he converted

When
in

Crimea had

for sleeping,

it

originally belonged to a

into a dark

it

room; panes of yellow

the sides; a bed was constructed for

wine

cooking, dark-room work, etc:

entered into the service of Art, a fresh top was

it

convert

to the

it,

made

for

it,

so as to

with shutters, were fixed

glass,

which folded up into

a very small

space under the bench at the upper end; round the top were cisterns for dis-

and

tilled

for

ordinary water, and a shelf for books.

On

the sides were places for

and spoons. The

fixing the gutta-percha baths, glass-dippers, knives, forks,

kettle

and cups hung from the

roof.

On

waste water, was a frame with holes,

This frame had at night to be

the cameras, to

make room

lifted

the floor, under the trough for receiving

which were

in

fitted the heavier bottles.

up and placed on the working bench with

the bed, the furniture of which was, during the

for

day, contained in the box under the driving-seat. 2

Between the American

War and

Civil

Civil

was the American

It

War, however, that provided the most outstanding examples of early war

illustration.

Credit

the magnificent coverage of this

for

Brady (1823-96). He was

war

at the onset of the

to

a leading

make

very

is

Mathew B.

to

He employed some

thorough visual record of it.

Brady's organisational abilities and bravery

so highly respected today. It

war must go

New York portrait photographer who decided

twenty photographers and invested $100,000

is

Mutiny and the

the Crimean, the Indian

China War were powerfully documented by photographs.

in outfitting

and training them.

It

the face of grave danger that are

in

difficult to

know which photographs were

taken by Brady himself as opposed to those taken by his assistants; Brady put his

name

to every

image taken by

his

employees.

Alexander Gardner (1821-82) had been

in

charge of Brady's Washington studio

He

and helped him cover the Civil War.

since 1858

disagreed, however, with his

employer's policy of not allowing each photographer to hold the copyright of his

own work and broke away from Brady

in

corps. In 1866 he published his Photographic Sketch Book of the

illustrations in

two volumes. These

are

Brady,

who during

government would purchase

War, containing 100

some of the strongest images of the

American Civil War and each photographer's name

Mathew

own photographic

1863 to form his

is

marked.

clearly

the war years was confident that the United States

his collection

of negatives, was proven wrong. His

photographs, which showed so clearly the brutality of the bloody war, were not
desired

by many people

chase the complete

after the battles

set, either, as

had ended. The government did not pur-

Brady had hoped. In 1874, unable to pay

for

the

storage of his negatives (one set of negatives already having gone to his main
creditors E.

&

United States
for $2,840.

H. T. Anthony

&

Co), Brady put them up for auction and the

War Department purchased the collection

from the storage company

year later James Garfield, later President Garfield, brought up the

matter of payment to Brady

in

the

House of Representatives with the following

words

Here

is

man who

preserving national

has given 25 years of his

monuments

life

... to one great purpose - to

so far as photographic art can

of making such a collection as nowhere exists

in

the world

so far as to send his organization into the field

do
.

so,

with

view

This man went

and some of

his

men were
61

iWJ

wounded

going near the battlefield to take pictures of the fight that was

in

iioing on. 3

Although $25,000 was

and he died

in

voted to Brady, he was too

finally

the poor ward of a

The men who photographed

so without
to

New

York

uprisings as distinct from

any personal ambition

for

fame or

far in

debt to be relieved

hospital.
full

financial gain.

scale wars, often did

They

felt

committed

photograph the violence around them and concerned themselves with recording

the results of the fighting that had occurred. (Exposures were too long to capture
the acts themselves.)

Many

of the photographs, therefore, of the Paris

Commune

of 1871 and the aftermath of the Indian Mutiny are anonymous.

After Fen ton's trip to the Crimea, photographers had a

Photography was not

had

an enjoyable pastime,

a place in current affairs

crisis that
is

just

might

arise.

and

By 1878

recognised to such a degree

in

its

practitioners

art,

new area of responsibilitv.

or means of portraiture -

felt a

commitment

to record

it

any

the Photographic News reported that: 'Photography

our army, that no preparations would be considered

complete unless every requisite of the

art

was

at hand.' 4

In February 1848, revolution broke out in Paris forcing Louis-Philippe to abdicate.

After heavy fighting between 23 and 26 June, a liberal constitution was adopted

based on

common

nephew was

and parliamentary government. Louis-Napoleon's

suffrage,

elected President.

Hippolyte Bayard (1801-87) was an independent inventor of photography.

He

HIPPOLYTE BAYARD:

exhibited examples of his prints in June 1839 before details of the daguerreotype

of the

process were revealed. His own process needed

1848, rue Royale, i84g.

very long exposure (about an

barricades

the remains

of the revolution of

a iL^.ilt-iTllUtnUHfiUlH-Hr
rt4ii
i

Hii

ii

iii

*****

hour) and produced

a direct positive

photographs display great

artistic

on paper; there was no negative. Bayard's

beauty and

grapher and his studies on paper done by his

he used

for his later

work) are

sensibility.

own and

He was

master photo-

Talbot's processes (which

delicate and highly personal images.

le

was one of

the best, yet least appreciated, of the early photographers.

|fctfw>*.

JAMES
theatre,

ROBERTSON.
Sebastopol,

1856.

Above:

Above

right: tower of the Malakoff] 1856.

In 1853 Russia attempted to annexe Turkish territory.

go to war

to

would

interfere

British
sula

as a

Napoleon

III

was anxious

matter of prestige and England feared that the Russian expansion

with her

lines

of communication to India. In mid-September, 1854,

and French troops numbering some 57,000 arrived on the Crimean penin-

with the hope of taking Sebastopol, the Russian naval base. Allied with them

were Turkish and Sardinian troops. The war carried on

until 30

March 1856 when

the peace treaty was signed in Paris.

James Robertson arrived

his
left

in

the Crimea shortly before the

fall

of Sebastopol and

photographs form a continuation of Roger Fenton's work, the

the Crimea on 30

March

1856. Robertson

latter

having

was superintendent and chief

engraver of the Imperial Mint at Constantinople and an enthusiastic photographer.

His images of the war show the result of the siege of Sebastopol which marked the

beginning of the end of the war. His views of the Redan and the Malakoff arc
powerful records of the aftermath of terrible battles. Robertson also captured the

atmosphere of the ruined city of Sebastopol (see above photograph), the docks

much activity had just recently taken place.

Another Englishman who photographed the Crimean War was George Shaw

and the

forts; sites

where

so

Lefevre (later Baron Eversley), but his photographs are quite undistinguished.

More

interesting are the panoramas of Jean Charles Langlois, a Frenchman,

came

to the

Credit

for

Crimea

end of 1855 and stayed four months.

at the

being the

first

Carol Popp de Szathmari.

photographer to report the Crimean

A Romanian

was court-painter and photographer

lived in Bucharest

Szahmari

first

where he died

appeared

tus, in April 1854.

Through

in

in

to

born

in

Transylvania

to compile a

Queen

his

Szathmari

1887.

friendly connections he had access to the

two Russian

He photographed

the battle

and the Turkish Pasha. Eventually he

photo-album with 200 pictures. At the beginning of 1855

photographs were given to the French Emperor Napoleon

Victoria,

III,

and the Emperor Franz Joseph of Austria. The Duke of Saxe-

Weimar was given one by

album w as on view
r

in 18 12,

to

the Crimea, laden with his photographic appara-

scenes, the Russian generals, the Cossacks,

was able

War must go

one of the Romanian dukes. After 1830 he

and Turkish camps on the banks of the Danube.

albums of

who

his friend the pianist Liszt,

at the Universal Exhibition

of 1855

and another Szathmari

in Paris. 5

Unfortunately

63

none of these albums

exist today

and

through lack of visual evidence of his

it is

war photography that the name of Carol Popp de Szathmari has become almost
obscure.

Felice A. Beato

was Venetian by

James Robertson
photographed

in

in

Malta

Malta

in

who was on

stopped

way

his

in Palestine to

and

a naturalised British subject.

1850 and they began

a close association.

Beato met

They

first

calotype and they travelled to Egypt and Athens using

When

wet-collodion apparatus.

Beato

in

birth

Robertson returned from the Crimea he joined

to India to

photograph the uprising.

take some views.

On

their

way thev

After the Indian Mutiny, Beato joined the Anglo-French campaign against

China and was able

Opium

to

photograph some of the major events

at the

end of the

War. In 1862 Beato went to Japan.

FELICE BEATO:
Lucknow, 1858.

iy

ous sepoys were cut

Regiment and

Secundra

86o of the mutindown by

Sikhs,

the

gjrd

and though

their

corpses

were interred the dogs later dug

them

up

(explanation

witness, Colonel F. C.

The
The

Indian

Mutiny of 1857 began when the Bengal army mutinied

uprising was an attempt to stop the activities of the East India

at

Meerut.

Company and

to assure the survival of Indian civilisation.

For many years the Indian population had

the British.
Enfield
pigs'

rifle

fat.

to the

The immediate
which used

felt

resentment and anxiety towards

cause of the mutiny was the introduction of the

new

a cartridge supposedly lubricated with both cows' and

This was odious to both the Hindu,

Moslem who considered

for

the pig unclean.

whom

the

cow was

sacred,

and

The East India Company removed

who had refused to use it. The

the cartridge and arrested eighty-five of the sepoys

next day three regiments at Meerut mutinied, shot their

comrades, and set off

The Mutiny

officers, released their

for Delhi.

took eighteen months to be halted completely. At the beginning

there were very few British troops available in India - indeed

before

news of the Mutiny reached England.

Commander-in-Chief and
64

set sail for India

Sir

it

took two months

Colin Campbell was appointed

with troops to put

down

the Indian

Bagh,

by

an

eye-

Maude, VC).

revolt.

Already towns

like

Lucknow and Meerut were

held by the sepoys.

It

was

not until March 1858 that Campbell, accompanied by 30,000 men, took the

Secundra Bagh, the

last

sepoy stronghold.

The existing photographs of the Mutiny

give proof of the violence displayed on both sides.

FELICE BEATO North Taku Fort

:

after

FELICE BEATO: Pehtang Fort with

a fight, i860 QdetaiV).

gum,

captured wooden

c i860 (detaiiy

Initially British interest in

to

buy

tea at

Canton

China was focused on the East India Company's need

for re-export.

The most

lucrative Indian

commodity

exchange was opium. The Imperial government of China banned the drug
but large

scale

in

to

1800

smuggling continued. The importation of opium into China by

foreign traders led to the

war of 1839-42 between Great

Britain

and China.

It also

was the cause of the second China War (1856-60) between China and Great
Britain
In

and her

ally,

France.

June 1857, the British destroyed the Chinese

British

and French

fleets

fleet

and

six

months

took Canton and sailed towards Peking.

which protected the entrance

to Tientsin

were captured

Chinese, in order to save Peking, agreed to a treaty forced

in

later the

The Taku

May

1858.

forts

The

upon them permitting

the importation of opium, travel to inland China, foreign diplomats living in

Peking, tolerance of Christianity, payment of indemnities and freedom of trade.

It

was not, however,

bloodshed on both

until i860 that

China

ratified

the peace treaty after

much

sides.

65

CHARLES SOULIER:
nlle, May 1871.

66

Barricade de la rue de Flandre, saile de la Marseillaise

18

Hotel

de

The

Paris

Commune

March

lasted seventy-two days, from iS

was marked by the courage and fortitude of the people of

government of

Versailles

War (1870-1), the Parisians would not surrender their city

invaders. The negotiations that had been concluded between the

to the foreign

Prussians and

the French government had been either for France to give Bel fort to

men

until the National

Assembly

ot

the victorious Prussian

ratified the

army

to

occupy

It

the Franco-

after

Prussian

or to allow 30,000

1871.

Although the

Paris.

had capitulated to the Prussians

May

to 28

Germany,

a part

of Paris

peace plans. These arrangements were

obviously horrendous to the Parisians and they defended their city with great
fearlessness

and determination

until

they were defeated by the superior strength

of Adolphe Thiers, the head of the French Royalist Government, and his men.
It

was on the 18 March that Thiers with

his soldiers tried to recapture

martre and to take away the arms from the insurgents.

The whole

hill

Mont-

was held

by the troops but while the generals were waiting to advance, prostitutes and
housewives
them.
his

infiltrated the ranks

When

men

to

and proposed that the

soldiers should drink with

General Lecomte, representing the National Assembly, called upon

open

fire,

and reversed their

his troops hesitated

rifles.

The crowd

rushed forward embracing the soldiers and took them to the wine counters of

Montmartre. General Lecomte was taken prisoner and

who

in

June 1848 had ordered

a 'charge

later

Clement Thomas,

on the scum', was also seized. Both were

executed. There are no words to describe the terror that prevailed during the
uprising.

The Commune massacred 480

people. Thiers and his

men massacred

20,000.

UNKNOWN:
erected by the

One of the barricades

communards during

the

Paris Commune, 1871.

The second Afghan War (1878-80) broached

the problem of whether or not

Britain should take the border of India to the

Kandahar was
Afghanistan.

a position

One

Kabul-Ghazni-Kandahar

line.

of strategic importance dominating the whole of southern

of the main reasons

was the prevailing philosophy that

it

why

Britain

wanted

to

occupy Afghanistan

would constitute the advancement of civilisa-

tion and the substitution of law and order for misrule and tyranny. There was
also the question of prestige,

and

in Asia, a

strong country should never retreat.

67

Naturally there was an attempt on the part of the British government to justify
the retention of Kandahar on financial grounds, saying that the riches of the city

would make it a revenue-producing district.

In reality if Britain occupied Kandahar,

she would also have to occupy other areas and in doing so need to defend a totally

unreasonable frontier which ran along the foothills of wild, mountainous country.

The

decision of

how much

of Afghanistan to occupy was never resolved, as the

Conservatives were defeated

came

administration which

to

the general election of 1880, and the Liberal

in

power was

fiercely

opposed to prior Conservative

policy on the Afghan question.

J.

Burke was a professional photographer

in

He was

the Punjab.

frequently

em-

ployed by the government of India to accompany British and Indian troops when
they went into battle.
'photographic

honorary rank,

local

The

were

artist'

conditions under which he served the government as

as follows:

free carriage

servants and a horse on payment.

Burke would receive

a set

(about twelve mules), rations

He would

supply his

own

sum of money,
for

himself and

apparatus, chemicals

and other requirements. The government, on the other hand, was entitled to
Burke's services whenever required.

The government would

each photograph and had the option to purchase any or

all

receive six copies of

of the plates at a set

valuation, Burke retaining duplicates of all the negatives. 7

In

March 1 879 the government wrote to Burke asking him if he would accompany

the 1st Division Peshawar Valley Field Force while they were fighting in Afghanistan.

Burke was eager to do so and immediately replied

lining the conditions

He was concerned

Once he

return to India.

to the

in

the past these

government, they were not now. Burke,

expecting a favourable response set off to join the forces before

receiving an answer.

the advance.

the affirmative out-

under which he would serve. Although

conditions had been acceptable

who had been

in

that

finally received the

It is possible,

if he

waited any longer he

government's

however, that

many

letter,

w ould
r

miss

he made plans to

of his fine photographs of the

Afghan War would not have been taken had he not been so impetuous.

J.

burke:

51st

officers

Regiment

showing

on

different

worn, c i8yg.

of Her Majesty's
Sultan
service

Tarra,
uniforms

UNKNOWN:
in

Sunday morning Mass

camp of the 6gth

Militia, Arlington,

New

York State

Virginia,

May

1861.

The American
It

Civil

War

lasted four years, from 12 April 1861 until 9 April 1865.

was one of the bloodiest wars Americans ever fought and resulted

in

the deaths

of over 617,000 individuals.

Six

weeks

after

Abraham Lincoln was

elected President of the United States on

an anti-slavery platform, South Carolina seceded from the Union. Soon afterwards
ten other Southern states joined with South Carolina in forming a

new country

called the Confederate States of America. Lincoln refused to recognise the right

of any state to secede from the Union and sent troops to occupy Fort Sumter
Charleston Harbour, South Carolina.

The

in

Confederates, having deep grievances

of both a sociological and economic nature, opened

fire

on the

fort,

thus beginning

the war between the states.

UNKNOWN:

drilling

troops

near

Washington DC, 1861.

69

70

UNKNOWN:
Rest,

kitchen

Alexandria,

of

Soldier's

Virginia,

July

The

leading held photographers of the American Civil

Gardner, George N. Barnard, John

Alexander Gardner was the

1865.

military appointment.

When

first

F.

War were Alexander

Gibson, and Timothy O'Sullivan.

United States photographer

he parted from Brady

in

to receive an official

1862 he went to work

General George B. McClellan as 'Photographer on the Potomac'. His

JOHN reekie:

a burial party, Cold

Probably

ner:

on

the

his

official

duties

views of the war were done

in-

'This sad scene represents the soldiers in the act of collecting the remains of their

73).

Alexander Gard-

ruins

maps and documents;

dependently.

Harbor, Virginia, April 1865.

Over page (jp 72 and

lay in multiplying

for

canal

basin,

Richmond, Virginia, 1865.

comrades, killed at the battles of Gaines' Mill and Cold Harbor.

It

speaks

of the

ill

residents of that part of Virginia, that they allowed even the remains of those they

considered enemies, to decay unnoticed where they

commonly

falls

the task of burying the dead,

may

fell.

The

soldiers, to

whom

possibly have been called

away

before the task was completed. At such times the native dwellers of the neigh-

borhood would usually come forward and provide sepulture

left

was

were

left

rebel

army was encamped

unburied.

It

so

tion
in

Execu-

of Captain Henry Wirt%,

Washington

rope^),

DC

(adjusting

10 November 1865.

CSA
the

upon the

for six

Gettysburg, they wanted to

ALEXANDER GARDNER:

for

such as had been

uncovered. Cold Harbor, however, was not the only place where Union
field

know

first

battle, the soldiers hastened in pursuit

large

of the

first

Bull

Run

months afterwards. Perhaps

'who was

to

pay them

and indignantly made the above quoted inquiry

upon being

told they

must

people of

it.'

After that

of the retiring columns of Lee, leaving a

number of the dead unburied. The Gettysburgers were loud

plaints,

where the

battle,
like the
for

men

in their

com-

as to the remuneration,

finish the burial rites themselves.' 8

7i

ri

j
*
"*

I I

-r

Emergence of

a Social

The photographic image

is

a powerful

people aware of a particular situation.

graphy was

first

used as a tool

for

Awareness

means of arousing emotions and making

It is difficult

to

know

exactly

the correction of certain social

when photo-

ills. It is

easier

when photography was first used to record different social groups and
professions. William Henry Fox Talbot photographed the workmen around
to find out

Lacock Abbey, Wiltshire, but

as a sociologist

this in itself does

not imply that Talbot saw himself

with a camera. Photography was too new

medium, and Talbot

was experimenting with the range of subjects the camera could deal with, and not
with what the image

Some

of the earliest

itself

could say.

examples of photographs that make

are the photographs of Crimean

(who might have been J.

the brutality of war

is

a strong social

War casualties. Whether or

comment

not the photographer

E. Mayall) intended his photographs to be a cry against

unknown.

It is

hard to believe, however, that the photo-

grapher was unaware of the emotional effect his photographs would have on the

74

Probably w. h.

man

f.

TALBOT:

work-

at Lacock, Wiltshire, c 1844.

On

viewer.

page 82 there

prime of life,

fearfully

all

the photograph of three

is

maimed. There

is

handsome men

their

in

photograph of Sergeant Daw son

also the

of the Grenadier Guards (see page 83) unable to hug his daughter with two
arms, one having been lost

the Crimea.

in

Dr Hugh Welch Diamond (1809-86) was

worker

in

the

name appears
for

field

He

of photography.

is

humanitarian and

a great

in the Dictionary of National Biography.

work he did

in

le is listed

From 1848

the held of mental disease.

superintentendent of female patients

there principally

to 1858 he

was resident

Surrey County Asylum, and

at

verv early

one of the few photographers whose

in

1858 he

established a private asylum for female patients at

Twickenham, where he lived.

Between 1858 and 1868 Dr Diamond was secretary of The Photographic Society

and edited

its

probably the

journal for

first

many

He combined

years.

his

two

interests

and was

person to apply photography to the direct treatment of mental

patients.

Dr Diamond
Photography

was reviewed

read a paper to the Royal Society titled 'On the Application of

to the

Physiognomic and Mental Phenomena of Insanity'. The paper

the Saturday Review, 24

in

Journal, 21 July 1856,

pp

May

1856 and reprinted

in the Photographic

88-9. Excerpts of the review of Dr Diamond's paper are

as follows:

The

object of the paper

is

DR HUGH
patient}

w.

DIAMOND:

1852-6.

Dr

exhibited bis photographs

patients

from

1852-8

mental

The

peculiar application of photographv to

investigation of the various

sad affliction must ever be highly interesting.

Diamond

phenomena of this

The metaphysician and

moralist,

the physician and physiologist, will approach such a inquirv with their peculiar

of mental
and

show the

to

the delineation of insanity.

views, definitions, and classifications.

they

many

needs, in

aroused much attention. Several of Dr

The

photographer, on the other hand,

no aid from any language but

with the picture before him, to the

to listen,

Diamond's photographs were shown at

cases,

his

silent

own preferring

rather

but telling language of

nature.

the International Exhibition in Paris,

An asylum

1855-

for lunatics

on a large scale supplies instances of delirium with

raving fury and spitefulness

of delirium accompanied with an appearance of

gaiety and pleasure in some cases, and with constant dejection and despondencv
in others

or of imbecility of

weakness.

The photographer

the faculties, with a stupid look, and general

all

moment

catches in a

the permanent cloud, or the

passing storm of sunshine of the soul, and thus enables the metaphysician to

witness and trace out the connexion between the visible and the invisible in one

important brand of his researches into the philosophy of the human mind.

Raving madness
the eyebrows

is

drawn up, the

were pushed out of their

hair bristled,

orbits.

which the author exhibited

this description,

by the forehead being contracted,

generally accompanied

and the eyeballs prominent,

Photography,

evident from the portraits

as is

of his paper, confirms and extends

in illustration

and to such

as if they

degree as to warrant the conclusion that the

permanent records thus furnished

are at once the

most concise and the most

comprehensive.

There
is

is

another point of view

peculiarly marked, viz in

themselves. In
interest,

very many

in

which the value of portraits of the insane

the, effect

which they produce upon the patients

cases they are

examined with much pleasure and

but more particularly when they mark the progress and cure of a

severe attack of mental aberration.

Dr Diamond

also realised that if each patient

the hospital, they could be quickly identified

recognise the face of a patient

in

DR HUGH
patient, c

\V.

DIAMOND:

1852-5.

mental

is

was photographed before leaving

if

they were ever re-admitted.

often a better reminder to the doctor of the

To

case-

question than the actual written description on the patient's record.

group of photographers who had

a strong social conscience

were the men who

photographed the American Civil War. War is one of man's greatest social problems
75

and war photographs

also

have

The photographs

a place in this chapter.

of the

slave-pens in Virginia (see pages 85), however, seem to have no raison d'etre other

than as a social
for

comment on man's

Not

all

comments

social

from the

for

does not look

fit

When

Meadow

Sutcliffe

with delicacy and warmth.

He had

their livelihood from the land

and

photographs depict their strength, solemnity and humour.

way of working

described his

life

who earned

country people

sea. Sutcliffe's

Frank

are necessarily negative.

(1853-1941) photographed English rural

deep admiration

He

The pen

capacity for cruelty.

an animal - the photographer states this forcefully in his photograph.

as follows:

photographing rustic figures out of doors,

think the best plan

is

to

quietly watch your subjects as they are working or playing, or whatever they
are doing,

and when you see

are a quarter of a minute,'

there,

To

which

is

sure to

a nice

arrangement to say 'Keep

make your

Sutcliffe

of an hour. This

may easily

was born

moved

family

in

graphy

to

slide,

making

it

to

in 1871.

until after his father's death (12

Duck and

quite wet.

Leeds, Yorkshire, on 6 October 1853. His father

Whitby, Yorkshire

some time encouraged

make

his son to

Prank

Sutcliffe

December
it

Tom

The

was

Sutcliffe

did not take up photo-

1871), although

Tom

a career. After Sutcliffe's

had

for

marriage to

unsuccessful attempts to find a studio in Whitby, he and his wife

Tunbridge Wells, Kent. As there were already

number of professional

photographers there at the time, business was poor and in 1875

to

stiff.

be done by using old collodion and,

a painter as well as an etcher, lithographer, and photographer.

went

a foot

subject constrained, and consequently

hot weather, also sponging the inside of the dark

Eliza

you

just as

be able to wait and watch, you will want a plate that will keep moist at

least a quarter

in

still

and expose, instead of placing an arm here and

Whitby. This time he was able to find

returned

Sutcliffe

he could convert into a

a place that

studio and soon established himself as a professional portrait photographer. His

fine reputation

which gradually developed around the world was, however,

as a

landscape and 'genre' photographer.

Sutcliffe

when

used wet-plates up until the 1880s. Later

techniques such as soft focus were popular, he

graphy should not disguise

and

itself

in his

still

photographic career

maintained that photo-

lose its essential qualities of exactitude,

gradation of tone, etc.

Sutcliffe

was an energetic, passionate photographer. He loved the photographic

medium, people, and the countryside. When he

in 1923,

finally retired

from photography

he was asked by the Council of the Whitby Literary and Philosophical

Society to

become curator of the Whitby Gallery and Museum. He held

this post

from the age of seventy to eighty-seven. Frank Sutcliffe died on 31 March 1941.
Probably the

first

man

to use

photography

in public relations

work was

also

of the greatest child-care workers in Victorian England. Dr Barnardo, the

who

saved homeless children from a

faces

of these

little

life

of great distress, also realised that the sad

outcasts could be used to raise

money

for their food, clothing,

and accommodation. Dr Barnardo started using photography

publicity, packets of photographs

in

1870, and, for

were sold with the following description:

Three Deeply Interesting Packets of Photographs, marked respectively A,

and C, Price

five shillings

each packet (either sent post-free). Packet

Twenty Photographs of isolated cases. Packet B

illustrating

one

man

is

B,

contains

made up entirely of Contrasts,

and comparing the past and present conditions of Destitute Lads

received into the

Home. Twenty photographs. Packet

C also contains Twenty

Photographs of which fourteen exhibit contrasts between the past and present
conditions of certain Boys, and the remaining six illustrate other general features

of the work. Each Packet

is

complete

only should indicate their choice

76

in itself.

when

Friends desiring to purchase one

ordering.

Dr Barnardo's and thousands of other

organisations arc

using photography

still

today to arouse public awareness. In 1874 Dr Barnardo spent 250 out of a budget

of 11,500 on photography, a clear indication of the importance

it

played

in his

work.

discussion of early social documentary photography

would not possibly be

complete without mentioning the Victorian photographer John Thomson (whose

work

also appears in chapter 2).

He was

the period on social reform - Street Life

co-author of one of the classic works of

in

and photographs by Thomson, the work appeared

in

February 1877. Priced at

working

class in

London.

With

London.

in

by Adolphe Smith

text

monthly editions beginning

6d per copy, each issue portrayed the

Street Life in Ijondon

was

breakthrough

in

life

of the

photographic-

reporting and observation. In mid-Victorian times photographers did not point

their cameras at overt social problems. Perhaps this fact in itself reflected some-

thing of the period

social conditions

to be looked at either with the

naked eye or the camera.

Thomson had shown concern

Prior to Street Life
in Asia,

where he

in

of the working classes were not something

for people's living conditions for

London knowledge of his photography

is

many

years.

work

limited to his

travelled largely with the view of 'utilizing

photography to

record the characteristic features of the countries and people of the Far East'. As

with
of

all

many

travelling photographers the recording of social conditions are only

concerns.

The

traveller to foreign lands

is

often too influenced

by

one

local

customs, landscape, climate, food, etc, to be able to look objectively at isolated

social conditions.

he had

When Thomson photographed in

a professional

photographic studio, he

w as
r

his

own

city of London,

able to do

it

with the

experienced photographer, and with the keen perception of one

where

skill

of an

who knows

the

locale well.

This chapter shows the

first

stages in the development of the photographer as

eye-witness to the state and condition of society. Although in the beginning the

photographer did not understand the power that lay

he soon learned about
early social

pretention.

its

ability to effect

documentary photographs possess

They

documentary photograph,

a kind of innocence

are a refreshing change from the sophistication

the present day propaganda photograph.

photo-journalists,

in a

emotions and bring about change.

is

very

The

The

and lack of

and cunning of

best work, however, of today's

much a reflection of the concerns and honesty of approach

of the early photographers.

D. o.

HILL and

R.

ADAMSON:

the

Royal Society of Arts Concert, 1843;

the three musicians are Linley, Loder,

and Dragonetti, on double

two

bass

and

cellos.

11

David Octavius
artist. In

Hill (1802-70)

was

well-known book

1843 he decided to do a large painting

of the Free Church of Scotland.

sters present, Hill

aid

him

and landscape

of the 400 or so mini-

in the painting

decided to use photography. In 1843 he became partners with

Robert Adamson (1821-48)

his brother John

To

illustrator

commemorating the establishment

who in

who had

his turn

learned the technique of photography from

had learned

it

from Sir David Brewster. Between

1843 and 1848 they produced about 1,500 calotype portraits, mainly of Scottish
notables,

which

are cherished today for their remarkable use of light, texture,

tone and for the strength of character brought out in the faces of the
In

June 1845

Hill

and Adamson photographed fisherfolk

burgh. Possibly they took the photographs

the profits going to the fisherfolk to help

Like

all

Hill's publishing ideas for

in

in

their boats

them

decked

HILL

O.

and

adamson. Above
3

Reporters

left:

ROBERT
Newhaven

June 1845. Above: the

fisherman,

Table, General Assembly

the Free Church,

is

creation. It

0.

making

totally Robert
is

Hill
this

of

Glasgow, 1843. The

news reporters were not posed,

haps this

D.

sitters.

Newhaven, near Edin-

the hope of issuing

them get

and

D.

so per-

Adamson

difficult to see the role

would have played

in

image.

for sale,

for safety.

using calotypes, this project came to nothing.

^*3

i
f

r*F

UNKNOWN:
i
78

the Greenwich Hospital

School, c i860.

Thomas Annan was born

father's advice,

in 1830, the son of a miller in Dairsie, Fife.

excellent free-hand copperplate engraver.

Berwick who was interested

in

His enthusiasm was passed on

Annan was

moving

to a

new

friendly with a

young doctor

chemistry and the development of photography.

to

Annan and together they

business in Glasgow in 1855. Berwick soon

before

Against his

he apprenticed himself to a lithographer and soon became an

left

Thomas Annan

address. In 1859

set

up

and Annan stayed

photographic
for

two years

established photographic

printing works at Burnbank Road, Hamilton. Next door lived David Livingstone's

and when Livingstone returned from Africa

sisters

friendly with

him and took the well-known

Robert Annan, Thomas's brother, was considered

was responsible for administration.

in 1864,

a partner in the business

By 1877 Thomas Annan's two

James Craig (the outstanding portrait photographer), were

photographic studio.
for its

The house

of T.

life

he was engaged

in

John and

also involved in the

R. Annan and Sons Ltd was well known

Thomas was a pioneer in carbon printing.

photo-engraving in association with Sir Joseph

Wilson Swan. Thomas Annan died

in 1888.

Between 1868 and 1877 Thomas Annan photographed

for

sons,

and

&

reproductions of works of art and

In his later

Annan became very

portraits of the missionary-explorer.

in

and around slum areas

the Glasgow City Improvement Trust. His documentation

example of the use of the camera

as a social

is

an outstanding

weapon. Although many of the

photographs do not have people in them, Annan realised the impact the picture

would have
a close.

had to
for

THOMAS ANNAN:

no 11

if there

was

a person peering out of a

Annan's photographs convey

doorway,

in a

passageway, or

in

kind of sadness - the sadness that people

live in such appalling conditions.

These photographs linger

in one's

mind,

they show a reality that only the camera could preserve.

Bridge-

gate, Glasgow, i86y.

79

8o

THOMAS ANNAN.
97 and 10J

Far

left:

closes

Salt market,

Glasgow,

Old Vermel

of High

1868.

Left:

Street,

Glasgow, 1868.

THOMAS ANNAN: Main

Street,

Gorbals, looking north, 1868. Copied

from

The Old

of Glasgow,

Closes and Streets

illustrated

photogravure plates by
his

with fifty

Annan from

photographs taken for the City of

Glasgow Improvement Trust, between

1868 and i8gg, with an

introduction

by William Toung, R.S.JV.

CHARLES NEGRE:

the little tinker,

c 1852.

Charles Negre was an exceptionally fine documentary photographer. Born in

Grasse, he photographed mostly in the surrounding areas. In i860 Negre was

ordered by Napoleon

III to

make

Vincennes, a charitable institution

plates

and

a relatively

wide

lens,

photographic report of the Imperial Asylum at

for

the care ofdisabled workmen.

Negre was able

to

By using small

overcome the poor lighting

and make photographs with great impact and delicacy.

81

82

CHARLES NEGRE:

chimney sweeps,

Quai Bourbon, 1832.

Probably

J.

e.

mayall:

Sergeant

Dawson, Grenadier Guards, who was

wounded in

the

UNKNOWN:

Crimean

War,

wounded

the Crimea seen by

c 1856.

soldiers

from

Queen Victoria at

Chatham, Kent, c 18'56.

UNKNOWN. Left to right:

Toung,

William

Henry Hurland, and John

Connery. Crimean

War

casualties seen

by Queen Victoria when she visited

Chatham, Kent, c 1836.

*3

:'

l|nH

m
1

X^

In the introduction to

T/tf Expression

the Emotions in

of

Man

and Animals Darwin

The

explains his reasons for beginning this investigation:

'.

when

o. G.

read Sir C. Bell's great work, his view, that

man had been

in

rejlander:

for the expression

It is

aspect,

and each expression demanded

of his feelings, struck

interesting to note that

graphs to convey

human

Darwin believed

a rational explanation

sufficiently in the

expressions that he used

them

.'
.

power of photo-

to support

and

illustrate

his scientific conclusions.

The photographs in the book were taken by O. G. Rejlander (1813-75), a

Swede who had trained as a painter in Rome. He learned photography in 1853
from Fox Talbot's assistant Nikolaas Henneman who had a studio in London. He
earned his living by taking portraits and nude studies

known for his large

Two Ways of Life'
the photographs

84

in

allegorical

for artists,

and

is

best

work composed of over thirty negatives titled 'The

1857. Rejlander and

members of his family posed

Darwin's book. Rejlander died a pauper.

for

2 from

Animals by

Charles

created

me as unsatisfactory. It seemed probable that the habit of expressing our feelings

by certain movements, though now rendered innate, had been in some manner
gradually acquired. But to discover how such habits had been aquired was
perplexing in no small degree. The whole subject had to be viewed under a
new

plate

Expression of the Emotions

Man and

Darwin,

with certain muscles specially adapted

EST*

some of

1872.

London;

John

Murray,

unknown.
Alexandria,

Above:

pen,

Virginia, probably the

winter of 1861

Above

slave

or

1862

(detail^).

right: slave pen, Alexandria,

Virginia, c 1865 (detailj.

'In

many of the Southern

cities

the people had erected buildings of this kind for

the confinement cf slaves awaiting

photograph was situated

sale.

The

establishment represented in the

the Western suburbs of Alexandria, near the depot of

in

The main building was

The high brick wall enclosed a

the Orange and Alexandria Railway.

used by the clerks of

the firm and the overseers.

courtyard, in which

were stables and outhouses

for

the accommodation of planters

purpose of selling or purchasing

for the

slaves.

confinement of the negroes.

It

The

had

slaves could be kept singly or in gangs,

received their food.

The

who come in

for

the

large building on the right was used

number of apartments,

in

which the

and one large mess room, where

establishment was essentially a prison.

The

the}'

doors were

very strong, and were secured by large locks and bolts. Iron bars were fixed

in

the

masonry of the windows, and manacles were frequently placed on the limbs

of

those suspected of designs for escape. Auction sales were regularly held, at which
Virginia farmers disposed of their servants to cotton and sugar planters from the

Gulf States.
sold

one

If a slave-owner

of his slaves;

needed money which he could not

easily procure, he

and the threat of being sent South was constantly held over

the servants as security for faithful labor and good behavior. Before the war, a child
three years old, would

man

at

sell, in

Alexandria, for about 50 dollars, and an able-bodied

from 1,000 to 1,800 dollars.

according to her age and personal

A woman would

bring from 500 to 1,500 dollars,

attractions.' 2

85

J.

F.

GIBSON: Cumberland Landing,

rirginia; contrabands on

Mr Foller's

May 1862. Gibson was a

War photographer on Mathew

farm, 14
Civil

Brady's

L.

P.

staff.

vallee:

convalescent ward,

Hotel-Dieu, Quebec, c 1875.

86

le grice:

r.
the

market woman,

Amateur Photographic

'It is

Aix

la Chapel Ie, c

1874: from an album ofphotographs by

Association.

indeed a different nature that speaks to the camera from the one which

addresses the eye; different above

human

eonseiousness there appears one which

through by

sciously

Photography with

this [the indescribable]

its

worked

in the sense that instead of a spaee

all

is

affected uncon-

various aids (lenses, enlargements) can reveal

moment. Photography makes aware

for

the

first

time the

optical unconscious, just as psychoanalysis discloses the instinctual unconscious.' 3

Humphrey Lloyd Hime (1 833-1903) was born in

in 1854. He is considered to be one of Canada's

Ireland and emigrated to

finest early

Canada

documentary photo-

graphers.
In 1858

photography was used

an exploring expedition.

The

for

the

first

time

Exploring Expedition led by Henry YouleHind,

try and

Geology

in

Canada

in

conjunction with

expedition was the Assiniboine and Saskatchewan

at Trinity College,

MA, FRGS, Professor of Chemis-

Toronto, and the photographer was H.

L.

Hime.
In i860

Hime published a

portfolio of thirty prints of which the following

In the series he tried to depict the 'native races' of Canada.

HUMPHREY
Letitia

-a

LLOYD

HIME:

Cree half-breed, 1858.

He

is

one.

used the wet-plate

process and had to load his chemicals, dark tent, camera, tripod, etc, onto a canoe,

dog

cariole,

and Red River

cart

when he went photographing. 4

87

w. w.

HOOPER

the last

of the

herd,

Madras Famine, 1876-8.

w. hooper: famine

\v.

objects,

Madras Famine, 1876-8. JVillougbby Wallace Hooper was born in

Km-

nington, Surrey on 4 February 1837.

He

JOHN THOMSON:

'Hookey

'The most remarkable

Alf", as he

is

Alf of Whitechapel,

figure in this

group

c 1876.

that of "Ted Coally", or

is

called according to circumstances

"Hookey

While high up on an iron ladder

near the canal, at the Whitechapel coal wharfs, he twisted himself round to speak
to

some one below,

lost his

balance and

veyed to the London Hospital,

wrist and his

left

arm.

The

it

latter

fell

heavily to the ground. Hastily con-

was discovered that he had broken

limb was so seriously injured that amputation

was unavoidable, and when Ted Coally reappeared

had replaced

his lost arm.

Thus

crippled, he

in

Whitechapel society,

was no longer

any description [he was already epileptic from

by

his right

fit

for regular

a previous accident],

hook

work of

and having

that time lost his father, the family soon found themselves reduced to want.' 6

served with

the

Cavalry from

1858

ment

He

in

i8g6.

Madras Lizht
until bis retire-

died in igi2.

89

The above and

tions in

following photograph are from a volume titled Trades and Occupa-

the India Record Office, London.

showing aspects of Indian

shown among the

foreign peoples.

life.

is

one of many albums

During Victorian times there was great interest

British people

towards handicrafts, trades, customs, etc, of

These volumes were quite possibly compiled

international exhibitions that were held

(i.e.

1872) to give a visual description of Indian

90

The volume

the

life.

to send to the large

London exhibitions of 1862 and

UNKNOWN:

lacquer

turner, India c i860.

worker

and

UNKNOWN:

Maratti

barber,

small feet

of

1873-

JOHN THOMSON:
Chinese ladies, c 1870.

'.

had been assured by Chinamen that

it

of any sum of money, to get a Chinese

offer

Accordingly,
a liberal

all

my

efforts failed until

minded Chinaman,

would be impossible

woman

to

for

me, by the

unbandage her

reached Amoy, and there with

at last got this lady privately

conveyed

foot
the-

to

order that her foot might be photographed. She came escorted by an old

whom

also

had

to bribe

handsomely before she would agree

act of such gross indecency as the

had
foot,

been able,

which

is

unbandaging the

would rather have avoided the

figuratively supposed to represent a

foot

of"

to

aid of

me,

in

woman,

countenance an

her charge.

And

vet,

spectacle, for the compressed

lily,

has a very different appear-

ance and odour from the most sacred of flowers.''

91

02

Far

Sarah Burge, 5

left:

the three

Corrie,

Bottom

Bottom

left:

A7//<m,

January 1883. Left:

the brother*

Sui>s*q*t*t Rtport.

Brown and Woodruff", 12 M.iy 1875.

Henry and William

Corrs

17

October

II.

Mlf*

ud

1.

Cm, ant mwm, Grtna*.

Mr

1877.

right: the Williams hoys, 14 August 1875.

ALFBED TUCKER.
GOVERNOR'S REPORT
On

the date of Boy's admission.

<*/*/

case

history,

Dr

/<</.

y'.f

W,

Both his father and mother are alive, and lire at No. 104, Heath Street,
Commercial Road Last. The father is a sailmaker by trade, but at present
out ct cmploymcut.
Me has five children, three bo s and two girls, the
former a-ol 16, ij and 9, the latter 6 and 4 year* respectively.
The boy
has on several occas ons been turned out of doors by Ids parents. Our
beadle saw him sitting on the door steps in the morning, having been
refused admittance,
lie has been working for his bread at a fish curers in
Ford Koad, Commercial Koad, tlatfftssC in barrels in tnc yar Is, and the
salt 'rum fetch has :ontracted a skin d sease.
Both his parents refuse to
ha\e anything more to do with him,
They say he is lazy, and old
enough to get hi> own living. They rent two rooms, paying 4 6 per week.
Tne other children axe very ragged and poor.

UNKNOWN:

*'

vie

<<tS<

ere

t .<

J/

/*

t/v

,^+hJC

Admitted January 5/A, 1876.

BarMania's Homes.

Aged 16
Height,

Years.

4-//. 11-in.

Hair,

Dark Brown.

Color
(.

Eyes, Brown.

Complex ion, Dark.

Marks on body

Upon

arrival at

child

would have

its

photograph

taken. Ideally a photograph

also

left

If Vaccinated -Right

Arm.

would

be taken of the child when he

or she

None.

Dr Barnardo's each

If ever been in a Reformatory or Industrial School ?

No.

the home.

A photograph like the one of the

Williams boys (see page 92) was
often the type used

by Dr Bar-

nardo

The photo-

for publicity.

grapher has tried to reconstruct

the conditions under which the

boys were found.

93

FRANK

Top.

SUTCLIFFE:

M.

group of children and women outside a

of igg Church

shop at foot

Whitby,

Yorkshire.

frank

Centre,

This

m. sutcliffe:

New

on the

fish stall

work

negative. Sutcliffe's

and it

Qiiay, Whitby.

from a wet-plate

possibly not

is

is

not dated

extremely difficult to

is

Steps,

what period

tell from

career the photo-

in his

graphs were taken.

FRANK

Bottom.

An

Whitby. The man on

Hill,

the barrel

son

M. SUTCLIFFE:

Unwilling Pupil. Taken on Tate

is

is

the left of

FRANK

right.

CLIFFE:
women

'flither picking'.

M.

known

fisher-

here are 'flither picking' on a

Whitby

as the Scaur. Flither picking

the local

name given

also

from

had

the task

the shells

is

to gathering shell

mainly mussels, for

women

SUT-

The

rocky outcrop ofthe coast near

fish

his

administering the clay pipe.

Top

fish,

and

called Raistrick,

line bait.

The

of cleaning the

ami baiting

the

lines.

Bottom

right,

cliffe:

frank

m. sut-

Barry's Square, the Crag,

Whitby. This was a picturesque area

of Whitby, now largely demolished,

which a good proportion of the

community

94

lived.

in

fishing

Queen

Victoria and her family were

posterity

among

the

first celebrities to

be recorded

by the new and wonderful discovery - photography. The Queen,

everyone else

who

Mande Daguerre
impressed with

heard
in

this

in

for

like

1839 of the invention of photography by Louis Jacques

France and William Henry Fox Talbot

in

England, was

phenomenal advancement. She loved accuracy

in

her repro-

ductions and was immediately delighted with the early daguerreotypes and calo-

CALDESl:

types that were

Osborne, 1857, with Qeft to right^)

The

presented to her.

royal

the

family

photographer to be appointed 'Photographist to Her Majesty and His

Princess

Alice;

Prince

Royal Highness Prince Albert' was William Edward Kilburn, a leading London

Albert,

Prince

Consort;

first

daguerreotypist. Although the

London
1847.

in 1841,

first

photographic portrait studios were opened

Kilburn did not take photographs of the royal family until April

A large proportion of their photographs were not taken by professionals but

rather

by

practising amateurs of the royal household.

painter and drawing master of the Queen, was the

96

in

Henry

first

Collen, a miniature

licensee of the calotype

at

Arthur;
Albert

Edward, Prince of Wales; Prince

Leopold;

Princess

Louise;

Victoria holding Princess

Prince

Alfred;

Victoria,

Royal; and Princess Helena.

Queen

Beatrice;
Princess

ROGER FENTON:

Queen Victoria

and Prince Albert, 1854.

process and took,

what appears

to be the earliest surviving

photograph of the

Queen, dated about 1844-5. Nikolaas Henneman was appointed 'Her Majesty's
Photographer on Paper' soon

Henneman,

The

after Kilburn's

a close associate of Talbot, ever

appointment.

not

It is

photographed the royal

early photographs of the royal family are intimate studies

known

if

family.

showing Queen

Victoria as she preferred to be seen - as wife and mother, not as sovereign.

photographs of the Queen, Prince Albert, and their children are delightful
informality and captivating in their simplicity and unpretentiousness.

The

in their

As photo-

common from the 1870s onwards, the photographs of the

much of their personal appeal. Certainly the photographs taken

graphy became more

royal family lose
in the 1850s

Queen

and 60s are some of the most sensitive ever taken of a royal

art (an important criterion in Victorian times),

as best she could. In

May

practised the

they would

new

visit

'art',

and encouraged

It

advancement
In-

appears that both of them understood and

although none of their photographs remain. Each year

the society's exhibition, often accompanied by some of their

children. In 1857 she gave a photographic outfit to the

ratification

its

1853, she and Prince Albert became patrons of the new

formed London Photographic Society.

Queen

family.

Victoria was convinced that photography was a useful and educational

King of Siam

after the

of a treaty of friendship and commerce between the two countries.

Victoria helped popularise photography in

two important ways. At the

Great Exhibition of 185 1 she saw and greatly admired the stereoscope designed by
Sir

David Brewster and constructed by Jules Duboscq. As

there was a great

in

demand

for

photographic history. At

first

meant only the wealthy could enjoy

stereography. However, once the stereocards could be

torian.

all

of her interest

stereoscopes used daguerreotypes and glass

transparencies, but the high cost of these

stereo-views from

a result

stereoscopes - one of the important landmarks

made from paper

prints,

over the world were available to every middle-class Vic-

By 1858 the London

Stereoscopic

Company was

advertising 100,000

97

wonder of the

age'

Victoria encouraged photography

was

different views from every corner of the globe

was seen

in

and the

'optical

drawing-rooms everywhere.

The second means by which Queen

through her acceptance of cartes-de-visite. These photographs, the

cards,

were made popular

France

in

in

1859

when Napoleon

of visiting

size

stopped at the

II

studio of the French photographer Disderi to have a carte portrait taken. Cartes

were not accepted

in

English society, however, until the

Queen consented

to

have

her portrait and those of her family taken by the prominent portrait photographer
J.

August i860

E. Mayall. In

May

family taken in

their beloved sovereign,

over the world

in

his 'Royal

Album' of

carte portraits

and July was published. Everyone wanted

of the royal

photograph of

and hundreds of thousands of cartes-de-visite were sold

all

booksellers and stationers' shops. Other celebrities were photo-

graphed and the 'cdv' became the rage of the 1860s. Their relatively low cost

made it possible for even the working class to buy cartes, and to have them taken.
The Queen was very fond of giving photographs as gifts on every possible
occasion, and participated widely in the new pastime of exchanging cartes and
placing

them

in

family albums.

After Albert's death, the

Queen always wore

photograph of him and some locks of his

hair.

a bracelet with an enamelled

She also ordered that

photograph

of her late husband and a wreath be hung on the right side of any bed

in

which

she slept. She required a photograph to be taken of every room Albert had
personally used, in order that she could always keep the rooms exactly as he

knew

them.

There

&

Princess

DOWNEY:

D.

Alexandra,

of Wales with her

eldest

daughter Princess Louise, taken after

Princess

Alexandra's recovery from

rheumatic fever, 1867. This was the

are thousands of photographs

which Victoria and Albert had com-

missioned, bought, or received as gifts at the Royal Library, Windsor.

found mostly

in

albums,

many of which they compiled

They

are

themselves, ranging from

family photographs to photographs of military campaigns and pictures of anyone

who was

w.

in

the service of Queen Victoria for a

number of years. There

are

most

popular

printed
copies

were

News,

carte-de-visite

Britain.

in

sold.

ever

Over 300,000

(The Photographic

1885).

albums

of photographic reproductions of paintings, engravings, christenings, confirmations

and weddings. Queen Victoria loved photography because

it

gave her exact

The public, too, loved the

may have been the fact that it

representations of the people and events closest to her.

novelty photography and one of their reasons

allowed them to have a faithful image - a photograph - of their dear Queen.

The Princess Royal and Prince Arthur

as 'Summer*.

98

Fifth and concluding tableaux of The

Seasons' with

Alice,

Qejt

Princess

to

right) Princess

Helena,

Princess

Louise, the Prince of

'ales,

Prince

Arthur, and Prince Alhert.

This and the previous photograph were taken by Roger Fenton on 10 February
1854.

They show

the children reciting excerpts from James Thomson's

wedding anniversary.

Seasons' in honour of their parents fourteenth

graphs were taken by the

years later

Queen

w axed-paper process and

r

poem 'The
The photo-

printed on salted paper.

Many

Victoria said she did not approve of these photographs for

publication and asked for the negatives to be destroyed. After 120 years there

no

UNKNOWN:

May 1856.

(as part of the peace celebrations after

is

i|

raised to publication.

Crimean War^). The man towards

of the picture, with

WuXL ^

&3m
'1

*-

of a model of Marochettfs

Scutari monument, and a peace trophy

the right

is

If

This was

most likely taken on the occasion of the

the

of privacy and no objection

the royal party at the

Crystal Palace, g

unveiling

risk of an invasion

is

'

whiskers,

George, Duke of Cambridge.

The

photograph has the look of what later

came

to be

known

a\

a 'news photo'.

V wAm\WWu

'J-TWJi
|S^
MB
wy
w

"

y\

wmmrL

mm

'OSjjjJBfcHBI
^

"]

99

John Jabez Edwin Mayall (1810-1901) was an American from Philadelphia who
lectured in chemistry and ran a daguerreotype studio in that city from 1842.

arrived in

1867), a

London

in

He

1846 and managed the studio of Antoine Claudet (1797-

Frenchman who had bought the

first

licence from Louis

Daguerre to

practice dagucrrcotypy in England. Mayall did not stay long with Claudet as he
his own studio
He became very

the American Daguerreotype Institu-

opened

in April 1847, called

tion.

successful as his daguerreotypes, like

had

a greater polish

all

American ones,

and clarity than the English products.

Mayall soon became one of the leading portrait photographers using both
albumen-on-glass negatives and then the superior wet-collodion process. Looking

through the

Illustrated

London News and the

Illustrated Times

of the day, one finds

hundreds of engravings of prominent individuals based upon photographs by

Mayall. His

carte-de-visite

him ahead of

all

business earned

him 12,000

other English professional photographers.

establishment was said to exceed half a million

to

him

for his

Queen

is

of his

year and the royalties paid

J

the oddest

man

first

two-hour

sitting

with him

ever saw, but an excellent photographer.

American, and a tremendous enthusiast

100

cartes a

The output

photographs of the royal family exceeded 35,ooo. 1

Victoria said of Mayall after her

1855, 'He

a year, a figure that put

in this

work.' 2

in July

He

is

an

UNKNOWN:

probably a celebration

arch marking the wedding of Albert

Edward and Alexandra, 1863.

Probably g. w. wilson: Qtieen

John Brown, Queen Victoria's highland servant, had an unusually close

Victoria and John Brown, 1863.

ship with her. Originally one of Prince Albert's

gillies,

Brown became

relation-

the Queen's

regular attendant in the Highlands from 1858. In February 1865 he was promoted
to her regular outdoor attendant.

George Washington Wilson (1823-93) of Aberdeen, was best known

inter-

nationally for his views of Scottish cities, castles, cathedrals, seascapes, and lake

and mountain scenes.

wet-plate photographer, he became famous for his

'instantaneous views' (less than one second exposures).

subject matter with peopled streets, boats under

popular portrait photographer and

for Scotland.

in

By 1880 'G.W.W.' was

The term also referred to

G. W. Wilson was a

sail, etc.

i860 was appointed the Photographer Royal

the world's largest publisher of photographic

views

101

102

CHARLES negre:

Prince Leopold,

with Lady and Miss Bowater, J '"ill

Liader, Cannes, 7 February 1862.

Over page (pp 104 and 105)

EARL OF CAITHNESS or
BAMBRIDGE: planting Prince
sort's

memorial

tree,

MR
Con-

Windsor Great

Park, 25 November 1862. This appears

in the book

The History of Windsor

Great Park and Windsor Forest

(^1864), William Menzies. The Queen

was accompanied by Princess Alice,

Princess

Countess

Alexandra of Denmark,

of

Caledon, Prince Louis

the

of

Hesse, Prince Leopold, Princess Louise

and Count

Gleichen.
j.

e.

may'ALL: wedding guests,

Princess

Alexandra of Denmark, g March 1863, with Qeft

Denmark;
Opposite, top.

unknown:

the

Prince of Wales in the Queen's pony

chair,

10 February 185J. Bottom.

UNKNOWN:

Scots with royal dogs.

taken the day before the wedding of the Prince of

to

righQ Prince

Wales and

Christian of

Louise, Princess Christian of

Denmark; Prince Frederick of Denmark (standing);

of Hesse; Crown

Prince Frederick William of Prussia (standing);

Alice, Princess Louis

Prince Louis of Hesse; Princess Helena

(foreground); Princess Alexandra of Dennurk;

Albert Edward, Prince of Wales; Victoria, Crown Princess Frederick William of Prussia

(reading); Princess Dagmar of Denmark; Princess

Ij>uise;

and Prince William

of Dennurk.

103

PRINCE ALFRED:

set

of four

carte-de-visite photographs of Queen

Victoria and Princess Alice, Windsor
Castle,

1862. Prince Alfred was an

enthusiastic

amateur photographer. All

the princes, except

Arthur, apparently

attempted the new medium.

ROGER FENTON:

the long walk,

Windsor, c i860. Fenton was one of

the first photographers to be

summoned

by Queen Victoria to Windsor and

Balmoral

Castles,

and was a frequent

visitor from 1 853 until Prince Albert's

death.

""^"'1

'
,

\[

#jr

gil

hfctMM^
'

"

106

..-

--'-

A Personal
Family Album

Recording one's

own

family and friends

is

the most

common, and one of the most

satisfying uses of the camera. Personal photographs tend to

groups.

The

first

we

call

his

is

for

face, figure,

own gratification. He
many different levels.

the individual's

hand, interpret the picture on

himself into the act of photographing.

Henry

Wood's

photograph.

caption

Colonel

for

this

snatch one.

He

is

thinking

in

tries to

He

is

can, once the print

is

He

is

in

putting something of

trying to create an image; not just

terms of communicating part of what he

the occasion, the place or the person.

ment and

two

or event he wants to remember.

In the second instance the person behind the camera

THE WOODEN FAMILY.

into one of

the snapshot. Simple and straightforward, the photo-

grapher has pointed his camera at a

The snapshot

fall

feels

considers composition, time, and

about

move-

give a comprehensible form to his perceptions.

107

The photography

of Colonel Henry

Wood

(1834-1919) whose work

we

see

exclusively in this chapter epitomises the second type of personal photography

previously referred

found within

his

Most of

to.

photographs.

the knowledge

He

and photographed the dishes on the

houses where he lived.
to

make

ing her

He

also

shelf, formal

knew how

significant personal images.

first

baby, and

we

we have

about Henry

Wood

is

understood the importance of documentation

groups of his fellow

see the scene as the

his wife in

husband saw

it,

mately. His photographs of his daughters eating cherries or

so quiet, so idyllic that the viewer truly feels the peace

the

documentation

to extend the idea of

He photographed

officers,

bed

after hav-

discreetly yet inti-

by

a bird cage are

and contentment of child-

hood.

Henry Wood apparently

apparatus.

The

started to photograph in the 1860s using wet-plate

split-second exposure

was not

possible,

and the concept of 'snap-

shooting' was unheard of; photography was a difficult and laborious task.

photographer had to
108

sensitise his

own

plates, give

The

lengthy exposures, develop the

plates

and carry around with him

form these operations.

The

mountain of equipment and chemicals

to per-

'primitive' photographer did not sh(X)t haphazardly,

yet few amateurs went beyond mastering the technique. Those individuals that

saw certain

possibilities

who wanted

of the photographic

new gimmick

medium

to help sell their

were-

mostly professionals

photographs or

new way

impress their audience at exhibitions with their complex 'works of

Wood went beyond

intuitive understanding of

Ic

Henry
had an

photography and always remained an amateur.

know if he arrived at his awareness

many later photographic trends.

difficult to

foresaw

art'.

straight picture-making but not for these reasons.

independently, but

to

It

we do know

is

he-

Henry Wood understood the psychological complexities of photomontage. He

created new realities to illustrate his fantasies, his dreams. Not only did he realise
that the psychological sum of one photograph printed on top of another is far
greater than the

important

albums

in

He

for

It is

very

relates to

his

He was totally
page. He layed

photographs.

another on the

conscious of the

way

out his photographs

entertainment and enjoyment; he captioned practically every image.

also included in his

cartoons, etc.
television,

had a conception of layout.

also

an understanding of Henry Wood's work to view the

in arriving at

which he pasted

one photograph
mostly

two independently, he

albums

Henry Wood was

his drawings,

Christmas cards, pressed leaves,

living in an age prior to record players, radio

and people flipped through family albums

Henry Wood's photographic

plates, baths,

camera, tripod,

chemicals, dark tent used

lenses,

and carrying

as a

when

pastime and

sensitising

for

and

amuse-

and developing

the

cases.

109

ment. Compared to other Victorian family albums, his are totally fresh

and

in

approach

style.

with

photography

'straight'

his first wife Charlotte

He

daughters.

is

second wife, and their

his

his subjects intimately

to his

life.

why

they

'live'

today.

The

and conscientiousness are unquestionable.

and made no

effort to

his

spirit

photographs flow out each and every time

his

sincerity, talent,

knew

on Henry and Charlotte's honey-

moon

in India;

114 onwards

those from page

were taken

after

Henry's marriage to Helen.

we
He

photograph things unrelated

Unlike the professional portrait photograph that appears

stiff

and cold

was taken by an anonymous operator of what some considered an un-

holy machine, Henry Wood's portraits are

playful, relaxed

father

He photographed

in itself.

and then with Helen,

the fundamental reason

and energies he injected into

view them. His

it

outstanding

is

put great creative, psychological and emotional energies into

photographs. This

because

the following

three pages were probably taken

Henry Wood's
his life

The photographs on

knew

moments of living. His daughters

and walk right out of Henry's pictures into our

ways and encouraged them

their impish

to

Their

hearts.

sometimes see photo-

allowing them to dress up, create a mood, or just be them-

graphy

as play-acting,

selves.

His second wife Helen does, however, appear aloof

photographs. Again, this

is

He was

and unyielding.

are

a reflection of her personality

most of the

in

which was rather cold

firm but gentle with his family and friends and his

A 'wolf mar?.
wolves.

they

When

This

made him

never spoke

man was

raised by

he reached a certain age

leave

the pack.

and always remained

He

in the

posture shown. Taken about 1866,

it is

photographs, well conceived and composed, have an unposed naturalness about

perhaps the first photograph of such a

them. Henry Wood, a marvellously talented photographer, loved

man.

his subjects

medium for expression.

Henry Wood was born in Richmond, Surrey and was educated

and

his

He

College, Radley.

left

at St Peter's

there in 1848, and in 1853 joined the 69th Regiment.

year later he was in the Crimea. After the war he was with the Rifle Brigade in

England

until 1864,

when he was

happy one.

Charlotte

It is

chapter. She

who

Two

sent to the north-west frontier of India.

years later he married Charlotte Francis Smith. Their marriage

appears in the

was an adventurous Victorian

lady,

first set

was

a short but

of photographs in this

and she and her husband covered

much rugged territory on their honeymoon in 1866. Charlotte even removed her
when hiking! She died in 1869, at the age of twenty-two, in England,

crinoline

leaving
In

two

children.

871 Henry Wood married Helen Mary, daughter of the Reverend Henry

Brown, rector of Woolwich. They had four daughters - Hazel (b

Olive (b

March

In 1880 the family

Rifle Brigade
girls

1878), Myrtle (b 15

went

to India

between 1880-5.

Many

date from this period. Their

certainly they entertained

May

1881) and Holly (b

where Henry Wood commanded

many

August 1872),

8
3

January 1889).

a battalion

of the

of the photographs of 'Mother' and the

home

appears to have been very pleasant and

He

friends.

even posed

his visitors in different

costumes and situations.

The Wood

family returned to England in about 1887 and

the 9th Regimental District in Norfolk.

years in
to be

He retired in

Norwich painting, wood-carving,

rather 'eccentric' (the only souvenir

a skull),

and showed no interest

Mrs Veronica

Bamfield, thought

in his

it

etc.

Henry commanded

1890 and spent his remaining

His family always considered him

he brought back from the Crimea was

photography. Only his granddaughter,

was outstanding and

it is

due

to her cherishing

and preserving 'Grandpa's' photographs that we have the opportunity today to

see these tender,

produced

in this

humourous, and beautiful images. Most of the photographs

paper. Contrary to the pattern established in the other chapters, there are

photographs

in this

chapter taken

decision to include these

see

it is

in

was made

how Henry Wood developed

century. Secondly,

some

the 1890s and early 1900s on dry plates.

for three reasons. Firstly, it

as an

is

The

fascinating to

amateur photographer over nearly half a

delightful to see the

Wood

girls as

adults and thirdly, they were too good to leave out!

no

re-

chapter are from wet-collodion negatives and printed on albumen

adolescents and

young

Henry

in

Poplar Avenue, Cashmere,

Campsite, Kaghan, 1866.

October 1866.

Charlotte

Charlotte

- Cashmere, 2 October 1866.

and a friend, 1866.

Ill

Charlotte

Rawul

Marlborough

Pindee

House,

(Rawalpindi^,

24

October 1866.

Butterfly

Hall,

November 1866.

112

Rawul

Pindee,

Charlotte has taken off her crinoline in

(

favour of a posh
coat. She

is

teen',

another Englishman.
is

leading.

Charlotte
stores,

a native fur

roped between Henry and

An

Indian guide

Kaghan, 2g July 1867.

dressed

to

go out

to

the

1867.

113

114

Left

Helen

in

bed after the birth of

Hazel; Tzaperjium Cottage, Southsea,

August 1872. Below

one

and

left:

a page

ty+Ui

L-Cc

Cutty

%Ui^^

4 (ZciC.

fffZ

in

of Henry's albums. Below: Hazel

Olive, c

lSjg.

#a$ e

ic^C^r/^jrs?

May*? a/

Trrv/t

Culi /Pj?
Freddy and Cecil were Charlotte and
Henry's children.

Alice Brown, 27 'July 1872.

Hazel and

116

Olive, c 1881.

FTER10E

Olive on her third birthday, 1881.

Olive

Wood, and presumably,

Henry's brother

officers, c

one oj

1881.

117

.-

Thus wandered

these

two pretty babes

Till death did end their

And
As

in

Grief

one another's arms they dyed

babes wanting

relief.

(Inscription, and spelling, as in one of Henry's albums)

Helen, Hazel, and a sleeping Olive, 1881.

118

Myrtle

in the sky,

and

Olive, c 1881.

Below

Olive and Helen

Wood at

the

breakfast table with friends. Henry's

place

is

vacant while he photographs.

The aog's name

on

the

Below

family
right:

is

Teak, another

surname,

Myrtle,

pun

1882.

Helen,

and

Olive looking on, c 1883.

119

'Little

Red Riding Hood

Cooldannab Cottage, September 1883 -

(alias Olive}', c 1883.

Olive

'Tbe\

and Myrtle, back view, 1884.

120

Badminton at Cooldannab Cottage, September 1883.

itULlil

Olive and Myrtle, front view,

1884

121

IE

WAR BEFORE
This and the following photographs were taken on dry plates

when

the

family

was back

in

England (pp 123-4).

Left

Olive

1884.

Myrtle

and Bee at Teak's grave, c

Below:
in the

Olive,

and

garden of Cooldannah

Cottage, c 1886.

122

Hazel,

Rat

WAR AFTER
.-4/?er

;tfjy

years in the army

statement. Holly

- a

Wood, Norwich, c

1902.

Right: Myrtle and Olive

corner

in the cosy

of the drawing room at Thorpe

Road,

Norwich,

Henry

called this

Below:
'A Freak Picture' c

1896.

Fred, Holly, Hazel, Myrtle, Olive,

Olive, Hazel, Myrtle, Fred, Holly, c

1897.

i-3

124

CHAPTER

Photographic 'journal, 1859, p 179

Album for

The Photographic

the Tear

members

1855 (contributions from the

of The Photo-

graphic Club)

CHAPTER
2ijunc

1858, p 229

Photographic journal,

British Journal

ibid, 23

ibid,

ibid, 18

Thomas, D.

graphy Annual (1969), pp 17-26

Taft, Robert. Photography and the American Scene: a Social History 1839-1889

York, 1964), p 309

Bourne, Samuel. 'A Photographic Journey through the Higher Himalayas',

of Photography, 26

November

February 1870, p 75
B. 'The Lantern Slides of Eadweard Muybridge',

of Photography,
10

1869, p 570

28 December 1866, p 618

British journal

of Photo-

(New

York,

New

1938; reprinted

November

1866, p 560

British Journal

December 1869, p 579

Thomson, John.

Illustrations

Claudet, A. 'Photography in

of China and
Its

Its People

(1873-4), vol

Relation to the Fine Arts', Photographic Journal, 15 June

i860, p 266

chapter
1

2
3

Gernsheim, Helmut. Roger Teuton: Photographer of the Crimea (1954), p 75

Journal of the Photographic Society, 21 January 1856, p 286
Congressional Record,

43rd Congress, 2nd session, vol

3,

part

3,

p 2250. Taken from Robert

(New York, 1938;

Taft's Photography and the American Scene: a Social History 1839-1889

reprinted

New

York, 1964), p 241

March

1878, p 121

Photographic Sews, 15

Savulescu, Constantin. 'The First

(March
6
7

1973),

Photographic Reportage', Image, vol 16, no

War

pp 13-16

Vision at I.ucknow', Image, vol 17, no 2 (Feb 1958), pp 36-40

no 2986-2990. Indian Record Office, London. letter from
'Military Proceeding'

Chappell,

W. 'Camera

for 1879,

Burke Esq, dated Peshawar, 4 April 1879

Gardner, Alexander, Gardner's Photographic Sketch Book of the War, text to plate 94

J.

CHAPTER
1

The Tear Book of Photography and Photographic News Almanack (1875), p 75

Gardner, Alexander. Gardner's Photographic Sketch Book of the U\,r, description opposite
as the one in Gardner's Sketch
plate 2. The photograph reproduced here is not the same
occurred which suggest that it
Book. The same buildings are shown, but changes have

was taken

at a later date

Benjamin,

W.

'A Short History of Photography', Screen, vol

no

(1962), p

Image, vol 2,

Thomson, John, and Smith, Adolph.

13,

no

(Spring

Street Life

hwdon (1877; reprinted

York,

1969)

Thomson and

Thomson, John.

The youngest daughter almost grown

up - Holly and Olive's cat
Bonbon, c 1902.

Julie

Smith.

Street Life in

Illustrations

Undon

of China and

Its

People (iJ

HAM IK

Photographic Sews, 1885, p 136

Gernsheim, H. and A. free* Victoria:

2,

plate 14, no 39

a Biography

ifl

Word and

Picture

[959

p 26l

[25

Place of publication

is

London except where

stated otherwise

GENERAL BOOKS USED IN THE PRESENTATION OF

BEAVER,

Patrick. The Big Ship: Brunei's Great Eastern

THIS

VOLUME

- a pictorial

history

(1969)

bell, Quentin, and gernsheim, Helmut and Alison. Those Impossible English (1952)
BONI, Albert. Photographic Literature: an International Bibliographic Guide (New York, 1962).
The standard general bibliography in photography
BRAIVE, Michel F. The Era of the Photograph (1966). Translation by David Britt from the
French edition (Brussels, 1964)
Noel, and rae, Jocelyn. This Man's Father (1935)
EDER, Josef Maria. History of Photography (New York, 1945). Translation by Edward Epstean
from the German fourth edition (Halle, 1932)
original

carrington,

GERNSHEIM, Alison. Fashion and Reality 1840-1914 (1963)

GERNSHEIM, Helmut. Masterpieces of Victorian Photography (195 1)
gernsheim, Helmut. Historic Events i8^g-igjg (1959)
GERNSHEIM, Helmut and Alison. Queen Victoria: a Biography in Word and Picture (1959)
GERNSHEIM, Helmut and Alison. Roger Fenton: Photographer of the Crimean War (1954)
GERNSHEIM, Helmut and Alison. The History of Photography (revised edition, 1969)
HORAN, James D. Timothy O'Sullivan: America's Forgotten Photographer (New York, 1966)
HOR AN, James D. Matthew Brady, Historian with a Camera (New York, 1955)
IVINS, William M.,

Jr. Prints

JACKSON, Clarence

S. Picture

and Visual Communication (Cambridge, Mass, 1953)

Maker of the Old West: William H. Jackson (New York, 1959)
Andre. Charles Ncgre: Photographe (Paris, 1963)

JAMMES,
JAY,

Victorian Cameraman: Francis Frith's Views of Rural England

Bill.

1850-98 (Newton Abbot,

1973)

LIBRARY OF CONGRESS.

Civil War Photographs 1861-5 (Washington DC, 1961). Catalogue of

photographs compiled by Hirst D. Milhollen and Donald H. Mugridge

LO duca. Bayard (Paris,

1943)

MA AS, Jeremy.

Victorian Painters (1969)

MINTO,

Thomas Keith: Surgeon and Photographer (The

C.

S.

Hurd Bequest of photographic

paper negatives) (Edinburgh, 1966).

MUYBRIDGE, Eadweard. Animals in Motion (1925; reprinted New York, 1957)
NEWHALL, Beaumont. The History of Photography from i8jg to the Present Day (New York, 1964)
NEWHALL, Beaumont. The Latent Image: the Discovery of Photography (Garden City, New
Jersey, 1967)

ovenden, Graham, and melvtlle,

POLLACK,

Robert. Victorian Children (1972)

Peter. The Picture History of Photography (revised edition,

quennell,

New

York, 1969)

Peter. Victorian Panorama: a Survey of Life and Fashion from Contemporary Photo-

graphs (1937)

SCHWARZ,

Heinrich. David Octavius Hill: Master of Photography (1932). Translation by Helene

D. Fraenkel from the original German edition (Leipzig, 193 1)
TAFT, Robert. Photography and the American Scene: a Social History i8^g-i88g (New York, 1938;

reprinted

THOMAS,
THOMAS,

New

York, 1964)

D. B. The

First Negatives (1964)

D. B. The Science Museum Photography

TIME-LIFE books.

Life Library of

Light and Film (Nederland, 1970, 1971)

Great Photographers

(New

York, 1971)

Photojournalism (Nederland, 1971, 1972)

Documentary Photography

126

(New

Collection:

Photography

York, 1972)

Catalogue (1069)

1.

ARI.Y

DM

DAI [SON, J.

loss I'M

Conway

B. The

du camp, Maximc.
1

\i

Gardner,

so

in

onm

in the Stereoscope

gyptr,

kith, Francis. Egypt and

Nnbk3

IN SPECIAI COLLECTIONS

(i860). Illustrated In Roger FentOIl

Denim Pbotograpbiqmn

Palestine et Syrie:

Palestine Photographed

and Described (1858 9)

Alexander. Gardner's Photographic Sketch Book of the

Nen York, 1959) in 2 vols

(Paris, 1852)

in 2 roll

War Washington

n<

<

[865,

1S66; reprinted

HOWITT, William and Mary.

Ruined Abbeys and Castlei of Great Hrn.nn various editt

Photographic illustrations b) Roger Fenton, Francis Bedford, etc, [862, etc

\u k ray, James William. Pbotograpbii Vims

(Yokohama,

smyth,

1868). Photographs by

Piazzi.

Te/ierifj'e,

Japan, with Historical and Descnptfn Hotel

of

Felice Beato

an Astronomer's Experiment or

Specialities

of a

Above

Residence

the

clouds (1858). Illustrated with photo-s te reographs

talbot, William Henry

Fox. The Pencil oj Nature (1844 6,

in

Se%

6 parts; reprinted

York,

1969)

TAUNT, Henry

William.

edition (Oxford,

New Map

OJ the

Hirer Thames, from Thames

Head

London, 3rd

to

879)
THOMPSON, W. M. The Holy Land, Egypt, Constantinople, Athens, etc (1866), with
forty-eight photographs taken by Francis Bedford
1

Thomson, John. The Antiquities of Cambodia (Edinburgh, 1867)

Thomson, John. Illustrations of China and Its People (1873-4) in 4 vols
Thomson, John. The Straits of Malacca, Indo-Chwa, and China (1875)
THOMSON, John. Through Cyprus with the Camera in the Autumn of 1878 (1879)
THOMSON, John, and smith, Adolphe. Street Life in London {l%JJ in 12 parts;

in

a series

of

2 vols

reprinted

New

York, 1969)

A SELECTIVE LIST OF PLRIODICALS RELEVANT TO THE EARLY HISTORY Ol

PHOTOGRAPHY
Amateur Photographer, 1884
860-

British 'Journal of Photography,

British Journal of Photographic

Almanac,

New

Image, Rochester,

860- 1 96

York, 1952-

Journal of the Photographic Society of London (later the Photographic Journal) 1853Pbotograpbic Xews, 1860-1908
Proceedings of the Royal Geographical Society,

2nd

series,

1879-1892

Royal Photographic Society Historical Group

Xewsletter,

1972-

Stereoscopic

Magazine, July 1858 to February 1865. Subject matter not concerned with photo-

graphy. Illustrated with stereoscopic photographs

EXHIBITION CATALOGUES

Centenary Exhibition of the

H 'ork of

David Octavius Hill (1802-76) and Robert Adamson (1821-48)

(Edinburgh, 1970). An exhibition held

at the Scottish Arts

Council Gallery 2 Mai to

May

1970
liadweard Muyhridge: The Stanford
31

Tears,

held at the Stanford University

French Primitive Photography

1872-1882 (Stanford,

Museum

(New York,

1969).

California, 1972).

An

exhibition

of Art 7 October to 4 December 1972

An

exhibition held at the Philadelphia

Museum

of Art 17 November to 25 December 1969

'From todav painting is dead' The Beginnings of Photography, an exhibition held at the Victoria
and Albert Museum, London 16 March to 14 May 1972
Image of America: Early Photography, 183Q-IQOO (Washington DC, I957;- An exhibition held in
the Library of Congress and opened on 8 February 1957
Masterpieces of Victorian Photography 1840-lQOO, from the Gernsheim Collection, an exhibition held
at the Victoria

and Albert Museum, London

May

to

October 195

[27

Page numbers

in italic refer to illustrations

Darwin, Charles

Ordnance Survey

84

Delamotte, Philip Henry

Adamson, Robert
Afghan War 67-8
Albert, Prince

Dixon, Henry

34, 60,

albumen paper

Diamond, Dr Hugh Welch 75

Disderi, Andre Adolphe
98

78

77,

96-101

14

106

Alfred, Prince

Amateur Photographic Association

34,

46,87
American Daguerreotype Institution

100

Annan, James Craig

79
79, 80

Annan, Thomas

Anthony,

&

E.

Archer, Frederick Scott

Papillon, Lieutenant J. A.

28

Du Camp, Maxime

97
photomicrograph

Frith, Francis

Bambridge,

27, 30, 31, 34, 35-6, 37,

Gibson, John F.

Barnard, George N.

Barnardo,

Dr

Bertsch, Adolphe

Hill,

29

and

Auguste

Louis

Augustc

48, 49

Blanquart-Evrard, Louis-Desire

14,

25,

37
Boole, A.

Mathew

37-8, 44-5
58,

Brewster, Sir David

Burke, John

37

Silvy, Camille

32

Smith, Samuel

77
16, 17, 18

Society for Photographing Relics of Old

2,

89

23-4

London

28

66

Soulier, Charles

61,64-5

Jackson, William

61-2

78,

Henry

Jones,

Reverend Calvert

Keith,

Thomas

39-40, 56-7

Sutcliffe,

Sutton,

42

Swan,

97

Kingdom

23

Kilburn, William

68

18,79

23,51,97
Frank Meadow

Thomas

Sir Joseph

Wilson

105

63

George Shaw (Baron Eversley) 63

Le Gray, Gustave 19,25,27
Le Grice, R. 87

96

calotype

14,96

carte-tle-visite

32,98,100

China War

61,64,65
Civil War American)

51, 100

Henry 96
Commission des Monuments Historiques
25

Cundall, Joseph

Hen ry

25,27

58, 61, 69, 75, 85

Collcn,

Crystal Palace

Secq

Madras Famine

59-61, 63-4, 82-3

Edwin

Victoria,

9,

86

Queen,

Daguerre, Louis Jacques

25

128

Negre, Charles

wet-plate process,
29, 39, 54

27, 81, 82, 100, 103

Xewhaven, Scotland

100

daguerreotype

14, 96,

14,96-7,100

22, 31, 35, 60, 63, 96-

37

19

wet-collodion process

14,

108-9

wet-collodion pro-

40-1 42
,

Williams, William Carlton

Wilson, George Washington

78

Niepce, Joseph Xicephore

see

cess

Wheelhouse, C. G.

Mande

48-9, 52-3, 77, 88, 91

waxed-paper process

Montizon, Count de 35
Muybridge, Edweard 28,

23

15-16,

74, 98, 100,

03

Mestral

21-2,99

Thomson, John

Vignoles, Robert

25

Mayall, John Jabez

14,

106

89

Marville, Charles

23, 5 1,97

Henry Fox

29,63,74,96-7
Talbotype 14

Vallee, L. P.

London Stereoscopic Company

Claudet, Antoine Francois Jean

Crimean War

.e

63-4

96-7

Lefevre,

Caldesi

79

Szathmari, Carol Popp de

Edward

Langlois, Jean Charles

76, 94-5

19

Talbot, William
Caithness, Earl of

22

Spackman, Sergeant
stereoscope

B.

Brunei, Isambard

28

Smith, Adolphe

28

Bourne, Samuel
Brady,

Mutiny

63-4

Mr

Shepherd,

77, 78

Hime, Humphrey Lloyd 87

Hooper, William Willoughby

Indian

& J.

26

42, 84, 97

David Octavius

Howlett, Robert

34

21,97

13

Henneman, Nickolaas

31

84
21

Robertson, James

Sanford,J.

heliographs

29

42

71

Reports of the Juries

Rimington

71,56
23

Hawarden, Lady Clementine

25,62-3

.f, 64, 65

Bedford, Francis

Rosalie

58, 61, 70, 71, 72-3

76-7, 92-3

Bea to, Felice A.

Reade, Reverend Joseph Bancroft

Rejlander, Oscar G.

Great Exhibition of 1851

71

Bayard, Hippolyte

Bisson,

Great Eastern

105

37, 51, 75,

29

Reading Establishment
Reekie, John

37,43

14

25

Mr

14

Photographic Society, The

51

Gardner, Alexander
Baldus, Edouard

photogenic drawing

37

England, William

46

66-7

Paris

59-61,63,97-9,206
61

Commune

Downes, George 23-4

Downey, W. & D. 98
Duboscq, Jules 97

Fen ton, Roger

& Co

H. T.

32, 33

Timothy 56,58,71
Oxford Arms, London 28
O'Sullivan,

20, 21

13-14

Wood, Colonel Henry

50
55, 100

107-24

Also published by

G rapbic Society

SUN PICTURES:
The Hill/Adamson Calotypes

David Bruce.

collection of the caloty]

Xivid

Octavius Hill and Robert Adamson, recording people

and scenes

One

tury.

Edinburgh

in

mid-nineteenth cen-

in the

of the most important early photographic

achievements.

130

sepia

cloth $17.50

ill 11 strut ions.

PAPER

$ 7.95

FATHER OF ART PHOTOGRAPHY:

O. G. Rejlander 1813-1875

Edgar Yoxall Jones. The

who

eccentric Victorian

first

monograph on

a gifted,

adapted the early photo-

graphic techniques to the

artistic

forms of

a master of character studies, tableaux

his times,

and allegories

in the Pre-Raphaelite tradition.

86 black and white

$8.95

illustrations.

IN THIS PROUD LAND

America 1935-43 As Seen

in the

Farm

Security

Administration Photographs

Roy Emerson

Stryker and

Nancy Wood. "A

collection

of

200

as

Dorothea Lange and Walker Evans under

of the 270,000 photos taken by such artists

direction for the

Farm

Security Administration.

These are photographs of

depression.

graphs

among

The

Stryker's

rural

enterprise

the most

America during the

was unique, the photo-

moving ever made!'

News;.

>oo black

and n bite photographs.

$17.50

THE HISTORY OF PHOTOGRAPHY:

1839

to the Present

Day

Beaumont Newhall. "The one

subject in English

which

ingly interesting ...

it

on photography now
Revised edition.

Modern
210

is

Printed in

Gr

^:

both reliable and c\

in print"

Modern Pbotogrspb)

publication of the

black and white pbot

GRAPHIC

Greenwich, Conn<

on the

remains the most 'current' book

Art.

NEW YORK

single source

cticut

Museum

of

REALITY

Kl

ORDi

raphy and rhc extraorc

cna nges took place

in

The; early photographers

nvolved with the pro pi ms
n this res Dec t. thev are rhe

4->
'*':-

-71
/-

v!

Ml
^ rjrrTn

f tiw_

Barry's Square,

The Crae, Whitb

~rft