The Photographic Truth
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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. -
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/ ). -
Quiet Images from the Crimean War Photographer Roger Fenton Roger Fenton Photographed Focused on Pomp and Camp Life by P AMELA D
[PORTFOLIO] n February 20, 1855, seven years before Mathew Brady displayed pictures of the Quiet Images From the bloody battlefield of Antietam on the door of his New York photography studio, Roger Fenton sailed from London for the Crimea to photograph the British Army and its Valley of Death ✮ allies at war against Russia. Taking a camera into battle was Oa revolutionary idea, and photography itself was a relatively Crimean War photographer Roger Fenton new art form. There was no demand for journalistic images; focused on pomp and camp life newspapers and popular journals employed sketch artists and engravers to produce illustrations. Except for portraits, art pho- BY PAMELA D. TOLER tographs were luxury items purchased as books of “views” by private collectors. ✮ Fenton was a major figure in British pho- all high res and art tography at the time. Born into an upper-middle-class family, processing tk In the Crimean War, Roger Fenton photographed carefully staged tableaus, like this mortar battery and crew next to their bomb-proof shelter. photo credit photo credit autumn 2012 | mhq 71 he studied painting in London and Paris in the 1840s. In 1852, room. Dust spoiled many pictures; more still were ruined by the he took up photography, perhaps in response to the photo- jostling of what he described as “the crowds of all sorts who graphic exhibition at the first World’s Fair, at London’s Crystal flock round,” each soldier hoping Fenton would take a portrait Palace in 1851. he could send home. A competent painter at best, he proved both a talented pho- Royal patronage gave Fenton privileges not enjoyed by the tographer and an innovative promoter of the art form. -
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. -
19Th & 20Th Century Photography
19th & 20th Century Photography The Collection of Dr David Gruebel-Lee 19 MAY 2021 DW101-238 Day One.qxp_Layout 1 30/04/2021 11:22 Page 1 19TH & 20TH CENTURY PHOTOGRAPHY CAMERAS AND ACCESSORIES 19 May 2021 commencing at 10am VIEWING BY APPOINTMENT AUCTIONEERS Chris Albury Henry Meadows Mallard House, Broadway Lane, South Cerney, Cirencester, Gloucestershire, GL7 5UQ T: +44 (0) 1285 860006 E: [email protected] www.dominicwinter.co.uk DW101-238 Day One.qxp_Layout 1 30/04/2021 11:22 Page 2 IMPORTANT SALE INFORMATION: COVID-19 Please note that due to the UK government's COVID-19 lockdown restrictions currently in place for England there may be no bidding in person for this sale. Viewing for this sale is available by booked appointment only. Please check our website or contact the offices to make an appointment or for more information. All lots are fully illustrated on our website (www.dominicwinter.co.uk) and all our specialist staff are ready to provide detailed condition reports and additional images on request. We recommend that customers visit the online catalogue regularly as extra lot information and images will be added in the lead-up to the sale. CONDITION REPORTS Condition reports now including video conferencing can be requested in the following ways: T: +44 (0)1285 860006 E: [email protected] Via the relevant lot page on our website www.dominicwinter.co.uk BIDDING Customers may submit commission bids or request to bid by telephone in the following ways: T: +44 (0)1285 860006 E: [email protected] Via the relevant lot page on our website www.dominicwinter.co.uk Live online bidding is available on our website www.dominicwinter.co.uk (surcharge of 3% + vat): a live bidding button will appear 60 minutes before the sale commences. -
19Th & 20Th Century Photography China, Formosa & Japan Military
19th & 20th Century Photography China, Formosa & Japan Military Cased Images 18 NOVEMBER 2020 19TH & 20TH CENTURY PHOTOGRAPHY CHINA, FORMOSA & JAPAN MILITARY CASED IMAGES 18 November 2020 COMMENCING 10am VIEWING BY APPOINTMENT 9-17 November (weekdays) AUCTIONEERS Chris Albury Henry Meadows Mallard House, Broadway Lane, South Cerney, Cirencester, Gloucestershire, GL7 5UQ T: +44 (0) 1285 860006 E: [email protected] www.dominicwinter.co.uk IMPORTANT SALE INFORMATION: COVID-19 Please note that in accordance with current UK Government instructions regarding Covid-19, we are pleased to offer restricted public viewing of this sale by appointment only. Viewing by appointment 9-17 November (weekdays). To request an appointment, please email [email protected] or call us on 01285 860006. At the time of writing, we do not expect to make public attendance available on either of the two sale days. This restriction will remain under review over the three weeks prior to sale. All lots are fully illustrated on our website (www.dominicwinter.co.uk) and all our specialist staff are ready to provide detailed condition reports and additional images on request. We recommend that customers visit the online catalogue regularly as extra lot information and images will be added in the lead-up to the sale. CONDITION REPORTS Condition reports now including video conferencing can be requested in the following ways: T: +44 (0)1285 860006 | E: [email protected] Via the relevant lot page on our website www.dominicwinter.co.uk ARTIST'S RESALE RIGHT LAW ("DROIT DE SUITE") Lots marked with AR next to the lot number may be subject to Droit de Suite. -
The Camera and the Red Cross: "Lamentable Pictures" and Conflict
International Review of the Red Cross (2020), 102 (913), 417–443. Digital technologies and war doi:10.1017/S1816383121000072 The camera and the Red Cross: “Lamentable pictures” and conflict photography bring into focus an international movement, 1855–1865 Sonya de Laat* Dr Sonya de Laat is a member of the Humanitarian Health Ethics research group, an Academic Adviser in the Global Health graduate programme at McMaster University, Canada, and a member of the Canadian Network on Humanitarian History. Abstract Henry Dunant’s appeal for a neutral and impartial organization to provide care to wounded combatants aligned with growing criticism of mid-nineteenth-century European and North American conflicts. This article discusses the important convergence of Dunant’s “lamentable pictures”, laid out in his Memory of * The author would like to thank her doctoral thesis committee: Sharon Sliwinski (Western University), Amanda Grzyb (Western University) and Lisa Schwartz (McMaster University). She would also like to thank Valérie Gorin (CERAH), Dominique Marshall (Carleton University) and members of the Canadian Network on Humanitarian History for comments on early drafts of this paper. Her participation in the Global Humanitarian Research Academy, along with her SSHRC and OGS doctoral awards, were invaluable in supporting research for this paper. © The Author(s), 2021. Published by Cambridge University Press on behalf of the ICRC. 417 S. de Laat Solferino, with spectators’ passionate responses to them and to battlefield photographs that circulated between 1855 and 1865. Through these images and reactions, there emerged a shared, expanded vision of humanity worth caring for, which brought into focus an international humanitarian movement. -
A Brief History of Photography Notable Developments Since 1519 Sir John Herschel
A Brief History of Photography Notable developments since 1519 Sir John Herschel First coined the term “Photography” in 1839, the year the photographic process became public Derived from Greek words: “Photo” = “light” “graphy” = “writing” Early Photography Have you ever used a film camera? (How is it different to use a film camera than to use a digital camera?) Two processes made early photography possible The optical process and the chemical process The Optical Process 1519, Leonardo da Vinci creates diagram of a camera obscura A small, dark room or building with no windows Small hole in one wall Resulted in an upside-down image of the world on the opposing wall The Optical Process Became used as an aid to drawing Technically the camera existed before photography! The Chemical Process Could not do much with just camera obscura needed a way to capture the image 1816 – Nicephore Niepce combines camera obscura with photosensitive paper Paper that hardened and changed when exposed to light 1826 – Niepce creates first photograph The Chemical Process Could not do much with just camera obscura needed a way to capture the image 1816 – Nicephore Niepce combines camera obscura with photosensitive paper Paper that hardened and changed when exposed to light 1826 – Niepce creates first photograph How to Make it Practical? Niepce’s photographs took eight hours of exposure Photography needed to become more practical Two men tried to solve this problem: Louis Daguerre William Henry Fox Talbot The Photography Wars Louis DaGuerre -
Roger Fenton
Roger Fenton PASHA AND BAYADERE Roger Fenton PASHA AND BAYADERE Gordon Baldwin GETTY MUSEUM STUDIES ON ART Los ANGELES Christopher Hudson, Publisher Cover: Mark Greenberg, Managing Editor Roger Fenton (British, 1819-1869). Pasha and Bayadere, 1858 [detail]. William Peterson, Editor Albumen print, 45 x 36.3 cm (17 "Ae x 14 V4 in.). Eileen Delson, Designer Los Angeles, J. Paul Getty Museum (84.XP.219.32). Jeffrey Cohen, Series Designer Stacy Miyagawa, Production Coordinator Frontispiece: Ellen Rosenbery Photographer Roger Fenton. Self-Portrait in Zouave Uniform, 1855. © 1996 The J. Paul Getty Museum Albumen print, 17.3 x 15.3 cm (6I3/i6 x 6 in.). 17985 Pacific Coast Highway Los Angeles, J. Paul Getty Museum (84.XM.io28.i7). Malibu, California 90265-5799 Mailing address: All works of art are reproduced (and photographs P.O. Box 2112 provided) courtesy of the owners unless otherwise Santa Monica, California 90407-2112 indicated. Library of Congress Typography by G 8i S Typesetters, Inc., Cataloging-in-Publications Data Austin, Texas Printed by C & C Offset Printing Co., Ltd., Baldwin, Gordon. Hong Kong Roger Fenton : Pasha and Bayadere / [Gordon Baldwin]. p. cm. (Getty Museum studies on art) ISBN 0-89236-367-3 i. Photography, Artistic. 2. Portrait photog- raphy. 3. Fenton, Roger, 1819-1869. I. Fenton, Roger, 1819-1869. II. Title. III. Series. TR652.B35 1996 77o'.092-DC20 96-1755 CIP CONTENTS Through Victorian Eyes: An Inventory of a Photograph i Etudes: Fenton and French Orientalism 22 Travelers' Notes and Poet's License: British Pictorial -
Legacies of the Crimean War 1854
Legacies of the Crimean War 1854 Joy Copland SA Medical Heritage Society May 2014 J Copland: Legacies of the Crimean War Where on earth? J Copland: Legacies of the Crimean War Crimea J Copland: Legacies of the Crimean War Crimean war - cause Ottoman Empire – (Turkey) included the Holy Land (Israel); France & Russia vied for authority of the Holy Land, and Ottomans occupying the territory; Disagreement escalated; peaceful negotiations failed… Britain & France sided with Turkish Ottomans - war against Russia. J Copland: Legacies of the Crimean War Crimean war 1853: Turkey declares war on Russia; 1854: Britain & France declare war on Russia; Troops from Britain, France, Kingdom of Sardinia, Duchy of Nassau & Turkey fight Imperial Russian troops in the Crimea; Colossal loss of life (all nations): of 1 650 000 soldiers, 900 000 died; Those who perished – many died from disease rather than wounds. Kingdom of Sardinia 1815 J Copland: Legacies of the Crimean War Lead-up to 1854 1815 Napoleonic wars end - France vs Britain; 1837 Somerset House – central UK General Registry for Births, Deaths & Marriages; 1847: Florence & Parthenope Nightingale attend British Association for Advancement of Science meeting; Actuary (Neison) - counties with better educated people - lower crime rates; higher taxes to finance public education. J Copland: Legacies of the Crimean War Crimean War – medical support Military doctors - surgeons Nurses Florence Nightingale ~ 34 nurses, trained in Germany; religious orders Hospital at Scutari in Turkey J Copland: Legacies of the Crimean War Crimean theatre of war To reach the hospital, wounded troops - sailed across the Black Sea in overcrowded transport ships J Copland: Legacies of the Crimean War Scutari Coldstream Guards in front of a wall, with a landing-stage behind. -
The Photographic Truth
The Photographic Truth History of Information 103 Geoff Nunberg March 16, 2017 1 Study guide tips Section A: Identify and explain the relevance to the history of information of the following. Socrates: 5th c. BC Greek philosopher who invented the Socratic method and laid the groundwork for Western philosophy and logic… 2 Study guide tips Section A: Identify and explain the relevance to the history of information of the following. Socrates: 5th c. BC Greek philosopher who invented the Socratic method and laid the groundwork for Western philosophy and logic… Greek philosopher. In the Phaedrus he set out several arguments against writing: one cannot enter into a dialectic with the written word; writing degrades memory and gives people a superficial acquaintance with a subject…. etc. (But he owned a lot of books.) (42 wds) 3 History of Information The Impact of Photography 2017 ake news 1980 1950 1900 1800 1700 1600 1200 600 400 0 500 3000 5000 30,000 50,000 1 2 3 4 5 6 7 8 10 11 12 13 14 15 week Agenda, 3/16 Why photography? Photography as a technology photography and information “Inventing” photography The photographic "truth" Documenting war Manipulating the photographic truth Photography as documentation Fixing identities Documenting the deviant Representing the forgotten (What's left out: photography as art, popular form, scientific tool, etc.) 5 The Range of "Photography" Things we count as “photography”…. 6 The Range of “Photography” Things we don’t (usually) count as photography What defines a "technology"? Features of use, distribution, markets etc. 7 What makes a "technology"? How many technologies? telegraphy broadcast ? Photography 8 Inventions, Technologies, Applications, Media Inventions technologies applications media "pre-photography" Official Newspapers, records magazines Photo- journalism/d Nièpce, Dauguerre, ocumentary Talbot, Archer, etc. -
Helmut and Alison Gernsheim
Helmut and Alison Gernsheim: An Inventory of Their Papers at the Harry Ransom Center Descriptive Summary Creator: Gernsheim, Helmut, 1913-1995, and Gernsheim, Alison, 1911-1969 Title: Helmut and Alison Gernsheim Papers Dates: 1755-1979 Extent: 32 boxes (16.11 linear feet), 15 galley files (gf) Abstract: The Helmut and Alison Gernsheim Papers consist of article and book drafts, correspondence, research materials, and collected correspondence and works that document the Gernsheims' long career as collectors and photo historians. Call Number: Manuscript Collection MS-1587 Language: English, German, French, Italian, and Spanish Access: Open for research Administrative Information Acquisition: Purchase, 1963 and Gift, 1980 Processed by: Nicole Davis, 2011 Repository: The University of Texas at Austin, Harry Ransom Center Gernsheim, Helmut, 1913-1995, and Gernsheim, Alison, 1911-1969 Manuscript Collection MS-1587 Biographical Sketch Helmut Erich Robert Kuno Gernsheim was born in Munich, Germany, on 1 March 1913. His father was an historian of literature and his brothers were historians of art and economics, respectively. Helmut went to the University of Munich to study art history, but on the advice of one of his brothers he turned to photography as it offered better prospects for making a living. He entered the State School for Photography in Munich in 1934, graduated in 1936, and then worked for two months at a provincial portrait studio. From there he returned to Munich and received a commission to photograph the Munich Marionette Theatre. He also began working with color photography using Uvachrom processes. As he was half Jewish he was anxious to leave Germany under Hitler, and an exhibition of his puppet photographs at the World's Fair in Paris in 1937 allowed him the opportunity to move abroad.