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 an informa business
ISBN13: 978-1-474-27759-4

Routledge
--- UNDERSTANDING PHOTOGRAPHY
EMMA LEWIS

I~ ~~~;~~n~~:up
LONDON AND NEW YORK
Contents
INTO THE SOCIETY &
MODERN HUMANITY
1850s-1930s 1930s-70s

Social Realism
Early Street 74
36
War Reportage
Pictorial ism 76
38
Photojournalism
The Nude 80
42
Subjectivism
Fashion & Society 82
46
The Family of Man
Still Life 84
48
The Candid Portrait
Futurism 86
52
Street & Society
Constructivism 88
54
Celebrity &
Dadaism Paparazzism
56 92
Bauhaus
& the New Vision
58
New Objectivity
60
Surrealism
62
Mexican Modernism
66
Industrialism
68
Group f.64
70
6 Introduction
r. Photography is structured by approaches that have gone through very
U technological innovation, artistic different iterations, such as conflict
movements, its cultural role as a photography, appear in two or three
documentarian and storytel ler, and its different places throughout the book to
function in commercia l contexts, all of illustrate the ways in which they have
which act as categories for the practice of shifted in accordance with culture, industry
different photographers. This book is an and technology. Some chapter titles are
accessible guide to these classifications. names coined by the photographers
Since its invention in the early 19th involved, some simply describe the
century, photography has proved itself to be approach, and others - Industrialism,
a restless medium - far more so than any Subjectivism, Satirism, Dusseldorf Deadpan
other. From the foundational inventions of and Fictional Narrativism - have been coined
these early years (like William Henry Fox for this book to pithily sum up a style or
Talbot's method for producing prints from approach.
negatives, or Eadweard Muybridge's It is important to point out that the
technique for recording motion) to the photographers included in each chapter
game-changing innovations of the 20th and are necessarily representative but, like
21st centuries (such as the launch of colour photography itself, their practices are fluid
film, and digital and front-facing came ra s), and not defined solely by the category in
chemistry and technology are constantly which they appear here . This publication is,
transforming the very nature of therefore, not an exhaustive summary, but
photography - and therefore our an essential guide, offering the key
relationship with it. information necessary to understand and
Throughout this evolution, photography enjoy the medium that permeates almost
has been ascribed arguably its most every aspect of our lives.
important, and certainly its most contested,
role - as a w itness to current events. It has
also been relied upon to communicate
political ideas, and shaped by groups of
photographers with firm ideas about what
their medium is or should be used for. And,
just like painting, drawing or sculpture, it
has been integral to some of the major
movements in modern art.
The structure of the book reflects how
all of these different facets have overlapped
or diverged over the course of time . While
there are movements, such as Surrealism,
which can be pinpointed to a specific place
or moment, there are also themes like Still
Life that span history and geographies.
These themes are explored here from the
key period w hen they were first introduced,
especially productive or influential. Other
 Introduction 7

THE FOUR TYPES OF ISM 3 MOVEMENTS

e
e.g . Dadaism; New Formalism

MOMENTS
e.g . The First Photograph; Motionism These chapters encompass groups of artists
who either coined a term themselves to
label their practice or had the word
These chapters signpost the key events that suggested (at the time or retrospectively) by
have shaped photography's history. This a critic; they are the 'isms' from which this
includes technological developments. It also book takes its name. Some are specific to
includes the types of photography that are photography, others are part of broader
understood here through the specific artistic movements. Often they have a
cultural and historical moment in which they manifesto or essay in which the artists'
existed; for example, Mexican Modernism. shared goals and processes are clarified. A
Key exhibitions, like 'The Family of Man', are number of the artists labelled with a
also featured under this header to reflect particular ism by critics might have rejected
how a particular assembly of photographers the term themselves, but it has remained in
captured the zeitgeist. common use as a description of their work.

2 THEMES 4 APPROACHES
e.g. The Studio Portrait; Still Life e.g . Photojournalism; Diarism

These chapters focus on photography that is This is the most common type of ism in the
understood primarily - though not book. Like themes, approaches necessarily
exclusively - through the subject matter that do not belong to specific places or moments
it depicts. Some, like Survey, have fulfilled a in time. They are broadly classified according
specific purpose at a particular time; others, to their treatment of a particular subject
like The Nude, are ongoing subjects within matter, as well as, or instead of, the subject
fine-art photography. The photographers in matter itself. Each chapter under this header
these chapters are rarely associated solely falls under one of the broader categories of
with only one genre, however; many are reportage, documentary, commercial or
also associated with different artistic conceptual photography.
movements, and they work in a variety of
styles.
8 How to use this Book
A Symbols are used to distinguish l/f\ K EY WORDS
W between the four different types V These are words taken from the main
of 'ism' outl ined in this introduction: key definition text that relate closely to the 'ism'
moments MM; themes TH ; movements and are often repeated ly used in
MV; and approaches AP. Some chapters, explanations of the affiliated photographers'
or 'isms', could arguably be understood work.
by more than one of these, but this book
has used the most relevant header. MAIN DEFINITION
This describes the key ideas, methods
~ INTRODUCTION and photographers' practices in more depth .
\.;, Each chapter opens with a brief It gives a brief overview of the historical,
summary to explain the key features of the cu ltural and technolog ica l context that
moment, theme, movement or approach. relates to the moment, theme, movement
or approach being explained, including key
r"\ KEY PHOTOGRAPHERS exhibitions, publications, and innovations in
. . , Up to five key photographers are photographic products and processes.
listed in each chapter. The list could often be
extended, but exploring the ir work would
give you a comprehensive understanding of
style, approach or moment in time discussed.

CJ ~~:~; ~a%7,Pll::~~l~1:~ ~::

0

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 How to use this Book 9

KEY WORKS Other resources included in this book

Each chapter is illustrated with one or two
works by Key Photographers. These are LIST OF PHOTOGRAPHERS
selected from publicly accessible art All of the photographers included in this
collections. Individual photographs are very book are indexed alphabetically at the back.
often made as part of a larger body of The 'ism', or 'isms', wi th which they are
work, which might exist as a series of prints, associated in the book are noted, as wel l as
be published as a photobook, or both. This their birth and death dates.
information is noted in the caption that
accompanies the image . GLOSSARY OF USEFUL TERMS
Terms mentioned in the book that are not
OTHER WORKS commonly understood are listed in a
This is a supplementary list of works that glossary at the back, including brief
also relate to the chapter subject. As with explanations of some of the main
the Key Works, the larger body of work - photographic processes discussed.
series or photobook - is noted in addition to
the name of the individual photog raph, if LIST OF COLLECTIONS
relevant (though the collection w ill not A list of the major museums, galleries and
necessarily have al l of the photographs in other collections mentioned in the Key
that series) Photographs are also by their Works and Other Works section s of each
nature reproducible, which means that the chapter, organised by country. Many of
same photograph might be held in several these list their collections on line, with
different collections. Those listed in this images and other resources for further
book have been selected based on various exploration and research .
factors, including which have the largest
holdings of works by that photographer CHRONOLOGY OF ISMS
overall, or have the most instructive online This is a timeline of all of the different 'isms'
resources on that work. explained in the book, from the very first
permanent photograph in 1826 to the
~ SEE ALSO burgeoning movements of New Formalism
V!!!:I This is a list of other chapters in the and Post-Internet photography. The start
book that relate to the 'ism' under and endpoints of 'isms' can often be
discussion and perhaps share a working debated: even movements that declared an
process, stylistic tendency or concept. official ending often had a legacy beyond
this, while approaches like photojournalism
[ " \ DON ' T SEE began in different places at different times.
~ These 'isms' feature a key idea or The timeli ne here marks the widely accepted
process that contradicts that under moment when an 'ism' was established and
discussion. Their conceptual approach or when it declined. For thematic categories
precepts might be antithetical, or that have no set endpoint, such as The
aesthetically they might be very different. Nude, the timeline marks the core period on
which the chapter focuses.
 THE
INVENTION OF
PHOTOGRAPHY
AND THE
RECORDING OF
THE WORLD
1826-19105
 MM
12

r. Photography is the result of three engraving of Pope Pius VII in direct contact
\.:1 processes announced in the 1820s with sensitised paper is considered to be the
and 1830s that made it possible to record, first made from a photographic process.
fix and reproduce an image. The first In 1826 or 1827, Niepce created the
in-camera photograph was a unique, world's first in-camera photograph by
permanent image made with a camera placing a pewter plate coated with the
obscura. bitumen preparation inside a camera
r"\ ANNA AT KINS (1799- 1871 ); LOUI S- obscura. After leaving the camera in a
, . , JACQUES -MANDE DA GUERRE (1787 window for at least eight hours, he rinsed
-1851); HU M PHRY DAVY (1778- 1829);
the plate w ith a lavender oil solution to
JOSEPH NICEPHORE NIEPCE (1765- 1833);
WILLIAM HENRY FO X TALBOT (1800- 77); reveal a direct positive (and therefore
THOMAS WEDGWOOD (1777-1805) unique) permanent image of the outdoor
scene. Niepce's partnership with expert in
camera obscura; heliography; the camera obscura Louis-Jacques-Mande
photogenic drawing; positive; unique Daguerre, from 1829, contributed to the
first commercially viable photographic
A First steps towards the photographic process. He died in 1833 before it was fu lly
W' image were made by Thoma s refined , though, and it was announced to
Wedgwood and Humphry Davy, who in the world in 1839 as the daguerreotype.
1802 published accounts of their News of Daguerreotypy spurred Wil liam
experiments w ith recording light. The Henry Fox Talbot to announce the findings
findings that launched photography came of his own experiments. His hopes to fix the
later, beginning w ith the work of inventor image projected by a camera obscura led to
Joseph Nicephore Niepce. the 1833 discovery of what he called the
Interested in lithography, Niepce sought 'photogenic drawing' (a photogram): an
a technique to supplement his professed image made without a camera by placing
lack of skill as an engraver In 1816 he objects directly onto paper coated with a
experimented with placing sensitised paper light-sensitive silver chloride solution that
into the back of a camera obscura, an darkens on exposure to sunlight. John
optical device that projects images. He Hershel's 1842 invention of the cyanotype
found that where light hit the paper it followed the same basic principle, but he
wou ld darken, creating a negative used a solution that turned bright Prussian
impression . But the results we re only blue upon exposure. Botanist Anna Atkins
temporary: the paper turned completely was the first to realise the potential of this
black in daylight. for recording plant specimens; her vo lume
Six years later, Niepce discovered that Photographs of British Algae: Cyanotype
putting a solution of bitumen and Judea, Impressions was published serially between
a mineral spirit, onto the paper would 1843 and 1853. By that point, Talbot had
permanently fix the image. The spirit already announced his next discovery, the
hardened on contact with the light, and was calotype - the first negative-positive process.
commonly used in lithography. He called this
invention heliography, meaning 'light
drawing', after he/ios, the Greek word for
sun. His reproduction made by placing an
t JO SE PH NICEPHORE NIEPCE OT HE R WORKS
View from the Window at Le Gras ANNA ATKINS
(Point de vue du Gras), c 1826-27 Ceylon, British Ferns, from Cyanotypes of British
Harry Ransom Center. University of Texas at Austin
and Foreign Ferns, c 1853
J Paul Getty Museum, Los Angeles
This is the earliest surviving photograph made in a
camera. Despite the blurriness of the pewter plate, it is ANONYMOUS
just possible to see the rooftops of the outbuildings of Shark Egg Case, c 1840-45
The Metropolitan Museum of Arl, New York
Niepce's family estate in Le Gras, France. After decades
in obscurity, it was eventually located by photo- JOHN HERSCHEL
historians Alison and Helmut Gernsheim in 1952. Still in my Teens, 1838
Harry Ransom Center, Universny of Texas at Austin

A NN A AT KINS (see plOI WILLIAM HENRY FOX TALBOT

Dictyota dichotoma in the Young State and in Fruit, Leaves on a Stem, c 1838
from Photographs of British Algae: Cyanotype Victoria and Albert Museum, London

Impressions, 1843-53
J. Paul Getty Museum, Los Angeles
Daguerreotypy;
Atkins had experimented with various methods before
trying the cyanotype process. Because this could enable Negative-Positivism
multiple prints, she was able to make more than a
dozen copies of her volume on British algae, considered Motionism; Early Street; Futurism;
to be the first book illustrated with photographs. Photojournalism; Conceptualism
 MM
14

~ A daguerreotype is a unique, highly A In 1829, artist and theatre set

\,;, detailed, positive image on a silvered W designer Louis Daguerre and inventor
copper plate, made by a chemical and Joseph Nicephore Niepce formed a working
technical process perfected by Louis- partnership to bring together Niepce's
Jacques-Mande Daguerre . It was the first pioneering methods of recording light and
commercially successful means of producing fixing a permanent image, known as
photographs and the main process in use 'heliography', with Daguerre's expertise with
throughout the 1840s and early 1850s. the camera obscura that he developed as
r'\ ANTOINE CLAUDET ( 1797- 1867); inventor of the diorama - an illusionary
'9f ROBERT CORNELl_LIS ( 1809-93); LOUIS- three-dimensional stage device. Following
JACQUES-MANDE DAGUERRE (1787-
Niepce's death in 1833, Daguerre continued
1851 ); JOSEPH NlcEPHORE NIEPCE ( 1765-1833);
JOHN ADAMS WHIPPLE ( 1822-9 1) alone, arriving four years later at a
successful method of making a permanent
6"\. commercial; detail; fragile; portrait; recording. One of his most important
U unique findings was the 'latent image': exposing

~- ANTOINE CLAUDET
Portrait of Girl in a Blue
Dress, c 1854
J Paul Getty Museum, Los Angeles

Claudet hired portrait

miniature painters to add
jewel-like tones and decorative
backdrops to his photographs.
Here, the tones complement
the young sitter's features,
while sensitive application
means that colour does not
obscure the plate's lustre.

-» LOUIS-JACQUES-MAND[
DAGUERRE !over/ea~
Boulevard du Temple, 1838
Bayerisches Nationalmueum, Munich

The daguerreotype's ability to

reproduce fine detail is evident
here in the texture of the
cobbled streets and in the
cri sp lines of rooftops and
edges of buildings. This plate
took more than 10 minutes to
expose: too long to register
the traffic and bustling
crowds, though the blurry
figure of a shoe-shiner can
just be made out.
an image that was then 'developed out' staple of bourgeoisie life, and hundreds of
(made visible) using mercury vapour. This studios opened across Europe and the US.
reduced exposure times from hours to The process was also adopted in the fields
minutes, and formed the basis of processes of geology, medicine, anthropology,
still in use today. archaeology and even astronomy: in 1851
The announcement of the John Adams Whipple made the first
daguerreotype process in August 1839 daguerreotypes of the moon and Jupiter.
at a meeting of the French Academie des Daguerrotypy was not without its
sciences and the Academie des Beaux- drawbacks. Crucially, it yielded only a
Arts in Paris was received with great unique image that could be reproduced only
enthusiasm . Demand for the daguerreotype as a lithograph print or engraving, or by
camera was instantaneous and so-called making a daguerreotype of a daguerreotype
'daguerreomania' quickly took hold . Views - a much lesser quality object. From the
of Paris were made within days; soon after, 1850s the process was largely superseded
scenes from Africa, Asia, the Middle East, by the introduction of negative-positive
as well as Europe and North America had processes and the commerciali sation of
been rendered in the daguerreotype's reproducible photography.
impressive detail. Print engravings made
from daguerreotypes of landscapes and
monuments became immensely popular, OTHER WORKS
reflecting the burgeoning public appetite ROBERT CORNELIUS
for travel . Self-Portrait; Believed to be the Earliest Extant American
Portrait Photo (The First Light Picture Ever Taken), 1839
This rapid spread of Daguerreotypy can
Library of Congress. Washington DC
be credited to the fact that (except in Britain
and the Commonwealth) it was not under LOUIS -JACQUES-MANDE DAGUERRE
The Artist's Studio (L'Atelier d'Artis te), 1837
patent. Shrewdly, the French government Sooete Franc;aise de Photograph1e, Paris
had acquired the process and presented it
JABEZ HOGG (attributed)
to the world as a 'gift from the nation'.
An Operator fo r Richard Beard, c 1843
Numerous individuals were thus able to Victoria and Albert Museum, London
improve upon Daguerre's technique:
GEORGE PHILLIPS BOND AND JOHN
Antoine Claudet, Robert Cornelius and ADAMS WHIPPLE
John Frederick Goddard reduced the original Moon, c 1851
20-minute-plus exposure times, making the Harvard College Observatory, Cambridge, Massachusetts

process better suited for portraiture and

cityscapes; Hippolyte Fizeau introduced
the use of gold toning to strengthen the
surface; and Johann Baptist lsenring
pioneered techniques for colouring the
daguerreotype with gum and pigment,
The First Photograph; Negative-
later patented by Richard Beard.
Positivism; The Studio Portrait; Travel,
Into the 1840s, the daguerreotype
Expedition & Tourism; Still Life
portrait - housed in an ornate case to
protect its fragile surface and often Motionism; Subjectivism;
hand-coloured - became a fashionable Conceptualism; Diarism; Satirism
 MM
18

~ The invention of the calotype arrived at in what he described as

~ negative in the 1840s introduced 'the brilliant summer of 1835'.
a means of reproducing images multiple Talbot's investigations with photography
times, which provided the basis for the began in 1833, when his desire to record
negative-to-positive processes still in use. the Lake Como landscape prompted
r"'\ FREDERICK SCOTT ARCHER ( 1813-57); him to explore ways to fix the image
• HIPPOLYTE BAYARD ( 1801-87); projected by a camera obscura. His major
LOUIS-DESIRE BLANQUART-EVRARD
breakthrough came when he found that
(1802- 75 ); GUSTAVE LE GRAY (1820-84);
WILLIAM HENRY FOX TALBOT (1800-77) an impression of an object could be made
by placing it directly onto a sheet of paper
calotype; glass plate; photogenic coated with a light-sensitive solution of
drawing; waxed paper; wet co llodion sodium chloride (table salt) and silver
nitrate. Where sunlight fell onto the
A Photography resulted from an intense paper it would darken; where protected,
W period of experiment by numerous it would remain light. He ca lled this
scientists and inventors during the early 'photogenic drawing'.
19th century. The cornerstones of this were Talbot then experimented with placing
Joseph Nicephore Niepce's methods for the sensitised paper into a camera . He
fixing a permanent image, discovered in found that the resultant 'drawing' could be
1826; Daguerreotypy, announced in 1839; placed in contact with another piece of
and William Henry Fox Talbot's pioneering sensitised paper to create the same image
technique for creating multiple positive with reversed tones: a 'positive' from a
images from a single negative, which he 'negative' . These terms, like the word

-+ WILLIAM HENRY
FOX TALBOT
The Open Door, before
May 1844
The Metropohtan Museum of Art,
New York

Talbot made many

versions of this while
experimenting with his
newly invented calotype
process. Influenced by
Dutch still-life painters,
his apparently
straightforward
arrangement is in fact
loaded with symbolic
meaning, as doors
represented the threshold
between life and death .
'photography' itself, were coined by his r GUSTAVE LE GRAY

friend John Herschel, who also introduced Brig on the Water, 1856
The Metropolitan Museum of Art, New York
the use of a photographic fixing agent that
Le Gray received high praise for his seascapes and the
is still in use today. technical mastery required to capture sunlit water,
Talbot had done little work on his cloudy sky and breaking waves. He used large 12 x 16
method when Louis Daguerre announced inch glass-plate negatives to achieve this depth of tone .

his own photographic process in Paris in

1839. The daguerreotype was an immediate image to develop in the camera. Instead,
success. But the fact it was a unique object, they could allow it to register invisibly on
and on a metal plate, was a major practica l light-sensitised paper, then use a chemical
hindrance. Talbot rightly bel ieved that solution to reveal it at a later stage, thus
the future lay in the reproducible paper reducing exposure times from hours or
image, and this led him to begin his minutes to mere seconds. Talbot called this
experiments again in earnest. the calotype process - from the Greek
His discovery of the latent image in words for 'beautifu l' ('kalos' ) and
1840 (somethi ng that Daguerre had also 'impression' (' tupos' ). He showcased his
arrived at independently) was pivotal. This invention in The Pencil of Nature (1844-64),
meant that the photographer did not have a volu me of salted paper prints made using
to wait for long periods of time for an calotype negatives.
• BENJAMIN COWDEROY In the end, the softness of the image on
The Reading Establishment, c 1845 paper and the fa ct that the prints w ere
The Metropolitan Museum of Art, New York
liable to fade curtailed the calotype's
This tableau vivant was staged at the studio of Nicolaas
Henneman, Talbot's forme r assistant, and depicts his
success. Both of these drawbacks w ere
hopes for the industrialisation of t he process. M en are surmountable, w ere it not for Talbot's
using the camera to make studies of artworks, while an decision, in 1841, to patent his process,
assistant exposes a large batch of prints in sunlight.
w hich limited its uptake and therefore its
opportunity for improvement by others.
OTHER WORKS Such comp lications w ere characteristic of
HIPPOLYTE BAYARD photography's early years, which were mired
Self Portrait as a Drowned Man, 1840 in pol itics of intellectual cred it and financial
Societe de Photog raph1e, Paris
F ran~a1se
gain.
W ILLI AM HENR Y FOX TALBOT Subsequent developments in negative-
Nelson's Column under Construction, Trafalgar Square, positive processes thu s came from
1844
The Metropolitan Museum of Art, New York
individuals w hose inventions fell beyond
the remit of Talbot 's patent. Louis-Desire
Blanquart-Evrard created a similar process
using albumen-coated paper, and
exploited the negative-positive process Archer's method vastly expanded the
to print photographs on an industrial scale possibilities for photography's applications in
for the first time. Gustave Le Gray found the sciences, in commercial endeavours -
that adding wax to the paper negative particularly the portrait studio - and in early
created a sharper image with a far better reportage photography. It remained the
tonal range, which he demonstrated main photographic process in use until the
in seascapes. 1880s, when it was gradually superseded by
The next great achievement in Negative- the gelatin silver print and the introduction
Positivism came in 1851 with Frederick Scott of negative fi lm.
Archer's publication of the wet collodion
process. He used a glass plate as a negative,
which yielded far greater detail than paper,
and the collodion greatly accelerated The First Photograph; Daguerreotypy;
exposure. This represented everything Travel, Expedition & Tourism;
photographers had been working towards: Early Conflict
an image on paper that showed great tonal
Motionism; Futuri sm; Dadaism;
range and definition, did not fade and could
Su rrealism; Art Documentary
be reproduced.
 TH
22

~ Immediately upon the announcement In the 1850s, paper prints made

\.:1 of the daguerreotype, photography through the col lodion process began to
was commercialised in the form of portrait supplant the daguerreotype, particularly in
studios that opened up across the globe. the form of cartes de visite - the 'calling
Later, the reproducible nature of portraits on card ' . In 1854 Andre-Adolphe-Eu gene
paper, particularly in the form of cartes de Disderi patented a four-lensed camera that
visite, cemented the use of the portra it to could register up to eight different images
denote social status. on one plate. Photographers experimented
r°'\ ROBERT CORNELIUS ( 1809- 93 ); LA LA with presenting their sitters in different
~ (RAJA) DEEN DAYA L ( 1844-190 5); poses and with various accoutrements, and
GEORGE LUTTERODT (ACTI VEFROM
the small images - around 4 x 2.5 inches
1876); NADAR (GAS PAR D- FELI X TOURN ACHON)
( 182 0- 1910) (10 x 6 cm) - were pasted onto slightly
larger pieces of card. Ownersh ip of a carte
ce lebrity; choreographed; collecting; de visite and its bigger version, the cabinet
commercialism; mass distribution card, suggested a personal relationship with
the subject. Individual touches in posture
A With the spread of Daguerreotypy and dress were added to standard poses
W during the 1840s came a demand and backdrops, all the while conforming
for the creation of photographic 'likenesses' to socia l, class and gender norms.
from the middle and upper classes. The craze for cartes de visite also
Commercial portrait studios opened reflected a new appetite for images of
across Europe and the US, with successful celebrities. Figures from politics, the arts,
practitioners such as Antoine Claudet, entertainment and fashion had portraits
Robert Cornelius and Josiah Johnson made and duplicated for mass distribution.
Hawes attracting well-to-do customers and Studios grew in size and the sets and
cha rging high prices. props they provided became increasingly
elaborate. Disderi and Pi erre-Louis Pierson
photographed French roya lty, while in
England Queen Victoria commissioned
cartes de vis ite of the roya l family from John
J E Mayall in 1860.
The desire to co llect portraits of
celebrities and aristocracy also gave rise to
albums of 'contemporary figures' produced
by successful st udio owners such as Etienne
Carjat, Fran z Hanfstaengl, Nadar, Camille
Silvy and Emi le Tourtin (active 1873-99).
Lala (Raja) Deen Dayal's stu dios across India
met demand for portraiture from the British
and Indian rul ing classes.
Th e introduction of Kodak's 'You Press
the Button, We Do the Rest' system in 1888
lessened the need for the general public to
have themselves photographed formally.
 OTHER WORKS
The desire for the portrait made in the
ANDRE -ADOLPHE -EUGENE DISDERI
carefully choreographed studio environment
Napoleon Ill, Emperor of France; Napoleon Eugene Louis
endured, however, transformed in Jean Joseph Bonaparte, Prince Imperial; Eugenie,
subsequent decades in the fields of fashion Empress of France, c 1858
and advertising, and with the advent of National Portrait Gallery. London

artificial lighting. GEORGE LUTTERODT AND SON

Untitled (Five Men), c 1880-85
The Metropolitan Museum of Art. New York

t LALA (RAJA) DEEN DAYAL

NADAR AND ADRIEN TOURNACHON
Fateh Singhrao Gaekwad of Baroda, 1891
Portrait of a Mime (Paul Legrand), 1854-55
Indira Gandhi National Centre for the Arts, New Delhi
Bibliotheque Nationale de France, Paris
Dayal was India's most prolific and commercially
successful photographer of the 19th century He
produced many thousands of portraits of British and
Indian nobility, such as this image of a young member of
the Gaekwad dynasty.

<- NADAR
Sarah Bernhardt, 1859
Musee d'Orsay, Paris
Daguerreotypy; Negative-Positivism;
Nadar's photographs of Sarah Bernhardt are considered
Fashion & Society; Self- Portrait,
among his most sophisticated portraits. Here, his
characteristically soft, sideways lighting illuminates her Performance & Identity
decollete and emphasises the drapes of the velvet in
which she is wrapped to create a sense of The First Photograph; Motionism;
voluptuousness. Early Street; Industrialism;
Subjectivism
 TH
24

~ Early photographic technology are an exem pl ar. In t he 1860s, John

\.,:, necessitated long exposure times, Thomson's t ravels across Siam, Cambodia
making landscape an ideal subject. and China produced one of the most
A growing tourism industry created a extensive accounts of any reg ion, an d serve
demand fo r photography that helped to as prototypical ant hropological records.
establish its place in 19th-century life . Developments in photography also
r°\ MAXIM E DU CAMP (1822-94); FR A NCIS co incided with the growth of the mass
'9f FR ITH (1822- 98); HERBERT PONTI NG tourism industry. New markets fo rmed
(1870-1935); JOHN TH OM SON (1837- 1921 );
around souvenirs for tourists, and volumes
LIN NA EUS TRIPE (1822-1902 )
aimed at the 'armchair traveller'. In many
expedition; picturesque; plate cases the aesthetic of these images was
camera; stereo card; survey tai lored to the 19th-cent ury affinity for the
Romantic, subli me and picturesque . In
A From its inception, photography Europe, the open ing up of the Alps as a
W fulfi lled the need of governments, tourist destination saw numerous
scientists and anthropologists for accurate photographers set up stud ios to cater to the
visual representations of the world. Linnaeus demand for views of the dramatic
Tripe's images of Ind ia and Burma made in landscapes. Stereo ca rds were an immensely
the 1850s for the British East India Company popu lar memento: Adolphe Braun and
Claude-Marie Ferrier were among those
working in the region who made images in
this format.
The first travel albums were engravings
of daguerreotypes, to which appealing
scenic details were often added. Noel Marie
Paymal Lerebours' Daguerreotype Excursions
(1840-44) is the earl iest example. By 1850,
following the introduction of the calotype
and the subsequent refinement of negative-
positive processes, Louis-Desire Blanquart-
Evrard created a revolutionary method of
producing albums in large editions by
printing on albumen paper. He published
the first volume of reproduced photographs,
Maxime Du Camp's Egypt, Nubia, Palestine
and Syria, in 1852 . Views of ancient sites
such as these were favoured subjects. Those
made by Francis Frith in his pioneering
journeys along the Nile, published in the t HERBERT PONTING
Grotto in a Berg. Terra Nova in the Distance.
two-volume Egypt and Palestine
Taylor and Wright (Interior) , 5 January 19 11
Photographed and Described (1858- 60), are Scott Polar Research Institute Museum, University of Cambridge. UK
considered to be the most sophisticated . Ponting travelled with a vast outfit of still and movie
With in just two decades of its inception, ca meras, making work that was as pictorial as it was
and despite the challenges associated with documentary.

transporting huge amounts of kit and FRANCIS FRITH

The Kiosk of Traja n, Philae, c 1858
producing photographs in extreme climates,
J. Paul Getty Museum, Los Angeles
photography had been employed to capture
To take this photograph Frith set up a darkroom in a
landscapes and cu ltures worldwide. 50 years dahabije, or sailboat. like the one depicted here moored
later, Herbert Ponting, official photographer in front of a Roman temple.
to Captain Scott's Terra Nova Expedition to
the Antarctic, would create some of the
OTHER WORKS
most enduring images of the polar
land scape . FELICE BEATO
Japanese Girl, c 1866--{;7
J. Paul Getty Museum. Los Angeles

ADOLP HE BRAUN
Upper Glacier, Grindelwald, c 1865
Daguerreotypy; Negative-Positivism; J. Paul Getty Museum. Los Angeles
Survey; New Topographies;
JOHN THOMSON
Environmentalism & Globalisation A Knife Grinder, c 187 1- 72
Wellcome Library, London
Motionism; The Social Document;
LINN A EUS TRIPE
Bauhaus & the New Vision ; Madura, Trimul Naik's Chou/try, 1858
Conceptualism; Satirism Peabody Essex Museum. Salem, Massachusetts
 MM
26

~ The landscape su rveys undertaken in in 1867. EO Beaman and John K Hillers both
\.:1 the US from the 1860s had a cultural, took part in John Wesley Powell's Survey of
environmental and ideological impact that the Rocky Mountain Region; and William
far exceeded their intended documentary Henry Jackson was appointed as official
purpose. They shaped the 'pioneer spirit' photographer of Ferdinand Hayden's US
and helped create the mythic and enduring Survey of the Territories.
vision of the 'American West'. The images produced by these
r'\ EO BEAMAN (1837-76); JOHN K HILLERS photographers, and the many others who
. , (1843-1925); WILLIAM HENRY JACKSON worked outside of the official survey
(1843-1942); TIMOTHY H O'SULLIVAN
capacity, functioned as far more than visual
(1840-82); CARLETON E WATKINS (1829-1916)
descriptions. By carefully selecting vantage
expansion; frontier; mythic; sublime; points, and often placing people within the
wi lderness frame to provide a sense of scale, they
created scenes that were dramatic and awe
A Exploration and photography had inspiring; cha rming and picturesque. The
W gone hand in hand since the wider public who encountered these images
medium's earliest days. The introduction of in the press or in guidebooks, or purchased
the plate camera in the 1850s, with them as prints and stereo cards, were well
processing and developing methods more versed in Romantic notions of the sublime,
practicable for fieldwork , and negatives that which associated sites of natural grandeur
provided greater resolution and yielded with the divine and spiritual. To them, these
multiple prints, transformed the scale and magnificent and yet accessible landscapes
scope of these projects. held great appeal. So too did the pioneer
One of the greatest examples of this spirit and the mythic American frontier that
kind took place in the US in the surveys these images helped to convey.
undertaken as part of th e population's Most important of all was the role
westward expansion; in particular, the four of the survey photographs in
'great surveys' of 1867-79 that followed environmentalism. President Lincoln's
the American Civil War (1861-65). Under 1864 bill to protect the Yosemite Valley, the
the auspices of either the War Department first of its kind, was directly influenced by
or the Department of the Interior, large Watkins's majestic 18 x 22 inch (46 x 56 cm)
expedition groups were assembled to survey studies of the region made three years
and map natural resources or assess earlier. Jackson 's 1871 views of Yellowstone
development opportunities, mostly working saw the region established as the first US
along the terrain newly opened up by the National Park in 1872, paving the way for
transcontinental railroads, and they the launch, in 1916, of the National Park
commissioned photographers to record System that would preserve the unspoiled
their activities. wilderness to which these surveys of the
Timothy H O'Sullivan, a leading American West had attested.
photographer during the Civi l War, took
part in two of the four major expeditions:
George Wheeler's 1OOth Meridian Survey,
and Clarence King's Fortieth Parallel Survey,
which Carleton E Watkins also accompanied
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