By the Time Roger Fenton Left England to Photograph the Crimean War In

Total Page:16

File Type:pdf, Size:1020Kb

By the Time Roger Fenton Left England to Photograph the Crimean War In Roger Fenton and the Crimean War Roger Fenton was one of the first pioneers of war photography. The images he took covering the Crimean War, along with the letters he wrote to his family and the Manchester print-seller Thomas Agnew (who financed this expedition), are rich with explicit and implicit information documenting the conflict. The tone of the letters is noteworthy. Although they were edited when published in 1954, Fenton’s sense of humor and intrepid spirit are readily apparent. He assumed the voice of an almost jaunty world traveler witnessing a spectacle that alternately amazed, amused, and horrified him, that complicated but never confounded his efforts, and that, while it provoked periods of sadness, never aroused deep moral indignation. It has been suggested that Fenton’s experience in the Crimea was far less negative in part because he did not arrive until the spring of 1855, when the devastating winter was over and some improvements had been made in conditions. He also carried letters of introduction from Prince Albert, which guaranteed him exceptional access and privilege. While Times journalist William Howard Russell was barely tolerated as a result of his criticisms of English and French leaders in the war effort, everywhere Fenton turned he received support and assistance from the highest- ranking officers in the region. Aided by an assistant and a handyman, Fenton began photographing within a few days of his March 8, 1855 landing at the port of Balaklava. Using two cameras, he worked diligently for three months, making more than 350 negatives. His purpose on this trip was to create a commercially viable portfolio of photographs aimed at the upper levels of British society. This audience, many of whom had lost family and friends in the conflict, did not want to see photographs of death, suffering, chaos, or ineptitude, or images that would challenge their closely held belief in the necessity and correctness of the conflict. They wanted pictures that supported the myth that -more- Page 2 their loved ones had died with dignity and in support of a noble cause. To this end, Fenton set out to photograph the leading figures of all the allied armies. He also made photo essays of camp life that show officers, often attended by aides and surrounded by their regiments, relaxing near their tents. And he made studies of the picturesque and exotic individuals who populated what he called “this Noah’s Ark”: the Highlanders in their colorful garb, the Grenadier Guards with a Nubian servant, a French cantinière, Russian children, the Zouaves, Croats, and Turkish soldiers. While the vast majority of the photographs Fenton made in the Crimea are portraits, he also recorded the densely packed harbor of Balaklava and the plateau of Sebastopol. There, he made several panoramas, including ones of the plain of Balaklava, the site of the Battle of Inkerman, and an eleven-part panorama of the view from Cathcart’s Hill. In short, Fenton’s subjects were the very people and places the English public had been reading about in newspaper reports for months. Fought far from English soil, the Crimean War was the first “armchair war,” experienced by the general public not through firsthand knowledge, or as an imminent threat, but through newspaper and journal articles. The rapid growth of the popular illustrated press and the increased availability of prints also made it the first war in which visual as well as printed information could be devoured by the public. Fenton’s Crimean expedition was one of the most difficult, complicated, and ambitious projects any photographer had undertaken. At times it was also dangerous; the Russians occasionally fired on his van and once even grazed it. Toward the end of his time in the Crimea, a new sense of war-weariness crept into his letters and portraits. As he worked his way down through the ranks, finally photographing junior officers and some noncommissioned soldiers—those who actually bore the brunt of the fighting—their exhausted and shattered state became ever more apparent. Precisely because the subjects did not try to hide their desperation and the photographer did not seek to transform them into something they were not, these are among Fenton’s most compelling Crimean portraits. -more- Page 3 If Fenton was a celebrity in the Crimea, he was an even greater one on his return to England. By early August 1855 the queen had seen some of his Crimean photographs and described them as “extremely well done.” In September, the exhibition “Photographic Pictures Taken in the Crimea,” consisting of more than 280 works by Fenton, opened at the Gallery of the Water-Colour Society in London. This was the first of three venues in London and more than seven elsewhere in Britain. The exhibition was a popular and critical success. Also that September, Agnew announced the publication of Photographic Pictures of the Seat of War in the Crimea, a series of three portfolios. Despite the high praise, the almost weekly appearance of Fenton’s work in the Illustrated News in the fall of 1855, and Agnew’s creative efforts to market the portfolios (including the claim that only a limited number of prints could be made from a negative), sales were poor. In December 1856, the negatives and remaining prints were sold at auction. But the impact of Fenton’s work survives, marking the beginning of a field that has become one of the most viable in photojournalism today. # # # MEDIA CONTACT: John Giurini Getty Communications Dept. 323-650-5125 [email protected] The J. Paul Getty Trust is an international cultural and philanthropic institution devoted to the visual arts that features the J. Paul Getty Museum, the Getty Research Institute, the Getty Conservation Institute, and the Getty Foundation. The J. Paul Getty Trust and Getty programs are based at the Getty Center in Los Angeles. Visiting the Getty Center: The Getty Center is open Tuesday through Thursday and Sunday from 10 a.m. to 6 p.m., and Friday and Saturday from 10 a.m. to 9 p.m. It is closed Mondays and major holidays. Admission to the Getty Center is always free. Parking is available for a fee; no reservation required. Reservations are required for event seating and groups of 15 or more. Please call 310-440-7300 (English or Spanish) for reservations and information. The TTY line for callers who are deaf or hearing impaired is 310-440-7305. Additional information is available on the Getty Web site at www.getty.edu. .
Recommended publications
  • Rethinking Documentary Photography
    RETHINKING DOCUMENTARY PHOTOGRAPHY: DOCUMENTARY AND POLITICS IN TIMES OF RIOTS AND UPRISINGS —————————————————— A Thesis Presented to The Honors Tutorial College Ohio University —————————————————— In Partial Fulfillment of the Requirements for Graduation from the Honors Tutorial College with the degree of Bachelor of Arts in Art History —————————————————— by Jack Opal May 2013 Introduction I would like to think about documentary photography. In particular, I would like to rethink the limits of documentary photography for the contemporary. Documentary, traditionally, concerns itself with the (re)presentation of factual information, constitutes a record.1 For decades, documentary – and especially social documentary – has been under siege; its ability to capture and convey and adequately represent “truth” thrown into question, victim to the aestheticization of the objects, fading trust in their authors, and technological development. So much so that the past three decades have prompted photographer, documentarian, and art historian Martha Rosler to question first its utility, then its role, and finally its future in society. All of this has opened up the possibility and perhaps the need to reconsider the conditions and purpose of documentary practice, and to consider the ways in which it has been impacted by recent technological and historical developments. The invention of the internet and the refinement of the (video) camera into ever more portable devices and finally into the smartphone, and the rise to ubiquity within society of these inventions, signifies a major shift in documentary. So, too, have certain events of the past two decades – namely, the beating of Rodney King (and the circulation of the video of that event) and the development and adoption of the occupation as a major tactic within the political left.
    [Show full text]
  • Diplomacy and the American Civil War: the Impact on Anglo- American Relations
    James Madison University JMU Scholarly Commons Masters Theses, 2020-current The Graduate School 5-8-2020 Diplomacy and the American Civil War: The impact on Anglo- American relations Johnathan Seitz Follow this and additional works at: https://commons.lib.jmu.edu/masters202029 Part of the Diplomatic History Commons, Public History Commons, and the United States History Commons Recommended Citation Seitz, Johnathan, "Diplomacy and the American Civil War: The impact on Anglo-American relations" (2020). Masters Theses, 2020-current. 56. https://commons.lib.jmu.edu/masters202029/56 This Thesis is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Masters Theses, 2020-current by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. Diplomacy and the American Civil War: The Impact on Anglo-American Relations Johnathan Bryant Seitz A thesis submitted to the Graduate Faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements for the degree of Master of Arts Department of History May 2020 FACULTY COMMITTEE: Committee Chair: Dr. Steven Guerrier Committee Members/ Readers: Dr. David Dillard Dr. John Butt Table of Contents List of Figures..................................................................................................................iii Abstract............................................................................................................................iv Introduction.......................................................................................................................1
    [Show full text]
  • Inserting Hans Bellmer's the Doll Into the History of Pornography
    Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2020 Softcore Surrealism: Inserting Hans Bellmer's The Doll into the History of Pornography Alexandra M. Varga Follow this and additional works at: https://scholarship.claremont.edu/scripps_theses Recommended Citation Varga, Alexandra M., "Softcore Surrealism: Inserting Hans Bellmer's The Doll into the History of Pornography" (2020). Scripps Senior Theses. 1566. https://scholarship.claremont.edu/scripps_theses/1566 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. 1 SOFTCORE SURREALISM: INSERTING HANS BELLMER’S THE DOLL INTO THE HISTORY OF PORNOGRAPHY, 2020 By ALEXANDRA M. VARGA SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR ARTS FIRST READER: PROFESSOR MACNAUGHTON, SCRIPPS COLLEGE SECOND READER: PROFESSOR NAKAUE, SCRIPPS COLLEGE MAY 4TH 2020 2 Contents Acknowledgments. 3 Introduction: Finding The Doll. 4 Critical Reception: Who Has Explored The Doll?. 10 Chapter 1: Construction of the Doll and Creation of the Book. 22 Chapter 2: Publication in Germany and France. 37 Conclusion: Too Real For Comfort. 51 Bibliography. 53 Figures: Die Puppe Sequence, 1934. 56 Figures: La Poupée Sequence, 1936. 64 Figures: 19th and 20th Century Pornography. 71 3 Acknowledgments This thesis could not have been written without the support of my thesis readers, Professors Mary MacNaughton and Melanie Nakaue. I would like to thank them for their unwavering support. Their guidance gave me the confidence to pursue such an eccentric topic.
    [Show full text]
  • City of Republican Significance. Number of Residents, Thousand People: 379.5 Total Area, Sq
    CHARACTERISTICS OF THE CITY STATUS: CITY OF REPUBLICAN SIGNIFICANCE. NUMBER OF RESIDENTS, THOUSAND PEOPLE: 379.5 TOTAL AREA, SQ. KM: 1079.6; (by land: 863.5 sq. km) DENSITY OF POPULATION (persons per 1 sq. km): 439 TOTAL NUMBER OF SETTLEMENTS: 29 The city of Sevastopol is an administrative and territorial unit of Ukraine with a special status, which includes four districts (Leninskyy, Nakhimoskyy, Balaklavskyy, and Gagarinskyy), city of Inkerman (city of district significance), and 29 villages and settlements. Sevastopol is one of the biggest non-freezing commercial and fishing seaports. It is an industrial, scientific, technical, recreational, cultural and historical center in the south of Ukraine. The city is situated in the south-western part of the Crimean peninsula on the same latitude as the Italian city of Milan and the French city of Lion. The distance from Sevastopol to Kyiv is 1,050 km, 1,500 km to Moscow, 85 km to Yalta, 490 km to Istanbul, 1,700 km to Rome, 2,100 to Marseille, 2,400 km to Paris, and 2,800 km to London. The Sevastopol region borders with the Bakhchysaray rayon in the north-east and with the Greater Yalta in the south-east. The region is washed by the warm waters of the Black Sea in the west and south. The total land area of the Sevastopol region constitutes 863.5 sq. km, of which 12% are inhabited, 29% are occupied by agricultiural lands, 41% are occupied by forests and noubtains, 25% are represented by the industrial and residential districts, and 6% (57 sq.
    [Show full text]
  • How Has Photojournalism Framed the War in Afghanistan?
    How has photojournalism framed the war in Afghanistan? David Campbell PUBLICATION In Burke and Norfolk: Photographs from the War in Afghanistan, John Burke and Simon Norfolk (Stockport: Dewi Lewis, 2011). Images are central to contemporary geopolitics. We encounter other people and places though a “field of perceptible reality” enabled by visual representations.1 Photographs, paintings, video, film, computer games – each and every pictorial artefact - helps establish what can be represented and how it can be shown. In turn, those images are made possible by a series of historical, cultural and political frames.2 The field of perceptible reality that is the decade-long war in Afghanistan has been enacted in large part through news imagery and photojournalism. We have seen a steady stream of familiar pictures made up of allied forces, Afghan civilians, Taliban casualties and American military families. Photojournalism on the front line has focused on the military struggles of international forces as they combat an ‘elusive’ opponent, with soldiers and their weaponry front and centre. There is also an inevitable regularity to the style of these images. As Associated Press photographer David Guttenfelder notes, the work of photojournalists in Afghanistan “sometimes looks very uniform.”3 “Embedded journalism” has been a frame commonly focused upon to explain the nature and limits of what we do and don’t see. That analysis sometimes proceeds on the assumption that there was once a time when photography’s contribution to the field of perceptible reality was free from government controls. As Judith Butler claims in her assessment of the ethics of photography: Recent war photography departs significantly from the conventions of war photojournalism that were at work thirty or forty years ago, where the photographer or camera person would attempt to enter the action through angles and modes of access that sought to expose the war in ways that no government had planned.
    [Show full text]
  • In the Lands of the Romanovs: an Annotated Bibliography of First-Hand English-Language Accounts of the Russian Empire
    ANTHONY CROSS In the Lands of the Romanovs An Annotated Bibliography of First-hand English-language Accounts of The Russian Empire (1613-1917) OpenBook Publishers To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/268 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. In the Lands of the Romanovs An Annotated Bibliography of First-hand English-language Accounts of the Russian Empire (1613-1917) Anthony Cross http://www.openbookpublishers.com © 2014 Anthony Cross The text of this book is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the text; to adapt it and to make commercial use of it providing that attribution is made to the author (but not in any way that suggests that he endorses you or your use of the work). Attribution should include the following information: Cross, Anthony, In the Land of the Romanovs: An Annotated Bibliography of First-hand English-language Accounts of the Russian Empire (1613-1917), Cambridge, UK: Open Book Publishers, 2014. http://dx.doi.org/10.11647/ OBP.0042 Please see the list of illustrations for attribution relating to individual images. Every effort has been made to identify and contact copyright holders and any omissions or errors will be corrected if notification is made to the publisher. As for the rights of the images from Wikimedia Commons, please refer to the Wikimedia website (for each image, the link to the relevant page can be found in the list of illustrations).
    [Show full text]
  • Reconstruction: Photography and History in EL Doctorow's
    Harriet L. Wilkes Honors College Honors Theses Florida Atlantic University Libraries Year Reconstruction: photography and history in E.L. Doctorow’s The March Eric Seymour Florida Atlantic University, This paper is posted at DigitalCommons@Florida Atlantic University. http://digitalcommons.fau.edu/wilkes theses/26 Reconstruction: Photography and History in E. L. Doctorow’s The March by Eric Seymour A Thesis Submitted to the Faculty of The Wilkes Honors College in Partial Fulfillment of the Requirements for the Degree of Bachelor of Arts in Liberal Arts and Sciences with a Concentration in English Literature Wilkes Honors College of Florida Atlantic University Jupiter, Florida May 2007 Reconstruction: Photography and History in E. L. Doctorow’s The March by Eric Seymour This thesis was prepared under the direction of the candidate’s thesis advisor, Dr. Laura Barrett, and has been approved by the members of her/his supervisory committee. It was submitted to the faculty of The Honors College and was accepted in partial fulfillment of the requirements for the degree of Bachelor of Arts in Liberal Arts and Sciences. SUPERVISORY COMMITTEE: ____________________________ Dr. Laura Barrett ____________________________ Dr. Christopher Strain ______________________________ Dean, Wilkes Honors College ____________ Date ii ACKNOWLEDGEMENTS This project is deeply indebted to the scholarly output, guidance, and patience of Dr. Laura Barrett; her exceptional knowledge and profound understanding of visual culture, particularly photography, has enabled me to execute an academic endeavor that would have otherwise remained out of my reach. I would also like to thank Dr. Hilary Edwards, who has helped me to locate the merits of particular scholarly questions involved with this thesis, showing me how to put pressure on a topic in order to foreground its relevance.
    [Show full text]
  • The Other Side of the Lens-Exhibition Catalogue.Pdf
    The Other Side of the Lens: Lewis Carroll and the Art of Photography during the 19th Century is curated by Edward Wakeling, Allan Chapman, Janet McMullin and Cristina Neagu and will be open from 4 July ('Alice's Day') to 30 September 2015. The main purpose of this new exhibition is to show the range and variety of photographs taken by Lewis Carroll (aka Charles Dodgson) from topography to still-life, from portraits of famous Victorians to his own family and wide circle of friends. Carroll spent nearly twenty-five years taking photographs, all using the wet-collodion process, from 1856 to 1880. The main sources of the photographs on display are Christ Church Library, the Metropolitan Museum, New York, National Portrait Gallery, London, Princeton University and the University of Texas at Austin. Visiting hours: Monday: 2:00 pm - 4.30 pm; Tuesday - Thursday: 10.00 am - 1.00 pm; 2:00 pm - 4.30 pm; Friday: 10:00 am - 1.00 pm. Framed photographs on loan from Edward Wakeling Photographic equipment on loan from Allan Chapman Exhibition catalogue and poster by Cristina Neagu 2 The Other Side of the Lens Lewis Carroll and the Art of Photography ‘A Tea Merchant’, 14 July 1873. IN 2155 (Texas). Tom Quad Rooftop Studio, Christ Church. Xie Kitchin dressed in a genuine Chinese costume sitting on tea-chests portraying a Chinese ‘tea merchant’. Dodgson subtitled this as ‘on duty’. In a paired image, she sits with hat off in ‘off duty’ pose. Contents Charles Lutwidge Dodgson and His Camera 5 Exhibition Catalogue Display Cases 17 Framed Photographs 22 Photographic Equipment 26 3 4 Croft Rectory, July 1856.
    [Show full text]
  • American Sectionalism in the British Mind, 1832- 1863
    ‘The Inextinguishable Struggle Between North and South,’ American Sectionalism in the British Mind, 1832- 1863 Peter O’Connor PhD 2014 ‘The Inextinguishable Struggle Between North and South,’ American Sectionalism in the British Mind, 1832- 1863 Peter O’Connor A thesis submitted in partial fulfilment of the requirements of the University of Northumbria for the degree of Doctor of Philosophy Research undertaken in the School of Arts and Social Sciences February 2014 Abstract of Thesis Working within the field of nineteenth century transatlantic history this thesis takes as its starting point British attempts to engage with the American Civil War. It emphasizes the historiographical oversights within the current scholarship on this topic which have tended to downplay the significance of antebellum British commentators in constructing an image of the United States for their readers which was highly regionalized, and which have failed to recognize the antebellum heritage of the tropes deployed during the Civil War to describe the Union and Confederacy. Drawing on the accounts of over fifty British pre-war commentators and supplemented by the political press, monthly magazines and personal correspondence, in addition to significant amounts of Civil War propaganda this thesis contends that the understanding of the British literate classes of the conflict was part of a continuum. It equally emphasizes that by measuring the reception of texts among the literate public it is possible to ascertain the levels of British understanding of different aspects of the American nation and its sections in this period. It aims to demonstrate that any attempt to understand the conflict in a British context must adequately reflect the long-standing image of the United States as being characterized by discrete regions with particular social, cultural, economic and political identities.
    [Show full text]
  • RAN in Southern Russian in 1918-20 Issue 3 April 2018
    SEMAPHORE SEA POWER CENTRE - AUSTRALIA ISSUE 03, 2018 THE ROYAL AUSTRALIAN NAVY IN SOUTHERN RUSSIA 1918 - 1920 The guns on the Western front had fallen silent and the Black Sea. Yarra was later used to move a cargo of Armistice had been signed but in Eastern Europe there ammunition, petrol and two motor cycles to Sevastopol for was no peace. In Russia the civil war between the use by British personnel ashore. Imperial ‘White’ Government and the Bolshevik ‘Reds” Warrego arrived at Constantinople on 1 December 1918 was dragging on into its second year and soon the RAN and was also briefly attached to the British forces would also become involved. operating in the Black Sea. Huon entered the Dardanelles When the war ended there were seven Australian on the 3rd of December and arrived at Sevastopol on the warships serving in the Mediterranean. These were the 7th. Her ships company noted that German soldiers were destroyers HMA Ships Huon, Parramatta, Swan, Torrens, being employed to provide security in the area in case of Warrego and Yarra and the light cruiser HMAS Brisbane. Bolshevik attack. She sailed on 9 December and Additionally some RAN officers were attached to ships of proceeded east to the port of Theodesia (Fedoesia) where the Royal Navy serving in the region. she went alongside on the 10th as a show of force. Huon departed Theodesia the next day and returned to On 12 November 1918, the day after the Armistice was Sevastopol, on 12 December, where she took the signed; Parramatta, Torrens and Yarra steamed through captured German submarine UC 37 in tow and took her to the Dardanelles and began operations in the Sea of Constantinople.
    [Show full text]
  • Up to Their Elbows in Blood: the Crimean War and The
    UP TO THEIR ELBOWS IN BLOOD: THE CRIMEAN WAR AND THE PROFESSIONALIZATION OF MEDICINE Fought in the mid-1850s, many scholars regard the Crimean War as largely insignificant. However in reality, the historical contributions of the war are important – particularly those contributions pertaining to medicine. This seemingly “unnecessary” war facilitated the modernization of Western medicine; methods used during and directly after the Crimean War were standard until World War Two. A brief history of the war reveals medical data that constitutes the bulk of my interpretation. The war’s specific medical achievements are highlighted throughout the essay. The findings in this paper are by no means conclusive, but they exhibit that it is important to look beyond Florence Nightingale, the war’s most famous and studied individual, and gaze upon the larger trends of medicine. Her story is covered in some detail in this paper, but she is not the sole source of innovation from this rather disastrous war. The professionalization of Western medicine stands out as one of the great accomplishments of this war, despite scholars viewing the war as useless. Key words: cholera epidemics, battlefield surgery, Florence Nightingale, Nikolay Pirogov, William Howard Russell, medical modernization Tyler Eaves HIST 586: Advanced Seminar in History May 11, 2017 Eaves 2 “It is good for us to be here”1 On the night of November 14, 1854, an exhausted woman penned a letter to a distant reader. By candlelight she scrawled in hurried script about the “appalling horror” surrounding her. “Steeped up to [their] necks in blood,” she and her helpers worked tirelessly upon men who “bear pain and mutilation with unshrinking heroism, and die or are cut up without a complaint.” Absences of brooms, soap, and towels only complicated the dire state of affairs.
    [Show full text]
  • Della Fotografia “Istantanea” 1839-1865
    DELLA FOTOGRAFIA “ISTANTANEA” 1839-1865 Giovanni Fanelli 2020 DELLA FOTOGRAFIA “ISTANTANEA” 1839-1865 Giovanni Fanelli 2020 L’arte ha aspirato spesso alla rappresentazione del movimento. Leonardo da Vinci fu maestro nello studio dell’ottica, della luce, del movimento e nella raffigurazione della istantaneità nei fenommeni naturali e nella vita degli esseri viventi. E anche l’arte del ritratto era per lui cogliere il movimento dell’emozione interiore. * La fotografia, per natura oggetto e bidimensionale, non può a rigor di termini riprodurre il movimento come in un certo modo può fare il cinema; può soltanto, se il fotografo ne ha l’intenzione, riprenderne un istante che nella sua fugacità riassuma la mobilità. Tuttavia fin dall’inizio della storia della fotografia i fotografi aspirarono a riprendere il movimento. Già Daguerre o Talbot aspiravano alla istantaneità. Louis Jacques Mandé Daguerre, Paris, Boulevard du Temple alle 8 del mattino, fine aprile 1838, dagherrotipo, 12,9x16,3, Munich, Fotomuseum im mûnchner Stadtmuseum. Henry Fox Talbot, Eliza Freyland con in braccio Charles Henry Talbot, con Eva e Rosamond Talbot, 5 aprile 1842, stampa su carta salata da calotipo, 18,8x22,5. Bradford, The National Museum of Photography, Film & Television. Una delle prime immagini fotografiche, il dagherrotipo della veduta ripresa da Daguerre dall’alto del suo Diorama è animata : all’angolo del boulevard du Temple è presente un uomo immobile il tempo di farsi lucidare le scarpe. Le altre persone che certamente a quell’ora animavano il boulevard non appaiono perché il tempo di posa del dagherotipo era lungo (calcolabile a circa 7 minuti) (cfr. Jacques Roquencourt http://www.niepce-daguerre.com/ ).
    [Show full text]