Académique Documents
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31111001716081
nuiNEERSoF
PHOTOGRAPHY
An Album
of Pictures
AARON SCHARF
A SUPERBLY ILLUSTRATED,
mate history
of
one
lively,
inti-
making
the
Here are the fascinating early experiments with processing, the first primitive attempts at colour photography, the
now
made
Boume
a record of the
landscape of India
and the Himalayas that was, and perhaps
still
is,
unequalled.
The beginnings of
John Thom-
documentary photography
work
to the
on the
programmes out
of
which
this
book
grew.
'
'es in full
colour
Pioneers of nhotopraphv
770.0 SCHAR^^^-.^ ..
liTPAL
LIBRARY
I
DATE DUE
PIONEERS OF
PHOTOGRAPHY
PIONEERS OF
PHOTOGRAPHY
AN ALBUM OF
AND WORDS
WRITTEN AND COMPILED
BY AARON SCHARF
PICTURES
HARRY
>?*^
N.
ABRAMS,
INC., PUBLISHERS,
British
NEW YORK
Broadcasting Corporation
self portrait
his assistants
with
his
and photographic
Pioneers of photography.
Bibliography:
I.
I.
p.
Photography
History.
Photographers.
2.
TR15.S34
770'.9'034
il.
Title.
75-42216
ISBN 0-8109-0408-X
''
.
<.'*^
Number: 75-42216
Copyright
bound
in
Japan
'>''^l*i
CONTENTS
Foreword
Introducrion
The
Sun
Famous
Pencil of Nature
a
Memory
and Fair
Women
Man
Travelling
When
The
Animal Locomotion
Camera
was
a Photographer
Indelible
Record
Work
Colour Notes
of Illustrations
Bibhography
33
53
Men
List
13
Pictures
10
i^
71
87
103
119
139
157
173
186
189
FOREWORD
began working on the background research for the
programmes 'Pioneers of Photography' it became obvious to me - no specialist in the subject - that
was not always easy for the general reader to find some
of the key documents and first-hand statements by the
photographers themselves. There exists, tor instance, a
recent facsimile publication of Henrj' Fox Talbot's book.
As
television
It
The
who
a small
by supplying
answer a
first
this
hun-
album
real need.
The more
municating the lucid and detailed accounts of his experiments to his brother Claude; the first reports in English
magazines of Daguerre's discovery and the responses of
Talbot and others to them; Mrs Talbot complaining to
her mother-in-law of Henry being discouraged; the
impulsiveness of Julia Margaret
Cameron who
couldn't
resist
who
The
much with individuals as they do with the larger considerations of new developments in photography: the
photography of movement by Muybridge and Marey;
so
'art' print,
the arrival
a feeling
describe.
Ofcourse, these writers are often trying to prove something either to themselves or to an audience and, as with
any evidence of this kind, their personahties and circumstances have to be borne in mind. When Nicephore
Niepce wrote to Claude in 1816 to say that he had succeeded in getting negative images on paper, I personally
beheve him. But the evidence he sent widi the letter has
not survived. Like Thomas Wedgwood before him, he
it
like Julia
and was
a little
fmd
intriguing.
first
time,
is tlie
small red
is
re-
morocco
PIONEERS OF PHOTOGRAPHY
photogenic drawings
1836, two-and-a-half
prompted Talbot
What is more, in
as early as
own
process.
w'ho
Castle.
am grateful to Harold White
my attention to the little album, and who
Warwick
first
drew
generously gave
w-hen
began to write
my
scripts.
Untbrtunately she
tion.
many of our
have ended in a blank papers have been lost and
now
is
growing aw areness
worked mainly
As
as
that
photographs
(ire
written documents in
a television
producer
who
and history, I
should like to encourage anyone with photographs which
they think are of biographical, historic, or even of local
has
museum cura-
to
me
also
at
Lacock Abbey).
Dr John Draper
family to the
Smithsonian Institution in Washington, and which
Eugene
his
series.
Pre-
of a duplicate
by Draper
know. There
is,
for example,
an early autochrome, a
Apart
others
who
in
my
foreword,
assistance are
Mrs
and the
the Print
staff
Room
E.
Noel-Bouton, Professor A.
MuUm-
Though
the invention of
earlier
it
had
its
beginnings
as
it
away
The
in
in 1839,
its
practical
knowledge required
The famous
of photography was
alchemist, Fabricius,
there
had already
PIONEERS OF PHOTOGRAPHY
10
kiown,
before
him
will project
ancient too.
is
To
the expression
back to the
of being able to
is
first
no doubt of a primitive
troglodyte
who
cast
instinct
going
an incredulous eye
all its
run wild
fancies
let their
as
day be possible
often cited
water.
is
Throughout
la
He is flabbergasted to
many
or
image on a looking-glass
on the surface of
reflection
on
its
image
itself
picture.
know, of the beauty of nature thus reduced, was written by Horace Walpole in 1777, only
polished surface, or
sea.
discover that he
is
looking
at a
which formed
a picture
of the object
reflected in an
it
appreciations
tion.
all
They coat a
want
on
this
canvas
is
like that
The
to paint.
produced
first
in a mirror.
important
as the
that the
end.
Walpole
falls
tion of the
is
it
retains the
images
is
carried
away
at
precious in that no
work
it,
nor can
it
it
would one
them
real thing.
camera obscura called the 'delineator Aclittle magic box not merely duplicated nature, but exceeded it in the way the best art of
the past had augmented the real world. 'Arabian tales', he
called those images and their heightened effects. Even the
ot
from the
in love
some
the images ot
devices appeared,
as
effect
manner of mimetic
becomes convinced
instant:
it
From
exquisite
their
INTRODUCTION
phantom image
in the dark
often than not the most profound reason for taking the
photograph
The Agatograph,
the
Diagraph, the Hyalograph, Quarreograph, Pronopiograph, and Cayeux's Eugraph - another modification of
the
manner of would-be
inventor. All
were united
vention, he
who
in
an
mechanical means
was ultimately
got there
tirst
most
often,
though not
herself
large scale.
Soon an avalanche of delineating machines was tumbof the workshops and garden sheds of enthusiasts.
The names of the contraptions themselves had an aura of
the poetic about them. Thus in the high period of industrialisation we have a large number of improvements on,
or alternatives to, the camera obscura, such as the Delineator, so-called. Another Delineator, Copier and Proportionometer, a tracing device in this case, was patented
in 1806. Wollaston's well-known Camera Lucida appeared in 1807. This instrument, frequently used by
artists, was simply a prism in a holder through which
could be seen an image of nature apparently deposited on
the drawing paper. Charles's Solar Megascope (1780) and
Chretien's Physionotracc (1790) were widely known at
the time. There were later versions too ot yet other
cinema.
1812.
late
They were,
on
of the
ling out
so
tones, or
some just
tor
And
looking.
by
time,
Perhaps
Thomas
we
can
now
Carlyle's despair
when he wrote
in
1829 of
of
tlie
mama
of
in that
life
obsessed with
The romance of a
on
its
spell
those
tlie
who
new
sought an
process
of
12
PIONEERS OF PHOTOGRAPHY
photography. There
phore Niepce,
is
now
it
reproduce
this
from Greek
roots; Niepce
its
1827,
his.
is
We
play of permutations
naming
the
ing of colour in
art.
Titian,
promising that
it
of an
uncom-
utter realism so
seems to exceed in
its
descriptive detail
even that which the unassisted eye could possibly take in.
The physical structure ot the daguerreotype image is a
This
more heavily
sparsely
the dark.
ture, literally a
It is
in
rors, that
and more
away from
daguerreotype by
endowing
From
it
least
enhancing
its
transluccncy,
this
broad, beautiful,
artistic effects.
And it was
shortcoming
its
much
purpose to elaborate on
these elements are sub-
which is to make
through the
enthusiasm and even the eccentricities of some of its
early practitioners. Not least, I hope to convey the perils
the mystery of
photography come
encountered in
this
trials
all
Where
alive
and
tribulations
the photographers
have
its
which dog
I
deal with.
tried to present
kind.
revealing, but
tell
us
through their frequent reproduction, have become pictorial stereotypes, and have included instead a large number of photographs which to my knowledge have either
by
this
is its
Both
precisely
into a
it
poetic content
is
view and
a utilitarian point
"book
centrated
little
styles.
in
the
acclaimed
in
its
is
graphy.
I should like most sincerely to thank both Ann Turner
and Peter Campbell for putting in my path copious
amounts of visual and textual material. I am further-
more
grateful to
them
of their
criticisms.
';..how charming
images
to imprint
it
it
not be possible?
asked myself.
William Henry Fox Talbot (1844)
on
and
at the
31 January 1839, to
same time
inventing the
first
to
announce
make
his
the process
known. He
practicable negative-positive
to a fraction
man of comfortable
means,
first
per-
is
were reduced
of being the
distinction
his
lin-
PIONEERS OF PHOTOGRAPHY
see
guistics
artist's pencil.
To
this
end he
annoys
ill.
us.
a picture
Sir David.'
on
capture
a piece
evanescent images.
of paper
year
in
its
on
later,
12
December 1834
having great
document
reached a
Talbot
images, the
was oiEcially made pubsome kind of photography was possible, the 'beautiful
This paper,
if properly
made,
is
lic,
form
no idea
the
my imagination. I had
a solution
beautiful
it is
to have
Talbot's
my book.'
of silver
nitrate
and
had
those you
me in
gave
it
summer sun:
states:
it is
landmark
liquid'
new
in the history
of photograpluc processes.
photo-sensitive
he called
it,
mixture,
'an
exciting
hit
28 February 1835
In the photogenic or sciagraphic process,
if
the paper
is
is
transparent, the
to
In the
show
there
is
evidence to
accommodate an
portable camera. At the
photographer with a
end of August or early September 1S36 Talbot's wife
Constance writes to her mother-in-law. Lady Elizabeth
itinerant
degree.
however primitive
dark the
after
which it should be
of potassium].
[iodine
there
is
really a difference
and there
is
tint,
yet
kind of latent
Fielding:
picture
possess
On
of photography
and various
Henry seems to
want him
to
Lacock Papen.
photographs
more
or,
photo-
pasted-in
accurately,
I?
the
of
that period.
was, and
all
the
more provocative
miniature, snatched
from
its
for that.
sweet
win-
dow on
amateur
delicate
artist,
managed
Sli
)ohn Moffat: Photograph taken by artificial light In 1865 of
David Brewster (left) and Fox Talbot. Wet collodion.
Introductory
Remarks
It is
it
very
and think
it
England
comprerment pas
le
attempt to publish a
executed by the
particular situation
insight
is
corapellingly
so
revealing,
Ucock
had a
text
illustrated
with pasted-in
to the Public
is
the
first
even by name,
date, a
its
discovery being
still
of very recent
explanation.
It
Grec'
series
is
The
to extract
images he saw:
art
of drawing.
It
all
from
respects,
plates
of her laws.
more, by experience,
PIONEEKS OF PHOTOGRAPHY
to conjecture with
any
pencil with
own
to as
correcmess of perspective.
had
trouble.
principles
probability to be
all
be
it
deranged,
it is
to point truly
if the
by
all
a roadside,
instrument
is
once
as
is
its
It
value
imperfections
to, in
try
again,
will diminish
and disappear.
Its
more
progress will be
its
to
away.
was during these thoughts that the idea occurred
how charming it would be if it were possible
mc
.
new
in
that the
its
use
of the instrument.
it,
one
sufficient to cause
on
the paper
it.
its
image or
it
of glass
which accompany
tried
unfortunately
The picture,
may
of
It
It
glass lens
to fade
which the
it
with a
It
so,
because on
this
occasion
it
struck
much difficulty
escape
commence an inquiry of so
experiments
realise
it,
if it
as
rest.
possible.
of
light, I
resolved to
make
a trial
of it,
Light,
utmost
or a slow one a point, however, of the
importance, since, if it were a slow one, my theory
deeply
first
and original
In January 1834,
my
determined to
When
slowly
disappointed to find that the effect was very
no
and
Instead of taking the chloride already formed,
proceeded in the
it upon paper, I then
spreading
first
was washed
solution of salt, and when this was drys it
of silver
again with nitrate of silver. Of course, chloride
was thus formed in the paper, but the result of this
experiment was almost the same as before, the chloride
being
not being apparently rendered more sensitive by
formed
in this
a lesser quantity
this
a
it
far
exposed to the sunshine, immediately manifested a
witnessed
greater degree of sensitiveness than I had
black uniformly
before, the whole of its surface turning
all question
and rapidly establishing at once and "beyond
important fao, that a lesser quantity of salt produced
:
the
a greater effect.
it
why
result, in
previous inquirers had missed this important
experiments on chlonde of silver, namely, because
their
idea.
appearance,
part that
situated near the edges or confines of the
observed
occasions certain portions of the paper were
than the
blacken in the sunshine much more rapidly
to
were
Ip
way.
times,
Similar experiments were repeated at various
changing the
in hopes of a better result, frequently
nitrate
proportions employed, and sometimes using the
of silver before the salt, &c. &c.
course of these experiments, which were often
In the
rapidly performed,
results.
On some
proportions of
they had always operated with wrong
and silver, using plenty of salt in order to produce
was required (it was
a perfect chloride, whereas what
salt
now manifest)
(perhaps
to produce an imperfect chlonde, or
be called)
a subcliloride
of silver.
flat
objects
of
spread
paper grew dark, the whole was carried into the shade,
and the objects being removed from off the paper, were
found to have left their images very perfectly and
beautifully impressed or delineated
upon it.
as
PIONEERS OF PHOTOGRAPHY
20
blank or nearly
light,
so.
had
to be again
renewed
in
result.
Its
little
dependance was
to be placed
on
was
resolved to
make
trial
the contrary of the fact alleged, and to see that the iodide
Itself.
of leaves (undated)
rule,
showed me
that
Davy
is
it is
much more
the statements of
the chloride,
me how
residence at
any length of
it
to be insensible to light,
ot
being tound
easily
it
it
alkaline iodide.
was
liable did
namely, that
until a later
when a
picture
is
so treated, although
it is
from them
exposed to
effect
it is
of the
a contrary or ivhitening
to the appearance
precautions which
giving
it
and using
it
in a moist state,
salt
and silver,
it
was
difficult to
same
object,
During
to previous
knowledge.
However curious
I
felt
convinced that
the results
which
to the
particle
rings
to the formation
I had no difficulty in attributing
of infinitely thin layers or strata of iodide ot silver but
when the
a most unexpected phenomenon occurred
rings
silver plate
a
by placing it near
began
and assumed other and quite
light
to
change
unusual
their colours,
tints,
rings shortly
'colours oj thin
which
was changed
at first shone with a pale yellow colour,
daylight.
to a dark olive green when brought into the
Photogenic drawing.
in
see
or
838,
when an
event
occurred in the
Royal Society.
However, at the close of the year 1838,1 discovered
remarkable fact of quite a new kind. Having spread a
piece of silver leaf on a pane of glass, and thrown a
was
af"ter
on irregularly.
often acted
it
keep
21
scientific
interesting scries
being the
of the
first
New
to
Photography.
I allude, of course, to the publication in the month ot
January 1839, of the great discovery of M. Dagucrre, of
the photographic process which he has called the
Daguerreotype. I need not speak of the sensation created
in all parts of the world by the first announcement of
this
by private
of this
the French
Academy,
at
less scientific
ot the
Chamber
1835.
22
PIONEERS OF
PHOTOGRAPHY
his wife.
Constance (above),
man
announcement
ot the Daguerreotype,
shall defer
number
oftliis
work.
Some
have
now
claim as the
though the
first
They succeeded,
Wedgwood,
yet the
respects, that
from
in
all
may fairly be
is
to say,
its first
public disclosure
to the world.
There
is
a point to
they present.
first
almost facsimiles
is
is
separately
formed by the
light
it is
not
calculation.
in the sizing
and perhaps
influence
on
of the paper,
secrets
which
the picture
ultimately assumes.
These
tints,
nearer to uniformity,
if any
deserved a preference,
was found
it
tint
on the whole
Henry
Fo>:
Talbot
Photomicrograph of plant
secti
23
I.I
1.5
HENRY FOX
1.7
MEMORY
Mon
cher ami,
ceeds
in
we
the end.
in
one
suc-
S.
PORTER;
HE MIRROR WITH A
One of
the
most startHng
MEMORY
daguerreotype
of mformation about the early
up of Japan
opening
the
in
that,
is
around the world
p.cccs
PIONEERS OF PHOTOGRAPHY
36
tor
diat a portrait ot
to shift
its
any kind
France, can take the credit tor being the true inventor ot
the
tirst
practicable,
process,
particularly
officially invented.
Niepce wrote
tantamount to murder.
Considering the excitement caused in 1S39 by the
invention ot photography,
it
We
know
b)'
with
many
a great
somewhat
presents a
tragic picture
that other
tion
more than
It IS
those photographs
m natural colour.
of a family of good
who
his death
till
mostly to his
letters,
brother Claude
in 1827,
till
now make me
work
w-ell
but
and
their
It's
the thing
which
is
that
my process will
it
Without
w ould have
Paris 1867.
22 April.
He
Illustration
May
lens
1816.
and adapts
son)
Unknown
.-- -
>^rf^'
but since
to use
wliich, as
I had a lens from a solar microscope,
\ou know, belonged to our grand-father Barrault. I
found one of these little lenses was exactly the right
defmed itselt
focal length, and the image of the objects
Luckily
in a very sharp
and
precise
I put
opposite the pigeon-cote, and with the sash wide open.
diameter.
Mon cher ami and I saw on the white paper all the part
window,
of the pigeon-cote which can be seen from the
and a faint picture ot the sash-bars which were lit less
;
brilliantly
between the Baguier and the big Box. To get the best
shadow.
idea of the effect, you must put yourself in
yourself
(Place the prim on something opaque and put
will alter
against the light.) I expect this type of print
contact with
in course of time if it's not kept from
because of the action of the nitric acid which is
not neutralised. I'm afraid, too, that it will have been
damaged by the jostlings of the coach. This is nothing
(which
but a test: but if the results were a little stronger
hope to get), and above all if the ordering of the tones
light,
was reversed,
window sash.
made
in the
effects
field
two prints
it, if you want to keep these
you have only to wrap them in grey paper and put the
whole thing in a book. I am going to concentrate on
3)
least easy;
but
as
you
rightly said,
same
process,
if
samples
so
difficulties,
work and a
through.
all
have no
is
certainly take in
the
arts,
28
May
you new
you would
of the picture
1816.
am
new
prints, 2
point
am curious to
check.
19
May
this
w ay as
box
receives
the
by
the
14th
which
am
half-sheet because
this
cardboard. In
1816.
big and
2 little that
tliat
room
would be
hardly worth
the
37
weight of my
too much, as
letter
to you,
which is half-way
that distinctly,
represented
is
it's
"retina'
but
this
is
bam, or
38
PIONEERS OF PHOTOGRAPHY
on the
right.
his
study
window (Summer
the
way it is
depicted
is
at the
good
on the
is
first
is
a result
of my having
much.
There would seem to be ratios from which one must
not stray, and I have not yet been able to find the best.
closed the hole in the card covering the lens too
of
The
1827).
When the lens is left clear, the print one gets seems very
an
Boxes
retina.
I
the order
is
visible,
the
more striking,
have no need to
lights
tell
could be reversed
colours,
and
it is
not easy.
if as
you,
Up till now
if
;
this
to fix the
From
part in an
that kind of
Finally,
some way
on
make a
which he frequently
employed the camera obscura. He hit upon the idea of
photography about eight years after Niepce's tirst experiscale illusionist entertainments, for
of making
his process
wind of Niepce's
without
Niepce's
translation
image, symbol,
(eikon)
Eixcljv
difficult
representation
activities
difficulty, in
French phonetic
eipiivalenl
dence of the inventor from Chalon. Thus, on 14 December 1 829, began the uneasy partnership which terminated
39
description; portrait
TrapoCTTaois
representation, show,
(parastasis)
alethc
c*l9tl5
true
real
first letters
to
addressed to an engraver
named
known to him
Having been
told,
is
Lemaitrc, inquiring
This makes
1
with
Physautographie
2 Physautotypc
3
a b d Phusis, aute.
eba Eikon,
Iconotauphyse - (sic)
Jb
4 Paratauphyse-(sic)
Alcthophyse-
_^
6 Phusalethotype -
alethes, Phusis
Phusis, alethes.
Portrait
To show
Real nature
results.
you
believe the
was surprised
least. I was
by
therefore all the more careful and reserved in what I told
him, but still I wrote him in a civil manner so as to
elicit a reply. This I've received only today, which is to
say after an interval of over a year, and he writes only
to find out how much I've progressed and asks it I w'ould
thing
is
this
send
possible.
need not
tell
that
.'
.
by nature herself
Roughly
nature herself
him a picture
Typos -
Thai's to say
says,
gd
he
autc, Phusis -
these efforts.
Typos -
",
Nature herself
ptiusautej
AutophuscI
Copy by
AutophyseJ
nature
Paris 19
for
French phonetic
Niepce's
equivalent
translation
nature
(phusis)
b auTTI
c
ypa9Ti
writing; painting;
(typos)
(esbarquej; sign;
imprint; trace;
apart
image;
model
tilings
Fouque, op.
etiigy;
little is
needed to cover a
back
earlier
guessed they
from
that
was thinking
is
of rigging
to simplify
Moscow
1944.
also
something tor
besides
cit.*
plate.
You will have been surprised not to have got the glass
(graphe)
picture
itself
(ante)
Apnl 1833
it's
only
PIONEERS OF PHOTOGRAPHY
40
It
consists
fitting
of the
it's
on
has to be screwed
the other
way so
the glass
again, and
there
is
a 5 inch
6 inch
size,
though
less easily
than the
cit.,
Moscow.
modern
The following is
London tor 12
this
an excerpt from
miracle.
unluckily
moved
the animal
its
without a head
is
Trees arc
in the design.
4I
from producing
it
seems,
image
their
as
FINE
ARTS
there
Paris,
made by M. Dagucrre,
disconcerts
all
promises to
make a
method
discovered a
not
their fixed
much
so.
M. Daguerre means
M.
is
detail in the
glass, as if it
nerve, but
hundred francs
and durable
when
when the
that
magnifying
and
to fix the
trees,
is,
solar microscope,
of design.
M. Daguerre has
apparatus which
revolution
of perfection for
all
a prodigy.
The consequence
is
another for
The Dagiierotype
you may
travellers
trace
procure
impress,
of the
solar rays
which
fixes this
image, with
an action
it
all its
tints,
of which
and they
a sight
of the
finest
They
cannot be
from
their
a substitute for
works, and,
them. The
spots,
given with
a truth
which Nature
it,
in
your presence,
the
and shews
it
if
a bright
many cases,
new
of this
as
it
as for
regards
art.
M. Daguerre's discovery
tends to nothing less than a new theory on an imporunt
branch of science. M. D. generously owns that the first
If what
have heard
autumn or winter
is
in
effects
process have
how far
their pencils
delightful
will see
M.
is
correct,
by
state, that it
has cost
H. Gaucheraud.'
short mechanical
believe -
Von Humboldt,
have
which excited
in a few days,
make
I
it
known to
and M. Arago
the
particulars.
cannot be represented, or
difficulty,
by
will,
Academy of Sciences.
at least
Nature
in
motion
of the Boulevards, of
all
that
was
From
olfici.il
ERRE:
BOULEVARD DU TEMPLE
2,3
2.4
DR JOHN DRAPER:
HENRY
FITZ JUNIOR:
HIS SISTER.
SUSAN
DOROTHY DRAPER
FITZ
2-S
2.6
A.
DF THE
KRUSS
AND
E.
J.
HIS WIFE
KROSS (ABOVE
2.8
UNKNOWN PHOTOGRAPHER
2.9
UNKNOVl
'
211
DR ALEXANDER JOHN
ELLIS
VENICE
'2
G. N,
BARNARD, BURNING
SUN PICTURES
11
in a
weak
solution of
in six
expose
it
cury, as in
to the
in 18
fumes
M. Daguerre
hyposulphite of soda.
of iodine,
s
then
in
it
times
all
is
completely
its
weight
of
action of light,
it
in
a solution of
4
^^-s.j^*&r,i^,'zrj&b,
^^^'C^.^^
^ ^// ^^-:.
ST
ANDREWS.
FIF
SUN PICTURES
The
idea
of photography occurred to
In the
some
entirely
Among
Man':
people more or
less at
the
same time.
this last
of the forgotten
process.
many
its
PIONEERS OF PHOTOGRAPHY
56
about
discovery,
don't think
There
but
if
account
no time for
is
the
Academy
at
will
permit me,
will
is
complete the
my
what
prepared according to
M.
blackened by exposure to
dip
it
for several
obscura.
it
in darkness.'
(p. 14),
have had
The corpse
ot the
gentleman you
sec
above
this invention.
The
Academy, the King, and all those who have seen his
drawings (which he himself considers tentative) have
admired them, just as you yourselves are enjoying them
at this moment. The Government which has been only
too generous to Monsieur Daguerre, has said it can
do nothing for Monsieur Bayard, and the poor wretch
has
drowned lumself.
Oh
life
in
on show at the Morgue for several days no one has recognised or claimed him. Ladies and
already been
gentleman and
Bayard continued
He sent
you can
see, the
processes.
his
of one of the
first
claim
photographic
a right to
Academy of
At the
M.
last session
Biot read a
time
result.
first
but
wishing to make
as I
which
S4
J,
this
to
make
it
appear
all
that
is
required
is
to expose the
M. Daguerrc's process.
It soon blackens everywhere the light has worked on the
paper to vapour of mercury
as in
preparation.
possible,
its
session of 11
Monsieur,
which
in
paper method
^4 February 1 840
have held back from giving to the public
Academy [8 February
of M. Talbot,
to
acknowledged
of the
letter
physicist speaks
Until today
it
this, is that
if
November
their receipt.
ygu think
it is
Kindly open
this packet.
relcvant.-
to contain
two photo-
am the inventor,
1
2 Ibid.
R. Colson.
cd.,
SUN PICTURES
57
With
it
of hyposulphite of soda.
the time the paper
At
obscura,
is
drawing but
traces of the
but with
plates,
produced
in reverse as in
M.
Talbot's process.
Paris, 8
The
race was
letter
It
from
seems
his
this
November
1839'
M. Bayard has
from
is
hot, for
if
once M. Bayard
M. Bayard's
your fmgers.-
He
process
is
quite different
from yours.
it
in
Bayard's process
from
is
the
critical
(though
With
Talbot's, images
to the
have not
fairly tried
of which,
assure
either underrate or
you
latter
it
at Paris
with M. Regnault
& M.
to
in the
to
Ibid.
2 Lacock Papers
Calotype
make a good
as
(LA 43-24)-
it
it is
[sic]
is
much interior
picture
and
is
therefore inapplicable to
[Jones goes
on
trs.
\\
ith
Baron
Scguier
.
Sir J.
I
tried to
obliged.
1
portraits.
portrait
it
it
PIONEERS Of PHOTOGRAPHY
The following
is
drawing
are
It
was
and light, and had long been involved in the gestation period preceding the birth of photography. He was,
m a way, the man behind both Talbot and David Octavius
Hill (1802-70) and Robert Adamson (1821-48). It was he
optics
who encouraged Talbot in his first photographic experiments, and who brought Hill, the artist, and Adamson,
the photographer, together in 1843
all
camera
the
reflection
certain extent,
Daguerrcot)'pe
and
its
operations
it is still
In doing
Daguerreotype picture
in
its
is
the subsequent
Mr Talbot. While a
by
liidden details
in the other,
we can detect
details
is
size.
Calotype one
must
a quarto plate
as
permanence, and
many
pence. In point ot
facility of
examination,
It
that
The
multiplication.
much
delineation of detail,
its
How-
the daguerreotype
calotype
have
felt
may
him right.
The article appearedjust before
To
details
by
material.
ever
this,
necessary that
is
of Hill and
Adamson took
place
m Edinburgh.
Brewster
artist. Hill's
likely
determined by
his predilection
soft,
evanescent
'
SUN PICTURES
59
D. O H il: Pobe't Ac3-r,sor. aid Drjohn Adamson (right) outside the porch of Pock House. Calton Hill. Edinburgh, Robert Acarrso'^
was onl/ 22 when he went into partnership with D. O. Hill. Rock House was their studio: the porch faced south and photographs were
made in the open air. various props being added to simulate indoor locations. Calotype.
comparing
graphs with paintings by R^eburn:
effects
sitters,
their
photo-
is
the
miniature stripplings, as
needle :
as in the portraits
the features
it
how exquisitely
mind.
Camera Work, No. 11, July isws. quoting Hugh Miller, 'Leading
Articles on Various Subjects', ed. Davidson, 1870.
activities. Ironically,
though.
Hill has
My dear Mr Scott,
I
when
in fulfilling the
promise
in
have now
PIONEERS OF PHOTOGRAPHY
60
V-flw
.'
made Ma^' 1843 at the first General Assembly of the Free Church of Scotland at Cannonn
Caiotypes were made to help Hill with his painting of the scene (see 3.8).
and Adamson's
Hill
first
ills.
Edinburgh
gratify nie
gum
nie he finds
mounting
the
spots
same tint.
you should come
of the
If
a similar
business.
them or it
direct - or
shall
through you
ork - or
\\
be happy to supply
as a
matter of
Mr Mackay - have
been since he came to Scotland continually in & out of
town -& am not yet living in my own house. trust
paper -
his
style
on
as tissue
volumes
cost
sketching
done
may
etc.
in faint sepia or
The
portrait
and
the larger
on
all
title
regret seeing so
little
of
about
Whiskey escaped
of
my kind regards
D. O.
This
letter,
scrutiny, for
tor
all
it tells
its
imperfections,
in
and conservation of
dismiss as ephemera.
subject
'tis
Letter in collection of
careful
new art, of
which we,
worth
objects
is
Hill'
tlie
3,2
HIPPOlYTE BA
3,3
HIPPOLYTE BAYARD:
3.4
D O
HILL
PIPER
AND DRUMMER
C-
D. O. HILL
FISHERGIRLS.
NEWHAVEN
D-
HILL
39
D. O. HILL
"I
longed to arrest
all
WOMEN
The studio,
FAIR
Julia
Cameron put a
was somewhat
crow/n on
Lady Amateur
who
sat for
JULIA
It
not merely fortuitous that the earhest criticisms of the photographs of that
is
meted out
young
in
Impressionists:
The
.^
Ph,iu\^r,iphi( Jonnial, 15
August 1864.
knowledge
is
74
PIONEERS OF PHOTOGRAPHY
Mrs Cameron
of celebrities.
of out of
tociis portraits
in
Bond
Street,
Mrs Cameron
is,
in
form
is
concerned, often
The subjects ot many ot the portraits Sir John Herschel, Henry Taylor, Holman Hunt,
being awkward.
such
as
full
of interest in
circumstance which
Julia
is
9 December 1870:
it
in Conduit-street, to
.
Once
mark
off
in the exliibition,
be a source of enjoyment.
is
can but
;
as
a sort
is
of feeling after
The beholder
own imagination,
is
if
he
in his
is
is all.
left to
it
very popular.
Wet collodion.
as
1870.
in
The
Cameron
to
have some
art because
little
it is
it
might be well
slovenly, and a
good
picture
is
is
not
not
in
quantity,
Cameron's works
Heliotype are
all
very
much
Many others
The
PltotonTctpUic joitmat , 15
2 Ptwlogrnphic News, 20
February 1865.
March
868.
photographic
art
is
the easiest.
to be
those 'depraved'
chance, took place in Nadar's recently vacated photo6) was not held till
paintings had made it
of
cient criticism
their
Are
standably, then,
to
IS
made
it
entirety, just as
We
it
now
con-
is
and apologetic about the indiscretions of its predecessors. The appearance of the 'Annals' in 1927
trite
Woolf and
restrain the
overflow
with
first
fruitlessly,
it
has
That sought
to
its
that
Mrs
Roger
the
it is
Therefore
hard-focus
those,
crude botii for the refined and for the hoi polloi. Under-
75
across die
WOMEN
874, suffi-
FAIR
Fry, in
longed to
arrest all
at length the
knowledge
of the art.
did not
began with no
picture
speak for
and
it
itself,
Australia,
'Annals of
public, and,
with
endeavouring to clothe
light, as
with a garment,
feel
my little history
add
in
some measure
That
to
its
is
turned
own instinct
it
I]
effaced
it
triumphantly to dry.
glazed fowl-house
all
the
will
value.
got
when holding
PIONEERS OF PHOTOGRAPHY
76
splutter
that picture,
and
telling her
of the
'My
I
was
in a transport
now
First Success'
of delight.
ran
I
all
It,
by 9 inches.
Sweet, sunny haired little Annie No later prize has
effaced the memory of this joy, and now that this same
Annie is 1 8, how much I long to meet her and try my
master hand upon her.
Having thus made my start, I will not detain my
readers with other details ot small interest I only had
to work on and to reap rich reward.
I believe that what my youngest boy, Henry Herschcl.
I I
'a fluke'.
That is to say,
that
to
other photographers
I
their walls
Madonna
still
exist,
The picture
proved to
me that detail of
were essentials
in
its
and one English institution - the Hartly Institution awarded me a silver medal, taking, I hope, a home
of one whose home was so near
Southampton.
Personal sympathy has helped me on very much. My
to
infancy.
to
is
its
worth.
It
and spleen
husband from
that
the very
am content to compete
with him and content that those who value fidelity and
manipulation should fmd me still behind him. Artists,
however, immediately crowned me with laurels, and
improved
notice.
My
e.
which seemed to
of the printed
way that
Margaret Cameron
Wet collodirn.
upon.
insist
exhibited as early as
Julia
with every
first
glass
stamped, and to
to last has
it is
upon which
a fresh
glory
is
newly
my wet
immense quantity of table
should
lent himself
greatly to
which belongs to
unselfish
FAIR
WOMEN
77
as
in outline as
were
my Madonna
Studies ten years ago, with ten times added pathos in the
expression.
The
letters
on
an
will
interest for
Berlin displayed
felt
grateful to him.
is
very comical.
to deal with
all
was able
'Mr
received the
Julia
Photographies
it is
desired of him.
With
this great
till
prettiest idylls
is
of real life
the light
is
good.
of tar more
is
their beauty;
but
it
it
been
felt
of being photographed,
Your
that can
will take
and
fulfilled,
He
wishes.
are filled
that so utterly
entirely out
Mrs Cameron
'Mr
Esther, to hold
as
sister's
that country,
it
hasjust fallen to
Crown
(Prince]
and
one
to smile
iri(/i
sympathetic, however,
is
m the writer.
the laughter
permits
Less
which some
PIONEERS OF PHOTOGRAPHY
78
English letters
elicit,
ot
here give.
to
sit
The
date
and
is
his
uncrumplcd.
'This
regretted she was not able to 'take her likeness' but that
m)-
duty towards
to
its
was
in
girlhood
after a friendship
its first
parched
lips
is
by "Gloomy
of her
features. Christabel
is
effort.
me to feel
had
m\selt
my great Master
to wait patiently
and
offer.
that ot
that
I felt
as
if I
had wings
to fly with.
When
indeed
present to
is
Carlyle.
earliest
to
as
last
perfection.
When
my turst triumphs
my success
sent
dress
hurrahs for
naturally renewed.
that the
to
when
and even
at
real feelings
were when,
in the
FAIR
WOMEN
79
Eliot, expressed
the
opinioas favourable to the practice of wrapping
known
technically
of glass which were liable to wliat is
induce a want ot
as 'sweating', might sometimes
nermancnc'e
surface
was then
remedy
against
affected
must have
Such ponderous ruminations on tccliniquc
there is no indibeen excruciating to Julia Cameron, and
were subsequently folcation that any of the suggestions
photographic
lowed up. The spontaneous manner of her
deep-seated abhorprocedures would seem to guarantee a
to some
winch
rence for all the chemical fiddle-faddle
even ot an
photographers assumed the proportions
concern
Julia Cameron's overriding
aesthetic experience.
exigencies ot technique.
for her subjects superseded all the
Julia
Margaret Cameron:
Sir
WMIiam Herschel.
Collmgwood .A family
|ohn Frederick
own
residence.
distinguished
Wet
collodion.
supposed.
ot the
Herschel,
negatives. In a large-sized portrait of Sir John
face ot the
taken two years ago (exhibited), the whole
fine cracks,
which, although
collodion tilm,
they destroyed the continuity of the
coating of the
did not seem to extend outwards to the
Tennyson, was
varnish. Another, a large portrait of
_
forty-five of
similarly affected, and, altogether, about
The Rev. J.
whether
microscope would decide the question as to
or the superposed
fault lay with the collodion film
by Mrs
critics
further light
aUdyAmMiir
Twenty
of the Photographic
place of honour at the Exhibitions
the dear old lady
Society, and a very large place, for
believed in nothing
size she
was able
less
when
never
give a
the
varnish ...
to be cut
the
1
The
Thr
Plu<lO!;i.^i>hii Journal.
PlwlOfir.ipliic
Seirs.
15
May
i86y.
January 1886.
80
PIONEERS OF PHOTOGRAPHY
late,
too
late'
(above
left).
.ibsolutely
Mr Came
that
to the
especial
in
its
we can scarcely
of men of mark,
The
as artists
Mr
as
the llhistrated
models for
'fuzziness',
it
hostile to her.
West End
non-success, as
it
a gallery in
of her works.
could scarcely
style, necessity
Cameron's
plates
is
most
likely,
is
and posed
it
afflicted
with
slip
was more
successful,
succeeded.'
Thus
much
moved
that
print.
was
its
a far
portrait in oils
Tht
so
found
in the
camera, with
time,
still.
But
it
masquerading as a
virtue.
That peculiarity
of
tive
WOMEN
to be.
The
FAIR
Phologr.rplik
l J.ii
JULIA
MARGARET CAMEROtJ
ALICE LIDDE
1.2
JULIA
13
JULIA
MARGARET CAMERON:
TRAVELLING
"For
my own
part,
moy
in
nature that
commenced photography
my
it
did not
MAN
will
me and
left
of a
never be so again.
II
TIMOTHY O-SULLIVAN:
HIS
MONT BLANC
TRIP
III
TRAVELLING
MAN
-Between 1863 and 1866 Samuel Bourne (1834-1912) made three trips to the Himagentlemen travellers.
layas, which were in the best tradition of eighteenth-century
Bourne, however, was encumbered with an unbelievable cargo of photographic
equipment and plates, not to mention the other necessities of Hfe appropriate
to the daily existence
brandy, 'sporting
requisites',
most perilous
terrains
V'lVJ AT CHINI
90
PIONEERS OF PHOTOGRAPHY
of at least
thirty,
a staff of servants.
and compress
indicated
by the eye
believe obtainable.
Bourne returned
as likely to
command a fine
for
Bourne published
sundry
bruises,
immense
with the
their rays
were to begin.
first European traveller to photograph
the wilder parts of the Himalayan foothills, though there
was one other photographer in the region, the Rajah of
difficult to deal
subjects,
picture.
very
it is
this
But
this toiling
almost too
by
much
time greatly
Chim and
to
is
at the
is
overwhelmed
it
with the
appeared
as
instalments
graphy, reconstructed
We
the total
The
after the
comple-
two
as his
a full ten
conception.^
Bourne then pays great tribute to the power of photography to prepare the mind for what the eye may better
behold
...
it
that
must be
it
set
teaches the
mind to
Some-
such scenes
their sweet
Following
his first
untold and
his three
only scrupulously
valleys,
time in India,
and
years
diaries
863. describ-
away on
as these,
see the
and renders
it
m nature that
do now, and
the road to
beyond the
capabilities
of photography to convey:
Op.
Ib.d.
cit.
the
Camera
in chc Himalayas'.
February 1864.
15 February 1864.
Vie
Brilisli
TRAVELLING
Sutlej, at
Bourne attempts
MAN
approaching
...
all
the
excruciating cold:
of
resolution
was possessed
of. In
the
first
place,
having
Bourne was
last trip
feet
mad English-
leaving
freight
overcome, on going to
disappointed after
fix the
camera
was greatly
by the
roadside.
It is
hazardous expeditions.
deserted,
tlicir
wc read
PIONEERS OF PHOTOGRAPHY
93
a quarter
my
where two
and
district.
having the
from
their
a scene
man in my house
vast
aggregate,
women
more
fancied
in
which
lies
the
later,
he
is
As
this
sat
scene a feeling
of melancholy seemed
to steal over
females.'
I
Bourne
Himalayan
landscapes, how-ever awe-inspiring they appear, and in
this respect, both for painting and for photography in so
In describing his ten-month
comments on
far as
it
subject
Kashmir
scale
of the Swiss
alps
is
preferable:
to dip again
a ravine in
which
from
for photography.
I
character of the
is
not
descriptions
it is
far
Boumc.
yet
and Adjacent
cit.
2}
November
1866.
trip (1864)
and
Op.
Samuel Bourne:From
TRAVELLING
me,
as
it
MAN
93
been painted
new
lifetimes
subjects
.
enough
for a lifetime, or a
determination of
hundred
really like,
here
truthfulness
The
in developing a plate
when
my servant
men
getting impatient
Ibid. 23
November
1866.
it is
much easier to
on
have
a special interest
little
confess that
if
and
were waiting to
kept them waiting for some time, and had yet
imagination.'
pass.
many photographers
If I
was engaged
its
stiffened the
which
informed
Art:
creater availability
comments on
His
over the small contact print are rare in the early literature
of photography. They belong to a period when the
were equal
and
till
to
Op.
cic.
8 February 1867,
commend me to /arjjc
94
PIONEERS OF PHOTOGRAPHY
'ns^tTi
Colonel Henr/ Wood: His chemicals, dark tent for sensitising and developing plates, baths, camera and tripod, lenses and cases
the kind of equipment Bourne was using in India at much the same time.
and
Many
charm
camera
take
it
that one
and hung up in
some
pleasure in beholding?
alayas'.
means of satisfying
their curiosity
about the
stimulated
travellers
From
by
newly
The
story of
cumbersome
as that
What
this
shrinking earth.
vaunted 'global
village',
and what
cfiect
human
much
psyche
is
yet to be
r'^
f*^
^x.
Itw
.<pv
;e
deodars
in
***
^'^'^c
*i
NEAR CHINl
'\H
54
NE
STATION.
BHON GH
S.6
JOHNTHOMSC-
5.7
ICf
.~b!--JC-
WHEN
WAS A PHOTOGRAPHER
go about
artistic
it's
it
in
in
an hour; the
first
ideas of
for light
how
the
the understanding of this or that effect following the lines of the features
artistic perception."
Nodar (1857)
NADARS
STUDIO,
35
'M^:m^
NO.
SODA
his
own
of
many
parts;
man with
'double viscera'
novelist,
in
caricaturist
of note,
art
critic,
his
as
friends
said.
His career,
was
as
adventurous
as that ot Jules
PIONEERS OF PHOTOGRAPHY
I06
artistic
and
France
of nineteenth-century
camera trom 1853, when he opened his
intellectual aristocracy
photographic studio
first
in Paris.
medium
could
this
miraculous invention
because
it
all
the
shadow in
as
etched by
it
for light
in a
different or
this
combined sources
it's
the understanding ot
intimate and
happy
.'
.
creating in fact
when he seized,
that
he was
caught, materialised
Niepce and
his
to wait to be born.
had
[sic]
less
if,
... It isn't
at first,
Daguerreotype,
this fear
cal
least,
about
world.
spirit
is
last,
spirit
produce:
the
hesitation as distrustful as
it
was
showmg this
superstitious.
More
than
new marvel,
greatest
Balzac
operation.
I
the
name
'Nadar', 12
des Estampes
Na
December
163/41.
when claiming
felt
ill
at ease
before the
and there
fantastical theorisings a la
Cardan.
on here
think
WHN
'
WAS A PHOTOGRAPHER
10?
.idar's
iid
well),
below, using
new
techniques in
artificial
lighting in the
to
convenient to
The
basket
Baf:
length in some
works.
comer of the
it
out but
my memory
posing at
least
it
didn't prevent
him from
worker and the work. But our collodion and our other
materials were reliable, kept in their ice-buckets.
My camera, fastened vertically, was a Dallmeyer. That
speaks for itself And the triggering of the horizontal
shutter that I had dreamed up - another patent - for
opening and closing it with a single continuous action
!
worked impeccably.
Finally
as I
could the
from
were
or to
00 -
it
had to succeed.
On artificial light:
... at that
tent, a
tar
removed
developed so
I08
PIONEERS OF PHOTOGRAPHY
Nadar and
wet
assistant:
negative processed
in
collodion).
quickly, as
it
strides.
We didn't have
facilities that
medium lights^
to give
to be sufficient
was to encounter
Nadar
some
tried
later
Indifferent,
Cercle
la
news-
These
first
plates
solid blacks,
The
pupils
crudely blacked
in,
light.
In iS6i
Nadar spent
three excruciating
graphing subterranean
Paris,
months photo-
accounting for
at least
lOO
dreamed
it
to the project
customed
sight
it
light
no w only remained
was
to apply
of.
drew
Wet
collodion.
WHEN
no
it,
WAS A PHOTOGRAPHER
09
less
deepest,
achievement,
network of the
Parisian sewers.
cannot
tell
interrupted, held
[literally,
one
is
with the
rifle
resting
all
a mist arising
water
Wc
might note
Chinese use
cals in
As
it all,
on the waste of
at great cost
from Peru
back what
be rid of it.
We throw
A(;riciiliurcd
it
away and
year natural
fertilisers
equivalent to a production of
economists,
all
the specialists,
all
the Boussingaults,
all
'Remember
2
Nadar notes
One
that
hefloliire
took up
collodion
t
.
eighteen minutes:
Wet
collodion
light. 1861.
no
PIONEERS OF PHOTOGRAPHY
francs
tish
ot
collodion.
of studio.
and
Vf
/-^
NADAR:
SELF
PORTRAIT
NADAR ALEXANDRE
D'
6,-l
XI
It is
some
is
facility,
now
and
we
difficult to
woodcuts or engravings.
reproduce.
the cose of
OHN THOMSON:
as a
in tlie
nnicteenth century of
means
tlic
LIFE IN
appH-
two articles by the elder Oliver Wendell Holmes, father of the American
They both appeared in the Atlantic Monthly magazine: the first in 1857, the
other in 1863, at a time when the United States were bitterly divided in the conreproduce here a few excerpts from the two extensive and
flict of Civil War.
exists in
jurist.
LONDON
PIONEERS OF PHOTOGRAPHY
122
Oh,
infinite
volumes ot poems
that
treasure
!
m this
with, and so
vast features of
with
delicately
that
wrought
its
I
tiger,
I stroll
its
illusions perfect.
I sit
Its
grand objects,
as
cities,
and on
pass, in a
moment, from
leave
while in
the
Mount of Olives.
'Give
full tide
definite shapes
upon the
doublet
sitting at
will
of little worth.
as
books are
skin or torm, as he
common library
go
wishes to
to the
.'
.
picture.'
a little
classified
this stereoscopic
as
soon be such an
enormous collection ot torms that they will have to be
will
see
before
under
glaciers,
What is the
makes
us - the
dive into
picture
as to the
transtormations to be wrought by
this greatest
By
1856. the
1858, the
Falls Ice
Mountain,
late 1860s.
%'ai*i'
Wet
title list
By
collodion.
i^'m*'*
; .
..
as
they like -
fill
out
by the
123
we give our
The honest
of the dead they too vividly represented
sunshine ... gives us .. some conception of what a
The
field
subjects of strange
We now
to
we owe
to the enterprise
it
might not
thrill
It
or revolt those
was so nearly
like
name of armies
the
It is a
Messrs.
away from
fly in
excursion
this
relief to soar
and
it is,
in their aerial
photographic
us.
loc. cit.
citizen looks
as a
that
reflecting telescope,
In the last
While
[photomicrographs)
we have seen,
those
made by Dr
PIONEERS OF PHOTOGRAPHY
124
is
imsrepresents.
physiological delineation.'
These
later
achievements
The
vicissitudes
nicely-
enunciated
I
troops in the
the
first
battle
of Bull
Run in
officers
not exactly like the 'Sixty-Ninth,' stripped to the pants but with his sleeves tucked up and his big camera
directed
Some
it
The
the battle
from
afar.
into Virginia.
Bull's
at friends
to
doubt.
photographic accoutrements
photographs.
notice the
Times ,^ the
letters
writing graplnc
little
correspondents:
'
sticking out
despair.
Street Life in
many and
is
London, published in
loc. cit.
series called
is
perhaps the
877. His
of such documentary photographs to appear in conjunction with a text (by Adolphe Smith), and is a direct
descendant of Henry Mayhew's famous London Labour
first
the
best
illustrate his
books but,
medium and
the
Tlie
Times
wood-engravings
instead,
125
it:
London Somades
fairs,
markets, and
future
is
any
intelligent plan
almost
as uncertain,
as
well as in their
piece ot
the privilege of
This
associates,
I
have
is,
for
all
that, a
man of fair
*-,,:-
and
sir
tricks
ability.
my
Happily
this
characteristic
time,
visited.
William Hampton
.r... .'.c^----,-
Romany stock.
overrated.
1.
mode ot
as careful to disclaim
and weather.
it is
William Hampton
is
a fair type.
PIONEERS OF PHOTOGRAPHY
126
accepted. "Bless yc
!'
he exclaimed,
old Mary
wot was
destruction.
'that's
would
there be deposited to
whom his son had honoured with the gift. Let none of
my readers suppose that am speaking injest. To such
of the event.
Then
here)
who
Thomson's
him
travels in
Chma
the opportunity of
logical observations
respect
is
expected to bestow.
its
is
it I
race with
I visited,
than one.
It is,
however,
in
cities that
displayed. In
officials
rendered
to present a
contact.
genuine
as
a hospitality as
the world.
eyes
upon a
literati,
or
educated
avoided
classes,
as the
as
who
feel
which
is
represented.'
my camera was
combined with
my naturally, or supernaturally,
strange as
brought
their
foreigner's silent
John Thomson.
graph he
is
Cliiim
md Us
referring to ihe
Penplr. London
Woodburytypc -
was
fei^
\\h\ I
S^
^- ^'"-xT^i'^
7.1
'
"
11
r- -
7.2
TIMOTHY
H,
S.
GRANT'S COUNCIL OF
WAR
Wf^^M
^ A"
7.S
PHTHISIS BY THE
METHOD Of
7.6
7.7
D. O. HILL
/ylTn A
GOIT
7.9
AMERINDIAN
WOMEN
7.(0
ANIMAL LOCOMOTION
...we have
become
so
accustomed to see
we throw oH
all
we
it
our preconceived
g.jJl^
U lU
.^. IIL- 7
11
^ i^^^l
J^^^^^^B^
F~~
Bfl cSwfT
_r-^)^^^^^Mi
,^^^JPP^
v^^bE^.'
>^//\M^
r
L
_L m ^ 1
-
^ ^x
4*^
.y
X,^A
-*
_-.flfe3
'^
Ml
M
v^
tr
-^
-^i>:
iCaPVTiMnBU<!V
Msm^atmwm^MSSi^
^HHSssMicivaw
^MtwuiaugHK
1 1
IJ lU I<
!; vc
svmim^mifmn^mu
^fMiaVtfl9|ll><x
cna.
yT
^ ^(/y^
\
\ \
2324
25
18 19 20 21
ANIMAL LOCOMOTION
In
one of
his
many
publications
his
stupen-
how
his
photographic procedures
nearly led to the invention, not just of the 'movies', but of the 'talking picture'
self:
bom Edward
James Muggcridgc
in
in equestrian locomotion.
it-
142
PIONEERS OF PHOTOGRAPHY
horse with
time,
Government on the
was revived in
animal locomotion
Selecting a
was the
- even at
tour ot his
all
teet, at
this,
their intervals,
intervals
settlement.
a sutficiently
The problem
before
after
It
in a
its
second of time,
outlines practically
at
properly regulated
set
Having submitted
an exposure of so brief a
to obtain
sharp
him was,
to
his plans to
Mr Leland Stanford,
His
official
the city
several
a succession
of automatic
laterally, in front
electric circuits,
of the
Royal Institution of Great Britain,' March 13, 1882,
and will be, with other arrangements, explained in
w'hich
is
ANIMAL LOCOMOTION
EadweardW-.-
'.'
-.;';'-:;;
--.
of a projecting lantern,
parallel with,
and close to
other,
direction
it
stereographs a suitable
a full stride,
Zoopraxiscope
it is
the
first
purpose
respectively, in
reflecting stereoscope
of the instruments,
\\
analytically
effects
is
movements
its
resulting
It
in
at the present
day
27th of February,
in the cylinders
I43
that
on
the
Pursuing
this
horses.
Suitable gearing
Not unexpectedly, Muybridge's vast output ot sequenphotographs, showing humans and aninuls in each
phase of every conceivable movement, were voraciously
tial
truth was a
I
of an apparatus constructed
for the
Afi'li.ii.
London
899.
PIONEERS OF PHOTOGRAPHY
144
If it
is
arbitrary
symbol
association of emblem
and
reality
is
same
reiterated at the
extremely
fact
difficult to disassociate
them, even
when
no
true relationship. So
galloping horse
it
in art that
it
it is
understanding, and
unimpeachable, until
Jules
He wrote
enthusiastically
La Nature:
18
December 1878
Dear Friend,
I
you put me
in
last
of La
Could
would like his
Naliire.
I
London
1899.
his
'Attitudes of Animals in
Eadweard Muybridge:
Photogravure
ANIMAL LOCOMOTION
I45
Eac.'/ea'-d
of certain problems of
by other methods.
For instance, on tlie question of birds in flight, I have
devised a gun-like kind of photography ['fusil
physiology too
difficult to resolve
an attitude, or
successive phases
[Louis Cailletet,
something analogous
in the past
with encouraging
make.
So
it
concerned,
impossible to pose.
As you sec,
the way.'
cited ind
i::weard Muybrldge:
~iera angles,
jtogravure.
PIONEERS OF PHOTOGRAPHY
146
111
88 1
Muybndge
visited Paris
by
received
sensitivities
artists
and
scientists,
matter.
It is
more especially
science,
late
and consequently
been
effected.
Laborious
statistics
most
The
is
its
feebleness, or
attentive observation.'
that
that ot
of animals,
it is
aquariums
species
tish in fresh
water or marine
insects in the
their
State
and
new
appliances, the
most part
carried out.
at last naturalists
if
were
roll
reproduce
Chronophotography on Moving
essential that
as a result
The weak
phases of a
among the
its
Sometimes, however,
we
Plates'
it
in the
were taken on
gun was
principally
weight
ANIMAL LOCOMOTION
Dr
E.
ot
J.
rest,
made
number of
mass.
These
c.
1880
ot exposure,
come to
can be
fihii
movement
each period
witli a jerk.
A scries
difficulties
in
mass,
brought to
used
tit
I47
way.
exactiv
and by which
metres
148
PIONEERS OF PHOTOGRAPHY
J.
birds inflight.
glass-plate
in length, the
number of photographs
that could be
compartment, the
To admit light,
all
that
is
necessary
is
is
to
size of
ANIMAL LOCOMOTION
Dr
E.J.
in
the
movement
of a flexible cane.
The
figure
to another
last
this
all
of the instrument,
the wheels
diaphragms.
must necessarily
be,
would be impossible,
is
as
well
A movement, so rapid as
bound
to be continuous, tor
as in the case
of the photographic
mainly
as
I49
Projector'
which he
sees
logical studies.
human and
new one
to begin. Marey's
scientist
The film
to continue
been taken
When
its
movement as soon as
the
image has
is
pointed
to be studied,
phenomenon
move, and
the
trigger
makes
until the
Marey
it
bobbin
finishes his
The
text
of the
these figures
book with
amounts
to a
do not appear
as
itself,
consists
projects
it is
Having arrived
at this
we
method wc
;
Move-
description ot a
few pre-cinematic techniques, precursors ot his own inventions. The chapter ends with a briet description ot
sun
could wish.
summary
is
exhausted.
m^
'
II
^St^iA
,iiJ
-^^^B^^^SS^^B
jIPI
^^"
^1
A ?1
:-^.
^ # > ^4
"^
^^^^^>^t^
"'.i
r^
DR
E.
|,
CAMERA WORK
although
it
is
in
left
me
in
the
answer
all
is
of
no
pictorial value.'
'
fSANK' EllGENE GROUP (LEFT TO RIGHT) WITH HIMSELF. ALFRED STIEGLITZ, HEiNRICH KOhn
:
CAMERA WORK
As
felt
photography
too.
For the
first
tlie
time since
inception
was
photographers
nouncement of
all
Ring', founded in
The 'Linked
which formed
in
1902.
PIONEERS OF PHOTOGRAPHY
I60
defies forged
As
union was based
artistic progress.
tliis
all
Studio
intelligently
edited
sumptuously
illustrated special
from
ill
and
arts,
Photogrcipliy.
The growth
United
in the
States
no
in
slight
gum-bichromate
one or two [photographers] were temporarily
infatuated by the ease with which they could reproduce
In the early days ot the glycerine and
processes,
mediums; but
once more
integrity
a spirit at
those photographers
Less
But
in art, as in other
some beating of
by challenging
antipathetic
in
what has
at first
conventions
a revolt
from
possible to
tell
Wilson
art
best
on
work
of photography has
own personal
gratification. In
no
particular has
it was
major step was taken
in
in
movements
in
now, indeed,
shown a
their confreres
much of the
photograph by
at a glance,
Sargent, a
tell a
an Orchardson, a Le Sidancr
Steer,
first
the
Brangwyn,
discoveries in pictorial
and severe
man in
It is
photography
texts:
its
it is
ot artistic
is
effect the
is
essentially superficial.
But
it is
not the
medium he insists:
the
In England, as in
possible
are
be the
limitations
way
its
it
aim of all,
In the presence of a
there
it
asked,
ridicule
by
artists,
hands of the
less
and
is
but to court
of failure
picture at first-hand?'
is
resultant
should
it
often hears
chief successes in a
furnishes a
medium of personal
now referred to
expression.
at the
educated.'
CUve
cit.
Leaders
m France,' op.
cit.
its
CAMERA WORK
Gum Bichromate
one
its effect.
There were, to be
sure, other
in painting,
is
produced. Paper
is
coated
l6l
places
relatively transparent
photographers
bichromate,
pigment and
this sensitiveness
being
shown by
the
proportion
prepared
is
it.
is
submitted to the
worked
and should
somewhat
lighter than the photographic negative has made it, the
brush or whatever implement is employed can be used
to tease the pigment away from its support in what
manner and to such degree as his judgment may direct.
the photographer desire this or that tone
him
to realise his
And we may
this aesthetic
fervour
among photographers
was more
graphic arts hardly masks an uneasiness about the availability by that time of the photographic medium to the
populace
at large.
of cinematography and
On
The
old
other one -
look
It
definition
will
number of men
instead ot
throwing open
camera
for
that a
work
of
am
a shrill pitch.
the
it
w ith
makes
is
man's alone,
slavislily
it is
copies nature,
pencil or through
no matter
photographic
it it is
lens,
man
he
may
be a
PIONEERS OF PHOTOGRAPHY
supreme
cannot be called
his
work
ot
their
in existence,
of our
first
there
is
no sanction
as
he
name asanartist?
Not once but many times have I heard
Do you
left a
is
IS
motive
(beautiful,
is
true
said that
an otherwise
work of art.
an
all this
argument
and
fit
all
will
be
oils,
there
shall
were no
deny
gum
artists to
all this. I
have
be that
in
work of art
artistic
my private opinion,
is
a big thing.
have
works
and modify
my astonishment
I
ot art.
as liberators
today the
oil
ideas are
That documentary
men like
as an art process,
his follow-ers in
caimot understand.'
New York.
from
He
it
was
"a battlefield as
well as a
call'.
recalls
so that
to correct
The result of
Its
his
of their incapacity
narrow-minded methods,
necessary in the
art. It is
will
And
a virtue
is
it
sufficient to turn
it,
felt
at the necessity
as a sunset.
to
mechanical copies.
Before ending
greatest masterpieces in
motive such
a beautiful
their
example
have seen
alteration,
The
undoubtedly the work of artists
conclusion is simple enough, for there is no middle
and the
nature
mechanical
copy
of
the
course between
personal transcription of nature. The law is there; but
all.
that are
make
my intimate satisfaction
prints at
not straight
straight prints
of an interesting
that
work of art.
details
Straiglit Print',
Camera
Wmk, No.
18-iy,
CAMERA WORK
among
pictorialists reflect a
and
it
seems quite
at the
begirming of
this
in
I63
photo-
called '291',
Galleries' held
to supersede the
galleries
through
merely
testimony to
taith in the
his daring,
medium and
in his
but an expression ot
own
abilities as
an
artist.
the
gift to fritter
away on complicated
contraptions and
ponderous methods
him
My own camera
is
me in the lurch,
left
no
pictorial value.
of action and
motion ... In order to obtain pictures by means of the
hand camera it is well to choose your subject, regardless
of figures, and carefully study the lines and lighting.
After having determined upon these watch the passing
figures and await the moment in which everything is in
balance that is, satisfies your eye. This often means
hours of patient waiting. My picture, 'Fifth Avenue,
;
fierce
is
US there. The
Rodin to an American pubUc
other
Impressionists
Manet
and
drawings.
exhibition in the
first
introduced
his
To
Stieglitz
Adamson when,
in 1906 their
works appeared
in the
Craig
J.
and Adamson were not without influence on the appreciative American photographers. The
whole list reads like a roll-call of the 'Greats' in modem
art. The Little Galleries also pioneered e.xhibirions of
Negro sculpture, Japanese prints and even works by
Hill
Winter,'
Arman. And
its
considerably darker.
sateen,
very deep
The
walls of this
white the
;
Of course,
as
coverings.'
the proper
own
i<j66.
Op.
cit..
No.
ebullient photographic
Extracted from Stieglitz. 'The Hand Camera - its Present ImportPlwh>ance', The AmerUmi Annual oj Plwlosmphy. 1 8y7. Reprinted in
14, April 1906.
special,
64
PIONEERS OF PHOTOGRAPHY
and
his
lotty utterances
made up in bombast what they lacked in perNevertheless, Shaw was very important in gal-
make
us
ot
death of art
ception.
them
in
letter to
Palais
a greater sense
of
their
own
importance. In a
d'Orsay
in
get
it
photograph
to press
said certainly.
guaranteed
of beautiful
things.
all
fit
to
to great skill
not an
artistic
is
who has
Baron de Meyer.
in
When
London with a
sui generis,
is
man
make
G.B.S.i
and whenever
pray for
his
please you,
watch and
will change.
And
to Archibald
Llanbedr,
29 July 1907;
results
G.B.S.
My dear Henderson,
You must restrain your enthusiasm for photogravure,
you propose to issue a Bernard Shaw album at
Each photogravure has to be separately printed on
separate paper at a cost of about two-pence. The three
in Three Plays for Puritans knock about sixpence a
unless
S25.
copy ofFthe
profits,
sales a bit.
I
white
world.
to do,
and
if you
don't
it
(says
Mrs
Kasebier's
negatives are
try for,
work
it
by
manipulation of the
first rate,
and valued
artistic
is
to the imagination to
SMALL GIRL
ilG
ROBfcRT
DEMACh
ALVIN
ST
PAULS
96
>7
NEW
YORK.
1892
COLOUR NOTES
Although comparative
problem
for practical
my
failures, they
hotel to
show me
convinced
me
his first
two
pictures.
photographic process after more than half a century of inconclusive experiment. In an enthusiastic letter to the editor of Photography (London), reprinted
in
esting as
it
liance
who
thrilling
days in Paris
saw evidence of the new miracle. His letter is particularly interdemonstrates the optimism of a photographer of unquestionable bril-
Steichen
PIONEERS OF PHOTOGRAPHY
176
plates
founded.
Photoi;iraphy has
of your contemporaries
w ho are
to
paid
were concerned,
inside
smiled
illness
kept
he w-ishcd to see
obtain. Don't
all
there
is
in his
own
pictures.
they convinced
Then
amazed
at the
that
Lumiere
will
be responsible.
It is
results
good
I
for
us.
But the
to be
31st,
1907
respects.
me at home.
many
morning,
priceless in
satisfied
of them would be
[sic]
thus far
painters
photography.
problem
paralysed, sturmed.
seem
liimself is
my hotel to
Although comparative
thoroughgoing article drawing out the technical distinctions between the Lumiere Autochrome process and
several others, both earlier and contemporary. Interestingly, Steichen fmds, in what might have been considered an imperfection in the irregularity of the granulation
on the Lumiere
plate,
photographic means
a sense
to
you about
that time,
be conveyed.
easily visible.
Tliis article
prints
transparencies
is
reproduced here
Color PhotOi^rapliY
COLOUR NOTES
an accomplished
individual got a
fact.
little
try
some
177
it
should,
rendering.
apparently, be
of Autochromes, the
three-color process affords no end of possibilines, such
as Gum. Carbon and Pinatype. But other simpler
As regards
the printing
the
problem
shall leave
any more
when
but commercially
fruitless, research.
ot us that
interest, especially
when we heard
grass, red
first results
tried
them
stay.
Maxwell,
du Hauron and
Raymond Bergecol and a number of other plates will
probably soon be available, which promise to do even
Lumicre
plates
The
fine, irregular
futile
tiling
it is
is
this
can give
of the color
plates
from
the edition
comparison
They are a
color pictures
1908
EduardJ. Steichcn
LOUIS LUMIERE
HIS
FATHER ANTOINE
LFRED STIEGLITZ
FRANK EUGENE
10 7
10
Bf ATHiCE
WEBB
LIST
OF ILLUSTRATIONS
2.5
some
Chapter
ot
the best
OPENING PAGE
York)
2.6.
Museum)
2.8
left
and centre
right.
Montage
1.2
hiterior,
c.
1843.
].(i
1.7
Calotype (Science
1.8).
Museum)
i.S
is
known daguerreotype
illustrations
111
this
Science
Museum
1S44.
Man m centre
who held a
Claudet,
also a wellhis
Museum)
di Paglia. 8.29-8.36
(19,
left).
House)
Other illustrations
c.
1839.
Drjohn Draper
Nationalmuseum)
Dorothy Draper,
to
840.
Dr Draper of New
earliest people to make a daguerreotype portrait. Two versions
of this portrait exist. One he sent to Sir J. F. W. Herschel in
'about 6 minutes'.
Henry
grapher
who
early as
December
claimed he made
Baltimore photo-
daguerreotype self-portrait
Museum
in
we have
as
November
of the great
to Talbot.
dc Photo-
graphic)
3.2
c.
Little
Sulky,
- The grocer's
shop-window, August 1843. (Societe Francaise dc Photo-
}.}
I'Epicier'
graphic)
3.4
the
was
Smithsonian Institution)
Fox Talbot
pleasure
of La Madeleine,
Exposure
York was one of the
his sister,
Chapter j
OPENING PAGE Dr John Adamson and Robert Adamson: Pages
from an album of calotypes taken m St Andrews, Fife, and sent
Daguer-
caption).
2.3
own
Photographic)
L.J.
Chapter 2
OPENING PAGE Charles Fontayne and W. S. Porter: Panorama
of eight daguerreotypes of the Cincimiati waterfront, 1849.
(Cincinnati and Hamilton County Public Library)
i.\
Joseph Nicephore Niepce: Still-life on glass ?c. 1830, now
destroyed (from a copy made in 1891). Possibly made after his
partnership with Daguerrc. Destroyed by scientist who unfortunately had a brain-storm and smashed everything in his
laboratory while he was examining it. (Societe Fran^aise de
2.2
am
Antome
c.
Other
Party,
Justice
3.5
3.6
LIST
Monument,
Edniburgli,
c,
1844.
pencil.
87
Sanuicl Bourne: 'View at the top of the Manirung T'ass' ft - late Augiisf early September 1866. One
of three exposures taken in freezing conditions and at the highest altitude for any wet-pbte photograph known. (Private
collection. London)
<,.<,
Bourne and Shepherd The Reversing Station. Uhon Ghat.
Bourne found this wide format useful. Wet collodion (Private
collection. London)
5.4
New
elevation i.S,6oo
Portrait Gallery)
c.
OF ILLUSTRATIONS
Museum of
graphic Society
Chttpicr 4
PACE
oPENiNt;
Julia
artist
4.4
1S78.
Mrs Cameron
c.
1866.
Peasants.
of her
at
photographs.
It is inscribed: 'the girl being 12 years of age .iiid the old man
saying he is her father and stating himself to be one hundred
last
Other
OPENING PAGE
The cast-iron
C^apucines.
Society)
4.2
Clliiplcr 6
Museum
(71)
6.2
pcre.
1865.
c.
Wet
coUtxlioii
Nadar
6.3
C'amille
Corot (before
859).
6.4
XIV
Louis
as
(late i8dos).
Wet
collo-
6.5
Chnpnr
OPFNINC.
i
p.\(.i:
survey
trip
Timothy
on a
went
He
Wet
collodion (Library of
The Ascent of Mont Blanc, c. i860. Wet collodion (Victoria and Albert Museum)
'Panoramic View at Chini' September 1S63.
Bourne;
Samuel
Bisson Frcres:
on the opposite
Raldung peaks
side
to the elevation
...
rise
of 22,000
ft.'
Wet
Samuel Bourne: 'A bit on the new road near Rogi' about
September 1S66. From Bourne's third trek to the Himalayas.
s.i
is
for
506.
lioii,
c.
i860.
Wet
Bibliothcque Nalionale)
Other
photo R. Lalancc(95)
collodion
Photographiques. Paris)
6.7
Congress)
'Directly
Chapter 7
OPENING PAGE
1
877.
'
London Boardincn, Workers on the 'Silent Highway'. C'ast-iron Billy. 'Hookey Alf of Whitechapcl. Wood-
smith, the
'
Wood
c:hurch. Virginia. 21
writing a dispatch
of C'oiigress)
--
May
left
PIONEERS OF PHOTOGRAPHY
7-3
Richmond and
the
Crippled locomotive of
Petersburg Railroad,
Richmond Depot,
Unknown
7.4
at
7.5
Fort
F.
Mr
Method of "Composite
(like 7.7) to use
An early attempt
medical evidence. Autotype
Portraiture'", 1881.
photographs
as
Baniardo's.
Modem
i86_s.
from
with a
c.
goitre.
7.10
Street,
1845.
c,
1868.
Wet
collodion
Photographic Society)
iti
b>-
of
Eadweard Muybridge: San Francisco, c. 1870. (Kingstonupon-Thamcs Museum and Art Gallery)
8.2
Eadweard Muybridge: Group of indians.Nanaimo district
of Vancouver Island, c. 1868. (Kingston-upon-Thames Museum and Art Gallery)
Eadweard Muybridge Woman climbijig on and off a table.
8.3
8.1
From Animal
E. J.
flight, c.
Rouen)
8.5
smoke,
c.
Rouen)
Other
illustrations
in
Paul's,
Work no.
II,
191
1.
12, 1905.
Chapter 10
OPENING PAGE Johii Cimoii WarbuTg in his darkroom working
on a gum print, c. 1910. (Private collection, London)
10. 1
Louis Lumiere: experimental autochromc of his father
Antoine. This shows the problems the Lunuerc brothers had
with the even distribution of the coloured starch granules
which acted as filters, c. 1905. (Dr Paul Genard)
TO. 2
Louis Lumiere: Lyons in the snpw. Early autochrome,
c.
10.3
Louis Lumiere:
umbrella,
c.
1907.
probably taken
10.6
Tutzing, Germany,
at
1907.
Autochromc
Alfred Stieghtz: Frank Eugene, Tutzing, 1907. AutoStieghtz collection, Art Institute of Chicago)
Alfred Stieglitz,
from Kingston-upon-
(126,
133),
Royal Photographic
Tutzmg
Emmclme
1907.
Stieglitz, first
Autothrome
wife of
(Alfred Stieghtz
of Chicago)
Alfred Stieglitz: His mother, c. 1907. Autochromc
10.7
(Alfred Stieghtz collection. Art Institute of Chicago)
collection. Art Institute
10.8
10.9
(National Trust)
Other ilhtstrations
FRONT COVER Nadar:
his studio,
c.
i860.
Wet
graphic Society)
Dr
chromc (Alfred
Eadweard Muybridge: Abe Edgiiitoii driven
15 June 1878. From his book The Attitndes
8.4
Society)
10.5
Aiiitnah
Society (iii)
Chapter S
OPENING PAGE
C. Marvin
J'ames Craig
phic Society)
3
7.
Society)
Woman
JX^
7.7
Chapter g
OPENING PAGE Frank Eugene: Group (left to right) shows
Eugene, Alfred Stieghtz, Heinnch Kiihn, and Edward
Stcichen, c. 1905. (Royal Photographic Society)
Francis Picabia Portrait of Alfred Stieglitz( 291. 1916)
Hcinrich Kiihn: Small girl, c. 1900. (Royal Photographic
Herman Krone:
Self-portrait
with
his
photographic
ii\
minutes'. (Science
Museum)
An
BIBLIOGRAPHY
Early Victorian
Album
(the Hill
Adamson
collection),
colin
General
Art and photography,
Press, 1968.
GEORGES POTONNIEE,
by Edward
Epstcan,
New
York, 1936.
Hisioire de la phoio\;raphic,
and aiison
cernsiieim,
New York
1936;
social history,
iSjf-lSSg,
JEAN PRINET
1964.
photographers,
BRUN
- Ceorge Eastman
The Science Museum Photography Collection: a catalogue with sections on processes, D. B. tho.mas, HMSO, ic)f*).
AND ANTOINETTE
DiLLASSER, Pans:
Armand
life's
ivork. Paris:
Bibliothcquc
Nationalc, 1965.
Docuiiieiilary
photography
i86j;
1926.
1973.
Xadar
S'adar,
Iina<;e
ROBERT TAFT,
Cameron, vibcinia
Raymond
1945 (French).
Tlie hislory of photography, hel.mut
1959.
A/<i//;iir
KORAN,
New
Fox
The
Talbol
ftrsi
ncoatives, D. B.
THOMAS, Science
Moving
HMSO,"i965.
to Lacoch Abbey, The National Trust, 1974.
Photooraphy: men and movements Vol. 2- William H.
Fox
Talbol,
IVilliani
j.
December
Part
in T//f Photographic
II
in
pictures
Animals
Guide
877 edn.)
Museum Monograph,
The Photographic
1889.
Eadweard Muybridge:
TURA .MOZLEY,
et
al.
Lt'iiis
1S99 (French).
Niepce
attd Daotierre
Dagnerre,
ttu-
daguerreotype,
1969.
Joseph Nicephore Niepce: Leitres 1S16-1S1- Conespondance conservee a Chdlon-sur-Saonc, Association du 'Pavilion de la
Photo Secession, photography as a jine art, ROBERT DOTY, monoYork: George Eastman House,
graph no. 1, Rochester,
New
i960.
Alfred Stieglit^: photographer, Boston,
Duca
New York:
photography,
tion
ct al.
Bayard
French
Photo Secession
New
Museum,
Hill and
Folkwang
Adamson
S02-70,
Colour photography
Lmniire: Lcs premiers pltotographcs 01 coiilrurs, uitroduction by
PAUI GENARD and ANDRE B.\RR[T. Pans: Andre Barret. 1974.
1959-
^M^^ii^
(Revised)
full color
full color
FARM BOY
Text and photographs by Archie Lieberman
240 black-and-white photographs
Price $22.50
THE
full
color
VOLCANO
Text by Maurice and Katia Krafft
Introduction by Eugene lonesco
79 illustrations, including 57 plates in
Pnce $35.00
full
color
8109-OinS-X
Prin',
-.tfao
10022