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The Art of Victorian Photography
THE ART OF VICTORIAN Dr. Laurence Shafe [email protected] PHOTOGRAPHY www.shafe.uk The Art of Victorian Photography The invention and blossoming of photography coincided with the Victorian era and photography had an enormous influence on how Victorians saw the world. We will see how photography developed and how it raised issues concerning its role and purpose and questions about whether it was an art. The photographic revolution put portrait painters out of business and created a new form of portraiture. Many photographers tried various methods and techniques to show it was an art in its own right. It changed the way we see the world and brought the inaccessible, exotic and erotic into the home. It enabled historic events, famous people and exotic places to be seen for the first time and the century ended with the first moving images which ushered in a whole new form of entertainment. • My aim is to take you on a journey from the beginning of photography to the end of the nineteenth century with a focus on the impact it had on the visual arts. • I focus on England and English photographers and I take this title narrowly in the sense of photographs displayed as works of fine art and broadly as the skill of taking photographs using this new medium. • In particular, • Pre-photographic reproduction (including drawing and painting) • The discovery of photography, the first person captured, Fox Talbot and The Pencil of Light • But was it an art, how photographers created ‘artistic’ photographs, ‘artistic’ scenes, blurring, the Pastoral • The Victorian -
Photographic Documentation and Buildings: Relationships Past and Present
Photographic Documentation and Buildings: Relationships Past and Present by PHYLLIS LAMBERT Each generation has left a visible trail of its passage across the face of the earth - such as religious monuments, public or private - and it is through the study of these monuments that, today, we may form an exact idea of the various civilizations.' Photography is part of a long tradition of visually recording the built environ- ment. These images have been created, collected, reproduced and disseminated for various reasons, ranging from simply historical interest to complex con- temporary efforts to improve the urban environment. Although large numbers of randomly produced and acquired photographs have often served such pur- poses, the capacity of photography for large-scale systematic documentation is increasingly being recognized as an extremely important tool for architects, planners and historical researchers. One such project, documenting the grey stone buildings of Montreal, illustrates this application and will be discussed later. The second project, on the county court house in the United States, is described in the article following this one. The visual recording of buildings as expressions of society has a long Euro- pean traditi~n.~In France from early in the sixteenth century, carefully engrav- ed plates were bound in sumptuous volumes whose essence was secular and political, beginning with Les plus excellents bastiments de France (Paris, 1576-79) by Jacques Androuet du Cerceau, which publicized the sheer power of the king and his domain, and by evolution to the more subtle cultural im- perialism reflected in the superbly detailed works issued in 1878 by architect Charles Garnier showing his new Paris opera house.3 Photographic documen- 1 From an unpublished manuscript by Charles Ntgre, ca.1854, quoted in James Borcoman, Charles Negre, 1820-1880 (Ottawa, 1976), p. -
"Alfred Stieglitz: Known and Unknown" on View at the National
Office of Press and Public Information Fourth Street and Constitution Av enue NW Washington, DC Phone: 202-842-6353 Fax: 202-789-3044 www.nga.gov/press Release Date: May 20, 2002 "Alfred Stieglitz: Known and Unknown" On View at the National Gallery of Art, June 2 - September 2, 2002 Provides New Insights into the 50-Year Career of This Seminal Artist Washington, DC--Alfred Stieglitz has been renowned for his introduction of modern European art to America and for his support of contemporary American artists, but he was first and foremost a photographer. His photographs, which span more than five decades from the 1880s through the 1930s, are widely celebrated as some of the most compelling ever made. Alfred Stieglitz: Known and Unknown, on view at the National Gallery of Art West Building June 2 through September 2, 2002, presents 102 of Stieglitz's photographs from the National Gallery's collection. Encompassing the full range and evolution of his art, the exhibition includes many works that have not been exhibited in the last fifty years. It highlights less well-known images in order to demonstrate how they expand our understanding of the development of his art and his contributions to 20th-century photography. The exhibition, which is the culmination of a multi-year project on Stieglitz at the National Gallery, also celebrates the publication of Alfred Stieglitz: The Key Set, a definitive study of this seminal figure in the history of photography. Consisting of 1,642 photographs, the key set of Stieglitz's photographs was donated to the National Gallery by Georgia O'Keeffe in 1949 and 1980 and contains the finest example of every mounted print that was in Stieglitz's possession at the time of his death. -
9780240809984 Cs.Pdf
HISTORY AND EVOLUTION OF PHOTOGRAPHY MARK OSTERMAN George Eastman House International Museum of Photography and Film GRANT B. ROMER George Eastman House International Museum of Photography and Film CCH01-K80998.inddH01-K80998.indd 1 66/20/07/20/07 44:55:07:55:07 PPMM CCH01-K80998.inddH01-K80998.indd 2 66/20/07/20/07 44:55:15:55:15 PPMM ContemporaryA Different Thoughts Set on ofthe Questions History of for Photography a New Age 3 Contemporary Thoughts on the History of Photography GRANT B. ROMER George Eastman House and International Museum of Photography and Film All photographers work today with historical perspective. Th ey know that the technology they use has an origin in the distant past. Th ey know photography has progressed and transformed over time, and they believe the current system of photography must be superior to that of the past. Th ey are sure they will witness further progress in pho- tography. Th ese are the lessons of history understood by all, and none need inquire any further in order to photograph. Yet photography has a very rich and complex history, which has hidden within it the answers to the fundamentally difficult questions: “What is photography?” and “What is a photograph?” All true photogra- phers should be able to answer these ques- tions for themselves and for others. To do so, they must make deep inquiry into the history of photography. Recognition of the importance of his- tory to the understanding of photography is evidenced in the title and content of the very first manual of photography published FIG. -
Mindful Photographer
Operating Manual for the Mindful Photographer Ed Heckerman Copyright © 2017 Cerritos College and Ed Heckerman 11110 Alondra Blvd., Norwalk, CA 90650 Second Edition, 2018 This interactive PDF was made in partial fulfillment for a sabbatical during the academic year 2016 - 2017. No part of the text of this book may be reporduced without permission from Cerritos College. All photographs were taken by Ed Heckerman and produced independently from sabbat- ical contract. Ed Heckerman maintains the copyright for all the photographs and edition changes. No images may be copied from this manual for any use without his consent. Contents Part 1 — Insights and Aspirations 1 contents page Introduction 1 What is Photography? 2 What is a Photograph? Motivations — Why Make Photographs? Photography and Mindfulness 6 Thoughts On Tradition ��������������������������������������������������������������������������12 Part 2 — Navigating Choices ������������������������������������������������������������� 14 Cameras Loading Your Camera Unloading Your Camera Manual Focus Autofocus Sensitivity and Resolution — ISO Controlling Exposure — Setting the Aperture and Shutter Speed Shutter Speed Coordinating Apertures and Shutter Speeds Exposure Metering Systems ��������������������������������������������������������������� 25 Full-frame Average Metering Center Weighted Metering Spot Metering Multi-Zone Metering Incident Metering -
Photography: a Survey of New Reference Sources
RSR: Reference Services Review. 1987, v.15, p. 47 -54. ISSN: 0090-7324 Weblink to journal. ©1987 Pierian Press Current Surveys Sara K. Weissman, Column Editor Photography: A Survey of New Reference Sources Eleanor S. Block What a difference a few years make! In the fall 1982 issue of Reference Services Review I described forty reference monographs and serial publications on photography. That article concluded with these words, "a careful reader will be aware that not one single encyclopedia or solely biographical source was included... this reviewer could find none in print... A biographical source proved equally elusive" (p.28). Thankfully this statement is no longer valid. Photography reference is greatly advanced and benefited by a number of fine biographical works and a good encyclopedia published in the past two or three years. Most of the materials chosen for this update, as well as those cited in the initial survey article, emphasize the aesthetic nature of photography rather than its scientific or technological facets. A great number of the forty titles in the original article are still in print; others have been updated. Most are as valuable now as they were then for good photography reference selection. However, only those sources published since 1982 or those that were not cited in the original survey have been included. This survey is divided into six sections: Biographies, Dictionaries (Encyclopedias), Bibliographies, Directories, Catalogs, and Indexes. BIOGRAPHIES Three of the reference works cited in this survey have filled such a lamented void in photography reference literature that they stand above the rest in their importance and value. -
Chronology of the Department of Photography
f^ The Museum otI nModer n Art May 196k 11 West 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart CHRONOLOGY OF THE DEPARTMENT OF PHOTOGRAPHY The Department of Photography was established in lQl+0 to function as a focal center where the esthetic problems of photography can be evaluated, where the artist who has chosen the camera as his medium can find guidance by example and encouragement and where the vast amateur public can study both the classics and the most recent and significant developments of photography. 1929 Wi® Museum of Modern Art founded 1952 Photography first exhibited in MURALS BY AMERICAN PAINTERS AND PHOTOGRAPHERS; mural of George Washington Bridge by Edward Steichen included. Accompany ing catalog edited by Julian Levy. 1953 First photographs acquired for Collection WALKER EVANS: PHOTOGRAPHS OF 19th CENTURY HOUSES - first one-man photogra phy show. 1937 First survey exhibition and catalog PHOTOGRAPHY: I839-I937, by Beaumont NewhalU 1958 WALKER EVANS: AMERICAN PHOTOGRAPHS. Accompanying publication has intro duction by Lincoln Firstein. Photography: A Short Critical History by Beaumont Newhall published (reprint of 1937 publication). Sixty photographs sent to the Musee du Jeu de Paume, Paris, as part of exhibition TE.3E CENTURIES OF AMERICAN ART organized and selected by The Museum of Modern Art. 1939 Museum opens building at 11 West 53rd Street. Section of Art in Our Tims (10th Anniversary Exhibition) is devoted to SEVEN AMERICAN PHOTOGRAPHERS. Photographs included in an exhibition of paintings and drawings of Charles Sheeler and in accompanying catalog. 19^0 Department of Photography is established with David McAlpin, Trustee Chairman, Beaumont Newhall, Curator. -
Photographies - Salle Favart, Mardi 19 Mai 2015
Photographies - Salle Favart, mardi 19 mai 2015 2 Mardi 19 mai 2015 à 14 heures Vente aux enchères publiques SALLE DES VENTES FAVART 3, rue Favart - 75002 Paris PHOTOGRAPHIES ANCIENNES MODERNES ET CONTEMPORAINES Expert : Antoine ROMAND Assisté de François CAM-DROUHIN 3, rue Crespin du Gast - 75011 Paris Tél. : +33 (0)6 07 14 40 49 [email protected] Responsable de la vente : Camille DALIBARD-BACCINO [email protected] Expositions publiques à la Salle des Ventes Favart Vendredi 15 mai 2015 de 10h à 18h Lundi 18 mai 2015 de 10 h à 18 h Mardi 19 mai de 10 h à 12 h Téléphone pendant l’exposition : 01 53 40 77 10 Catalogue visible sur www.ader-paris.fr Enchérissez en direct sur www.drouotlive.com En 1re de couverture, est reproduit le lot 286 En 4e de couverture, est reproduit le lot 237 ADER, Société de Ventes Volontaires - Agrément 2002-448 - Sarl au capital de 7 500 euros 3, rue Favart 75002 Paris - Tél. : 01 53 40 77 10 - Fax : 01 53 40 77 20 - [email protected] N° siret : 450 500 707 000 28 - TVA Intracom. : FR 66 450 500 707 - www.ader-paris.fr INDEX DES AUTEURS Abdullah Frères 33 Davis, Lynn 357 Jonvelle, Jean-François 381, Puiseux, Pierre 271B Afong, Lai 95 de Dienes, André 227 382, 383 Putland, Michael 230, 231, Agence Pierluigi 237-238 de Sazo, Serge 365 Kertesz, André 154, 173, 232 Alary, Jean-Baptiste 70 Demilly, Antoine 162, 163 201, 377 Ralemson, E. 153 Albin Guillot, Laure 165 Depardon, Raymond 338 Kesting, Edmund 150 Raota, Pedro Luis 197-200 Almasy, Paul 215 Destrez, Rénald 233 Kimbei, Kusakabe 103 Rehbinder, -
The History of Photography: the Research Library of the Mack Lee
THE HISTORY OF PHOTOGRAPHY The Research Library of the Mack Lee Gallery 2,633 titles in circa 3,140 volumes Lee Gallery Photography Research Library Comprising over 3,100 volumes of monographs, exhibition catalogues and periodicals, the Lee Gallery Photography Research Library provides an overview of the history of photography, with a focus on the nineteenth century, in particular on the first three decades after the invention photography. Strengths of the Lee Library include American, British, and French photography and photographers. The publications on French 19th- century material (numbering well over 100), include many uncommon specialized catalogues from French regional museums and galleries, on the major photographers of the time, such as Eugène Atget, Daguerre, Gustave Le Gray, Charles Marville, Félix Nadar, Charles Nègre, and others. In addition, it is noteworthy that the library includes many small exhibition catalogues, which are often the only publication on specific photographers’ work, providing invaluable research material. The major developments and evolutions in the history of photography are covered, including numerous titles on the pioneers of photography and photographic processes such as daguerreotypes, calotypes, and the invention of negative-positive photography. The Lee Gallery Library has great depth in the Pictorialist Photography aesthetic movement, the Photo- Secession and the circle of Alfred Stieglitz, as evidenced by the numerous titles on American photography of the early 20th-century. This is supplemented by concentrations of books on the photography of the American Civil War and the exploration of the American West. Photojournalism is also well represented, from war documentary to Farm Security Administration and LIFE photography. -
Il Direttore Paris: Capital of Photography. the Inseparable And
Il Direttore Paris: Capital of Photography. The inseparable and fruitful relationship between the “Ville Lumière” and photography is historically known. Cradle of photographic invention, Paris cultivated, for over a century and a half, the visual imagery of citizens around the world, offering himself as the perfect backdrop for the first trials of photographic views. Its architectural structures have been, since the beginning of photography, an ideal subject for shooting, both for their majestic beauty, and because they responded to the requirement, initially essential, from the immobility required by the long shutter speed. Among the very first results of Louis Daguerre there is the photograph taken at the Boulevard du Temple Paris, a daguerreotype of 1838, also remembered as the first urban view capable of stopping on the sensitive plate a human figure - the customer of a shoeshiner - halted on the trottoir for several minutes. A few years later, William Fox Talbot, published a series of calotypes that depicting architecture and views of the Parisian boulevards (in his 'The Pencil of Nature', 1844). With a view of the French architectural heritage documentation was born, in the years Fifty of the nineteenth century, the first major photographic campaign of public customers; the Administration des Beaux-Arts-Commission des Monument Historiques instructed Édouard Baldus, Gustave Le Gray, Hippolyte Bayard, J.L.Henri Secq and Auguste Mestral to resume on Specific agreed routes, a list of Parisian monuments to highlight the status of conservation in order of their possible restoration. But it is in the second half of the nineteenth century, with plan urban renewal of historic centers of major European cities, the capital French becomes the subject of extensive photographic surveys, carried out with the aim of preserving the Memory of the vieille ville. -
Mintie, Portrait on the Move
ISSN: 2471-6839 Cite this article: Katherine Mintie, “A Portrait on the Move: Photography Literature and Transatlantic Exchanges in the Nineteenth Century,” Panorama: Journal of the Association of Historians of American Art 6, no. 1 (Spring 2020), https://doi.org/10.24926/24716839.9729. A Portrait on the Move: Photography, Literature, and Transatlantic Exchanges in the Nineteenth Century Katherine Mintie, John R. and Barbara Robinson Family Curatorial Fellow in Photography, Harvard Art Museums As a fellow in the Conservation Division of the Library of Congress during the summer of 2015, I worked with Adrienne Lundgren, senior conservator of photographs, on a project to catalogue the photographs tipped into nineteenth- and early twentieth-century photography manuals and periodicals in the library collections. We came across numerous rare and Research Note–worthy photographs, but I will focus here on two versions of a photograph both titled Portraitstudie (figs. 1, 2). Although the portrait itself is typical of the era, it caught my attention because it was one of several prints that appeared in photography periodicals published on both sides of the Atlantic Ocean. The print was featured first in the German photography journal Photographische Mitteilungen in November 1871 (fig. 1), and then it reappeared eight months later to United States readers in The Philadelphia Photographer (fig. 2). The transatlantic crossing of this print (and others like it) led me to reconsider two significant features of histories of early photography in the United States: their national focus and emphasis on origins. Figs. 1. 2. Loescher & Petsch (negative)/J. B. Obernetter (print), Portraitstudie in Photographische Mitteilungen, November 1871 (left), and The Philadelphia Photographer, July 1872 (right). -
Australian Photography and Transnationalism
Australian Photography and Transnationalism ANNE MAXWELL UNIVERSITY OF MELBOURNE Transnationalism is a theoretical concept which today is widely used to describe the relations that have formed, and continue to form, across state boundaries (Howard 3). Used initially by scholars in the early 2000s to refer to the flow of goods and scientific knowledge between nations that ‘has increased significantly in modern times beginning with trade and empires in 1500’ (Howard 4), it has in recent years come to include the category of culture, a development that has in turn sparked a flood of publications aimed at interrogating nationalist histories. Among the first of these publications in Australia was Ann Curthoys and Marilyn Lake’s ground-breaking work Connected Worlds (2005), which radically transformed our conception of Australia’s past by repositioning Australian history ‘on the outer rim of Pacific and Indian Ocean studies, as a nodal point in British imperial studies and connected, or cast in a comparative light, with other settler colonial nations’ (Simmonds, Rees and Clark 1). Less than two years later in 2007, David Carter invoked what has come to be called the ‘transnational turn’ when he challenged scholars of Australian literature to focus on ‘the circulation of cultures beneath and beyond the level of the nation’ (Carter 114–19). His call, like that of Curthoys and Lake, was in response to several decades of scholarship emphasising the cultural nationalism which as Robert Dixon, in his compelling study of the photographic and cinematographic works of Frank Hurley observes, ‘began in the 1960s’ and ‘peak[ed] probably in the decade from 1977 to 1987’ (Dixon xxv).