This document provides information and activities for secondary teachers on portrait photography. It discusses the technical beginnings of photography from the camera obscura to early innovators like Nicéphore Niépce, Louis Daguerre, and William Henry Fox Talbot. It also examines the impact of early photographic processes like daguerreotypes and how they began to capture realistic portraits that could be reproduced, distributed and collected in albums. The resource aims to help teachers explore the history of photography and examine portraits from the National Portrait Gallery's collection.
Jerry Uelsmann originated experimental photography in the 1960s using darkroom techniques like multiple enlargers and masking to combine negatives into surreal composite images. He was influenced by his professor Minor White to trust his intuition and experiment creatively. Uelsmann's work is in the permanent collections of major museums worldwide.
Christophe Dessaigne is a contemporary experimental photographer from France who teaches himself photography. He creates dreamlike photomontages using extensive post-production in Photoshop. Dessaigne's surreal images have been used commercially on book and album covers. His work uses digital techniques to distort scale and proportions, transporting viewers to a fantastical world.
Jerry Uelsmann originated experimental photography in the 1960s using darkroom techniques like multiple enlargers and masking to combine negatives into surreal composite images. He was influenced by his professor Minor White to trust his intuition and experiment creatively. Uelsmann's work is held in permanent collections of major museums worldwide.
Christophe Dessaigne is a contemporary experimental photographer from France who teaches himself photography. He creates dreamlike and surreal photomontages using extensive post-production editing in Photoshop. Dessaigne's work has an eerie and dark theme and has been used commercially on book and album covers. He considers digital editing an extraordinary way to experiment with images.
Jerry Uelsmann is an American photographer born in 1934 who pioneered experimental composite photography techniques in the darkroom before the advent of digital editing. He combines multiple negatives and darkroom techniques like masking, burning and dodging to create surreal composite images. Christophe Dessaigne is a French photographer born in the 1980s who teaches himself photography and creates dreamlike photomontages using extensive digital editing techniques in Photoshop. Both photographers create surreal and symbolic images that challenge conventional perceptions of reality through experimental photographic processes.
Some have claimed Time-Flow Photography (experimental imagery with continuous motion and long shutter speeds) is accidental and others say it is not a legitimate form of photography. For this reason I wrote a Manifesto refuting those statements and explaining its goals.
You can view and/or download the Manifesto in PDF form.
This document discusses technology-based art and computer-generated images. It provides examples of early computer-generated art from the 1960s and discusses how computer art has evolved. It also discusses different types of digital art including 3D art, mobile phone art, and digitally manipulated photographs. It lists various computer programs and applications that can be used to create and modify digital images. Finally, it discusses digital photography and basic photography styles including landscape, portrait, and documentary photography.
This document provides an overview of the history of fashion photography from its origins in the 1850s to modern digital photography. It discusses early pioneers like Virginia Oldoini, the first fashion model, and Adolf de Meyer who began staging shots. The document also profiles 5 famous contemporary fashion photographers like Annie Leibovitz, known for her iconic photo of John Lennon, and Juergen Teller who shot portraits of Nirvana before they became popular.
A2 Photography Exam 2016: Truth, Fantasy and FictionMelanie Powell
Olivia Parker's still life photographs emphasize the complexity of natural forms like shells and feathers. Photographs can document reality objectively, but they may also explore truth, fantasy, or fiction. John Hilliard's work shows how cropping a single photograph in different ways can tell different stories and provide unreliable evidence. Nick Knight uses composite imagery to create surreal visuals that are closer to paintings than photographs, questioning photography's role in telling the truth.
Jerry Uelsmann originated experimental photography in the 1960s using darkroom techniques like multiple enlargers and masking to combine negatives into surreal composite images. He was influenced by his professor Minor White to trust his intuition and experiment creatively. Uelsmann's work is in the permanent collections of major museums worldwide.
Christophe Dessaigne is a contemporary experimental photographer from France who teaches himself photography. He creates dreamlike photomontages using extensive post-production in Photoshop. Dessaigne's surreal images have been used commercially on book and album covers. His work uses digital techniques to distort scale and proportions, transporting viewers to a fantastical world.
Jerry Uelsmann originated experimental photography in the 1960s using darkroom techniques like multiple enlargers and masking to combine negatives into surreal composite images. He was influenced by his professor Minor White to trust his intuition and experiment creatively. Uelsmann's work is held in permanent collections of major museums worldwide.
Christophe Dessaigne is a contemporary experimental photographer from France who teaches himself photography. He creates dreamlike and surreal photomontages using extensive post-production editing in Photoshop. Dessaigne's work has an eerie and dark theme and has been used commercially on book and album covers. He considers digital editing an extraordinary way to experiment with images.
Jerry Uelsmann is an American photographer born in 1934 who pioneered experimental composite photography techniques in the darkroom before the advent of digital editing. He combines multiple negatives and darkroom techniques like masking, burning and dodging to create surreal composite images. Christophe Dessaigne is a French photographer born in the 1980s who teaches himself photography and creates dreamlike photomontages using extensive digital editing techniques in Photoshop. Both photographers create surreal and symbolic images that challenge conventional perceptions of reality through experimental photographic processes.
Some have claimed Time-Flow Photography (experimental imagery with continuous motion and long shutter speeds) is accidental and others say it is not a legitimate form of photography. For this reason I wrote a Manifesto refuting those statements and explaining its goals.
You can view and/or download the Manifesto in PDF form.
This document discusses technology-based art and computer-generated images. It provides examples of early computer-generated art from the 1960s and discusses how computer art has evolved. It also discusses different types of digital art including 3D art, mobile phone art, and digitally manipulated photographs. It lists various computer programs and applications that can be used to create and modify digital images. Finally, it discusses digital photography and basic photography styles including landscape, portrait, and documentary photography.
This document provides an overview of the history of fashion photography from its origins in the 1850s to modern digital photography. It discusses early pioneers like Virginia Oldoini, the first fashion model, and Adolf de Meyer who began staging shots. The document also profiles 5 famous contemporary fashion photographers like Annie Leibovitz, known for her iconic photo of John Lennon, and Juergen Teller who shot portraits of Nirvana before they became popular.
A2 Photography Exam 2016: Truth, Fantasy and FictionMelanie Powell
Olivia Parker's still life photographs emphasize the complexity of natural forms like shells and feathers. Photographs can document reality objectively, but they may also explore truth, fantasy, or fiction. John Hilliard's work shows how cropping a single photograph in different ways can tell different stories and provide unreliable evidence. Nick Knight uses composite imagery to create surreal visuals that are closer to paintings than photographs, questioning photography's role in telling the truth.
This document discusses various types of photography used in media industries. It begins by defining photography and its uses for capturing memories and conveying information. It then outlines six main types of photography used in media: landscape, fashion, portrait, macro, advertising, and photoshop. For each type, it provides examples of photographers, analyzed photos, and discussions of techniques and historical changes in the field. The document concludes with a bibliography of referenced sources.
Victor Vasarely was a pioneer in optical art who incorporated optical illusions into his paintings and sculptures in the 1930s-1970s. Bridget Riley is also a key figure in the op art movement, using visual effects to play with perception in works like Blaze 1 from 1962. For an induction project, one student created a poster advertising a Bridget Riley exhibition at the Tate Modern from October 2019 to April 2020. They conducted research on op art and its artists, planned the poster's design and format, and created four drafts before finalizing a version with wavy lines and color text. Feedback from their tutor improved the poster's readability.
Hannah Hoch, John Heartfield, Alvin Langdon Coburn, Man Ray, and David Hockney were experimental photographers who used traditional methods to create abstract and conceptual pieces. Hoch created paper collages exploring concepts of beauty, race, and gender. Heartfield used illustrations and ink in anti-Nazi propaganda. Coburn developed abstract photographs using mirror systems. Man Ray created cameraless photograms using direct exposures. Hockney composed abstract images from multiple Polaroid photos exploring shutter speeds and movement. While using film and traditional techniques, their work pushed the boundaries of photography and conceptual art.
Hannah Hoch, John Heartfield, Alvin Langdon Coburn, Man Ray, and David Hockney were experimental photographers who used traditional techniques to create abstract and conceptual works. Hoch created photomontages exploring concepts of beauty, race, and gender. Heartfield used anti-Nazi propaganda. Coburn developed abstract photographs using mirror systems. Man Ray created photograms or "Rayographs" by placing objects on light-sensitive paper. Hockney structured Polaroid photos to form abstract compositions. Their work would be found in galleries and textbooks rather than for commercial uses like advertising.
Victor Vasarely was a pioneer in optical art who incorporated optical illusions into his paintings and sculptures. His 1970 sculpture "The Cube" uses elements like impression and perspective to give the illusion of moving shapes despite the cube remaining still. Bridget Riley is also a key figure in op art, using patterns to play with perception in works like "Blaze 1" from 1962. The document outlines a student project to create a poster advertising a Bridget Riley exhibition, including research on op art, planning poster designs, and creating the final poster in Photoshop. Problems included finding sources, working alone, and choosing an artist, but the student was able to complete the tasks through perseverance and collaboration.
The document provides guidance for photographers to challenge traditional perceptions of landscapes by experimenting with different points of view, compositions, lighting, and techniques to present familiar settings in unconventional ways and encourage new ways of seeing in order to develop understanding. Photographers are encouraged to document their own experiences of environments through innovative framing and arrangements of images. Basic photographic elements like line, shape, texture and contrast are emphasized as ways to transform the ordinary into something extraordinary.
Editorial and fashion photography tell stories through images of clothing and models. The field began in the early 20th century with Adolphe Braun's photographs of Virginia Oldoini. Publications like Vogue and Harper's Bazaar popularized the genre in the 1920s-1930s. Innovators like Richard Avedon brought artistry and narrative to fashion photography. Today, successful shoots involve large teams who collaborate to realize a theme through wardrobe, makeup, lighting, and set design.
Fashion photography displays clothing and accessories in advertisements and magazines. It uses complex lighting techniques and adventurous poses compared to 1950s photos that covered more skin. Landscape photography captures natural and man-made spaces using filters and techniques to balance exposures and horizons. Portrait photography focuses on a subject's expression, usually the face. It commonly uses longer lenses to compress backgrounds. Macro photography captures extremely close-up subjects greater than life size using specialized lenses and supports. All genres have advanced from earlier black and white or less detailed photos to highly technical color images today.
What is special about the art of John Neville Cohen?jncohen
Special effect that is pure photography, without computers, John's art is to create fantasy within the camera. Most of these pictures were originally taken on Kodachrome transparency film.
Photorealism was an art movement from the 1960s-1970s that aimed to depict photographic reality in paintings. Key characteristics included using photos and camera techniques to transfer images accurately onto canvas. Major artists featured Richard Estes, known for urban scenes; Duane Hanson, who made photorealistic sculptures of people; and Chuck Close, known for large portrait paintings. While initially criticized for removing artistry, photorealism gained acceptance for its technical skill in recreating the world in hyperrealistic detail. The movement influenced later artists and photorealism remains practiced today.
This document provides a history of photography and discusses what makes a good photographer. It explains that Sir John Herschel coined the term "photography" in 1839 and helped make the first permanent photograph possible. While some believe the camera is most important, the document argues that understanding concepts like composition, lighting, focus and emotion are more essential to photography. It also discusses the role of light and how photography has changed how we view and preserve history.
David Hockney created photo joiners by taking Polaroid photos and sticking them together to form portraits and landscapes. This technique allowed him creative control over the final image. He became well known for this non-traditional style. Hockney's work could be displayed in both galleries and commercial settings like advertising.
Fashion photography has existed since 1856 and is used primarily to advertise clothing and accessories in magazines and advertisements. It shows models wearing the latest styles and fashions. Over time, fashion photography has become more revealing with models showing more skin. Selfies are now a very popular form of portrait photography where people take photos of themselves using their smartphone cameras to share on social media.
The document discusses David Hockney's technique of photographing subjects from multiple angles and perspectives and then arranging the photos into photomontages. Hockney would take between 5-150 small Polaroid or photolab prints of a single subject from different positions and slightly different times and collage them together to form a composite image with cubist qualities. Students are then assigned to select one subject to photograph from different angles and perspectives in order to create their own Hockney-inspired photomontage artwork.
The proposal outlines a street photography portfolio titled "City Ruins" focused on the student's hometown of Knaresborough, Yorkshire. Photography will be the primary medium, with the goal of also creating a website and booklet to showcase the work. The student has researched street photographers like Joel Meyerowitz, Helen Levitt, and Henri Cartier-Bresson for inspiration. Peer and public feedback will be used for evaluation, with the project timeline spanning pre-production, production, and evaluation phases over 17 weeks culminating in a final presentation.
Photography has evolved from early cameras that simply projected scenes to the first permanent photograph created by Nicéphore Niépce in 1826, to improvements like Daguerre's development of the daguerreotype process in 1839 which produced the first widely available portrait photographs, to modern advances like portable cameras and digital photography that have made photography accessible to the masses.
Photorealism was an art movement from the 1960s through 1972 known for creating highly detailed, photorealistic paintings and sculptures that were often indistinguishable from photographs. Key characteristics included using photographs as references, transferring the photographic image to the canvas through mechanical or semi-mechanical means, and achieving a high level of technical skill to make the finished work appear photographic. Notable photorealist artists mentioned include Duane Hanson, Audrey Flack, Charles Bell, Denis Peterson, and Ron Mueck.
The student proposes a black and white street photography portfolio titled "City Ruins" featuring images taken in their hometown of Knaresborough, Yorkshire. Photography will be the primary medium, and if time allows, a website and booklet will be created to showcase the work. The student has researched street photographers like Joel Meyerowitz, Helen Levitt, and Henri Cartier-Bresson for inspiration. Peer and public feedback will be gathered to evaluate the project, and over 20 weeks the student will complete tasks like primary/secondary research, experiments, production, and presentation.
The document provides a history of photography from its origins in the 1820s to modern digital photography. Some of the key points covered include:
- The first permanent photograph was taken by Joseph Nicéphore Niépce in 1826 using a camera obscura and bitumen of Judea.
- Louis Daguerre's photograph from 1838 was the first of a human.
- Mathew Brady documented the American Civil War, helping establish photojournalism.
- Color photography was first achieved in 1861, while portable cameras emerged in the early 1900s.
- Iconic photographs like "Afghan Girl" captured the human experience, while digital tools now allow advanced manipulation.
This document summarizes information about three artists - Milton Glaser, Stefan Sagmeister, and Annie Leibovitz. It provides details about their careers, educational backgrounds, notable works and publications. Milton Glaser is an American graphic designer known for designs like the I 'heart' NY logo. Stefan Sagmeister is a graphic designer and founder of Sagmeister & Walsh known for album covers. Annie Leibovitz is an American portrait photographer best known for her celebrity photos used in magazines like Rolling Stone.
This document discusses various types of photography used in media industries. It begins by defining photography and its uses for capturing memories and conveying information. It then outlines six main types of photography used in media: landscape, fashion, portrait, macro, advertising, and photoshop. For each type, it provides examples of photographers, analyzed photos, and discussions of techniques and historical changes in the field. The document concludes with a bibliography of referenced sources.
Victor Vasarely was a pioneer in optical art who incorporated optical illusions into his paintings and sculptures in the 1930s-1970s. Bridget Riley is also a key figure in the op art movement, using visual effects to play with perception in works like Blaze 1 from 1962. For an induction project, one student created a poster advertising a Bridget Riley exhibition at the Tate Modern from October 2019 to April 2020. They conducted research on op art and its artists, planned the poster's design and format, and created four drafts before finalizing a version with wavy lines and color text. Feedback from their tutor improved the poster's readability.
Hannah Hoch, John Heartfield, Alvin Langdon Coburn, Man Ray, and David Hockney were experimental photographers who used traditional methods to create abstract and conceptual pieces. Hoch created paper collages exploring concepts of beauty, race, and gender. Heartfield used illustrations and ink in anti-Nazi propaganda. Coburn developed abstract photographs using mirror systems. Man Ray created cameraless photograms using direct exposures. Hockney composed abstract images from multiple Polaroid photos exploring shutter speeds and movement. While using film and traditional techniques, their work pushed the boundaries of photography and conceptual art.
Hannah Hoch, John Heartfield, Alvin Langdon Coburn, Man Ray, and David Hockney were experimental photographers who used traditional techniques to create abstract and conceptual works. Hoch created photomontages exploring concepts of beauty, race, and gender. Heartfield used anti-Nazi propaganda. Coburn developed abstract photographs using mirror systems. Man Ray created photograms or "Rayographs" by placing objects on light-sensitive paper. Hockney structured Polaroid photos to form abstract compositions. Their work would be found in galleries and textbooks rather than for commercial uses like advertising.
Victor Vasarely was a pioneer in optical art who incorporated optical illusions into his paintings and sculptures. His 1970 sculpture "The Cube" uses elements like impression and perspective to give the illusion of moving shapes despite the cube remaining still. Bridget Riley is also a key figure in op art, using patterns to play with perception in works like "Blaze 1" from 1962. The document outlines a student project to create a poster advertising a Bridget Riley exhibition, including research on op art, planning poster designs, and creating the final poster in Photoshop. Problems included finding sources, working alone, and choosing an artist, but the student was able to complete the tasks through perseverance and collaboration.
The document provides guidance for photographers to challenge traditional perceptions of landscapes by experimenting with different points of view, compositions, lighting, and techniques to present familiar settings in unconventional ways and encourage new ways of seeing in order to develop understanding. Photographers are encouraged to document their own experiences of environments through innovative framing and arrangements of images. Basic photographic elements like line, shape, texture and contrast are emphasized as ways to transform the ordinary into something extraordinary.
Editorial and fashion photography tell stories through images of clothing and models. The field began in the early 20th century with Adolphe Braun's photographs of Virginia Oldoini. Publications like Vogue and Harper's Bazaar popularized the genre in the 1920s-1930s. Innovators like Richard Avedon brought artistry and narrative to fashion photography. Today, successful shoots involve large teams who collaborate to realize a theme through wardrobe, makeup, lighting, and set design.
Fashion photography displays clothing and accessories in advertisements and magazines. It uses complex lighting techniques and adventurous poses compared to 1950s photos that covered more skin. Landscape photography captures natural and man-made spaces using filters and techniques to balance exposures and horizons. Portrait photography focuses on a subject's expression, usually the face. It commonly uses longer lenses to compress backgrounds. Macro photography captures extremely close-up subjects greater than life size using specialized lenses and supports. All genres have advanced from earlier black and white or less detailed photos to highly technical color images today.
What is special about the art of John Neville Cohen?jncohen
Special effect that is pure photography, without computers, John's art is to create fantasy within the camera. Most of these pictures were originally taken on Kodachrome transparency film.
Photorealism was an art movement from the 1960s-1970s that aimed to depict photographic reality in paintings. Key characteristics included using photos and camera techniques to transfer images accurately onto canvas. Major artists featured Richard Estes, known for urban scenes; Duane Hanson, who made photorealistic sculptures of people; and Chuck Close, known for large portrait paintings. While initially criticized for removing artistry, photorealism gained acceptance for its technical skill in recreating the world in hyperrealistic detail. The movement influenced later artists and photorealism remains practiced today.
This document provides a history of photography and discusses what makes a good photographer. It explains that Sir John Herschel coined the term "photography" in 1839 and helped make the first permanent photograph possible. While some believe the camera is most important, the document argues that understanding concepts like composition, lighting, focus and emotion are more essential to photography. It also discusses the role of light and how photography has changed how we view and preserve history.
David Hockney created photo joiners by taking Polaroid photos and sticking them together to form portraits and landscapes. This technique allowed him creative control over the final image. He became well known for this non-traditional style. Hockney's work could be displayed in both galleries and commercial settings like advertising.
Fashion photography has existed since 1856 and is used primarily to advertise clothing and accessories in magazines and advertisements. It shows models wearing the latest styles and fashions. Over time, fashion photography has become more revealing with models showing more skin. Selfies are now a very popular form of portrait photography where people take photos of themselves using their smartphone cameras to share on social media.
The document discusses David Hockney's technique of photographing subjects from multiple angles and perspectives and then arranging the photos into photomontages. Hockney would take between 5-150 small Polaroid or photolab prints of a single subject from different positions and slightly different times and collage them together to form a composite image with cubist qualities. Students are then assigned to select one subject to photograph from different angles and perspectives in order to create their own Hockney-inspired photomontage artwork.
The proposal outlines a street photography portfolio titled "City Ruins" focused on the student's hometown of Knaresborough, Yorkshire. Photography will be the primary medium, with the goal of also creating a website and booklet to showcase the work. The student has researched street photographers like Joel Meyerowitz, Helen Levitt, and Henri Cartier-Bresson for inspiration. Peer and public feedback will be used for evaluation, with the project timeline spanning pre-production, production, and evaluation phases over 17 weeks culminating in a final presentation.
Photography has evolved from early cameras that simply projected scenes to the first permanent photograph created by Nicéphore Niépce in 1826, to improvements like Daguerre's development of the daguerreotype process in 1839 which produced the first widely available portrait photographs, to modern advances like portable cameras and digital photography that have made photography accessible to the masses.
Photorealism was an art movement from the 1960s through 1972 known for creating highly detailed, photorealistic paintings and sculptures that were often indistinguishable from photographs. Key characteristics included using photographs as references, transferring the photographic image to the canvas through mechanical or semi-mechanical means, and achieving a high level of technical skill to make the finished work appear photographic. Notable photorealist artists mentioned include Duane Hanson, Audrey Flack, Charles Bell, Denis Peterson, and Ron Mueck.
The student proposes a black and white street photography portfolio titled "City Ruins" featuring images taken in their hometown of Knaresborough, Yorkshire. Photography will be the primary medium, and if time allows, a website and booklet will be created to showcase the work. The student has researched street photographers like Joel Meyerowitz, Helen Levitt, and Henri Cartier-Bresson for inspiration. Peer and public feedback will be gathered to evaluate the project, and over 20 weeks the student will complete tasks like primary/secondary research, experiments, production, and presentation.
The document provides a history of photography from its origins in the 1820s to modern digital photography. Some of the key points covered include:
- The first permanent photograph was taken by Joseph Nicéphore Niépce in 1826 using a camera obscura and bitumen of Judea.
- Louis Daguerre's photograph from 1838 was the first of a human.
- Mathew Brady documented the American Civil War, helping establish photojournalism.
- Color photography was first achieved in 1861, while portable cameras emerged in the early 1900s.
- Iconic photographs like "Afghan Girl" captured the human experience, while digital tools now allow advanced manipulation.
This document summarizes information about three artists - Milton Glaser, Stefan Sagmeister, and Annie Leibovitz. It provides details about their careers, educational backgrounds, notable works and publications. Milton Glaser is an American graphic designer known for designs like the I 'heart' NY logo. Stefan Sagmeister is a graphic designer and founder of Sagmeister & Walsh known for album covers. Annie Leibovitz is an American portrait photographer best known for her celebrity photos used in magazines like Rolling Stone.
Understanding the basics of photography (which include shooting without camera), can get you started with alternative photographic processes, historical as well as contemporary.
How to Add Photography Into Your Marketing MixC.C. Chapman
Today if you want to be successful with your content marketing, you must use photos. This session from NMX 13 focused on how to make this possible, but then also on how to take photos. Content strategy AND photography lessons in one speech? Yup, C.C. can do that.
History of cameras and photography for recordwifeysarg
The document summarizes the history of cameras and photography from its earliest beginnings to modern times. It describes how the basic principles of optics and the camera obscura were understood as early as the 5th century BC. It then outlines several important early innovations and inventors in the 18th and 19th centuries that led to the first permanent photographic images, including Joseph Niepce in 1814, Louis Daguerre in 1837 who invented the daguerreotype process, and Henry Fox Talbot who invented the calotype process enabling photographic negatives. The timeline also notes the development of roll film, handheld cameras, color photography, and advances in photographic films and prints.
7 Sites for Free & Beautiful Public Domain PhotosKapost
Full article: http://marketeer.kapost.com/free-public-domain-photos/
Looking for evocative, totally free, no-rights-reserved public domain photos? These 7 sites are great places to find beautiful images that will give your content marketing a visual boost.
This resource provides information and activities for teachers to use when teaching portrait photography at secondary level. It focuses on portraits from the National Portrait Gallery's collection, examining the technical beginnings of photography and its development. The resource explores the connections between art and photography and how painted portraits influenced early photographic techniques. It includes discussions of photographic studios and contemporary techniques. Teachers can use the contextual information, discussion questions, and suggested activities to support students in analyzing photographic portraits in depth.
This document provides an overview for teaching a lesson on 19th century photography. It discusses key early photographers like Daguerre, Niepce and Talbot and the development of photographic processes from daguerreotypes to calotypes. It also covers how photography was used in various contexts like portraiture, documentation of history and travel, and how it influenced art movements like realism. The document provides suggestions for course content, readings, videos and images to examine different applications and impacts of early photography.
- Students chose photography genres and questions to explore for their Unit 3 personal study
- Exhibition details were discussed, including display setup and artist statements
- Additional volunteering opportunities were mentioned, including event photography
- Next steps included gathering research materials, visiting exhibitions, and creating moodboards over the summer
Photorealism is an art movement that originated in the United States in the 1960s involving the realistic replication of photographic images in paintings and sculptures. Artists such as Don Eddy, Chuck Close, Richard Estes, and Duane Hanson used photographs and careful technical skills to create hyperrealistic works. While initially criticized for its embrace of photography, photorealism challenged artistic conventions. It has had lasting influence and continues to fascinate viewers with its photo-like illusions.
Photorealism is an art movement that originated in the 1960s in the United States involving the realistic replication of photographic images in paintings and sculptures. Artists would use photographs as references to capture precise realistic details in their works. Some notable photorealist artists mentioned are Chuck Close, Richard Estes, and Duane Hanson. While initially criticized for its straightforward representation, photorealism challenged artistic conventions and focused on depicting American consumerism and popular culture. It has had lasting influence with contemporary photorealist artists continuing to push the boundaries of realism using modern digital tools.
This document discusses technology-based art and digital photography. It provides examples of early computer-generated art from the 1960s and discusses how computer art has evolved. It describes how today's artists use various image editing programs and applications to digitally manipulate and create art. The document also discusses different types of digital photography, including landscape, portrait, and documentary styles. It provides tips on photographic techniques like using the rule of thirds and considering point of view. Finally, it presents some assignments for students involving pixel art and photo shoots with themes.
This document provides a summary of lectures, workshops, and exhibitions from a contextual and textual module. It focuses on one particularly interesting lecture about post-mortem photography in the Victorian era. Post-mortem photography involved taking photos of deceased loved ones. It was widely practiced after the invention of photography in 1839 as families sought to remember their dead. The summary explores various aspects of post-mortem photography including its role in providing undeniable proof of existence, how it was used for both adults and infants, and how attitudes towards it changed over the 19th-20th centuries. Overall, the summary examines how post-mortem photography reflected cultural views of death and the power of the new photographic medium to influence human experiences
Humanities: Introduction of PhotographyChelbert Yuto
Photography is the process of recording pictures by capturing light or other electromagnetic radiation, either chemically or electronically. Some key events in the history of photography include the first permanent photo taken in 1825, the development of the daguerreotype process in 1839, and the introduction of roll film and the Kodak camera in the late 1880s which made photography widely popular. Photography utilizes various elements, principles, mediums, genres, and techniques. Some of the most influential early photographers include Alfred Stieglitz, Felix Nadar, and Henri Cartier-Bresson.
David Hockney is a British artist born in 1937 who was an important contributor to pop art. He is known for his experimentation with photomontages in the 1970s and 1980s, creating collages from multiple photographs. The document discusses Hockney's technique of taking many close-up photos of a subject and arranging them to form a composite image. It also explains how modern photographers can create photomontages digitally using Photoshop.
The document provides an overview of modern art techniques and trends discussed in Grade 10 Arts, including photography, film, print media, and digital media. It discusses photography in detail, describing its origins from the Greek words for "light" and "writing" and how it evolved from a technical process to an artistic medium. The document also examines the collaborative nature of filmmaking, noting that it involves entire teams working under a director to bring their vision to life through cinematography, acting, editing, production design, and other roles. It highlights some notable Filipino photographers like George Tappan and John K. Chua and their achievements.
This document provides an overview of Grade 10 Arts for Quarters 3 and 4. It introduces various modern art techniques and trends, including photography, film, print media, digital media, and product/industrial design. For photography, it discusses its origins from Greek words meaning "light writing" and how it has evolved from a technical process to an artistic medium. Notable Filipino photographers like George Tappan and John K. Chua are profiled. For film, it describes how technology drove it as an art form and the collaborative nature of filmmaking, involving directors, actors, cinematographers, editors, and more. Activities are outlined for a group photography project and culminating exhibit.
This document provides an overview of the photography unit for a class. It includes a brief history of photography from early techniques like daguerreotypes to the development of film. It outlines weekly assignments like a photo journal that students will post online. It also previews topics that will be covered like the concept of "making" photographs, purposes of photography, and what defines a good photograph. Students are instructed to set up an online portfolio and reflect on an example photograph for an upcoming activity.
This document provides an overview of modern art techniques and trends, focusing on photography, film, print media, and digital/product design. It discusses photography in detail, including its origins and evolution into an art form. Notable Philippine photographers like George Tappan and John Chua are profiled. Filmmaking is explored as a collaborative art, outlining the roles of the director, actors, cinematographers, editors, and production designers. Major Philippine film directors like Lino Brocka, Marilou Diaz-Abaya, and Maryo de los Reyes are introduced along with some of their landmark films. The document aims to educate students on modern visual art forms and influential Philippine artists working in these mediums.
This document provides an overview of modern art techniques and trends, focusing on photography, film, print media, and digital/industrial design. It discusses photography in depth, defining it as the science and art of creating images using light or electromagnetic radiation. Notable Philippine photographers like George Tappan and John K. Chua are profiled. Filmmaking is described as a collaborative art involving directors, actors, cinematographers, editors, and other roles. Key film genres and influential Philippine filmmakers like Lino Brocka, Marilou Diaz-Abaya, and Maryo J. de los Reyes are also summarized.
This document provides an overview of modern art techniques and trends, including photography, film, print media, and digital media. It discusses the origins and evolution of photography from a technical process to an artistic medium. Notable Filipino photographers like George Tappan and John K. Chua are profiled. Film is discussed as a technology-driven collaborative art form involving directors, actors, cinematographers, editors, and other roles. The development of cinema from early devices like the Kinetoscope to the rise of film genres is summarized. Philippine filmmakers such as Lino Brocka, Marilou Diaz-Abaya, and Maryo J. de los Reyes are introduced along with some of their notable works.
This document provides a history of photography from its earliest beginnings to modern developments. It describes how Nicéphore Niépce created the first permanent photograph in 1826 by using "Heliography" to capture an image on light-sensitive paper. The document then discusses the key contributions of Louis Daguerre, who invented the daguerreotype process which produced the first clear photo of a person in 1839. Finally, it outlines several modern photography movements including surrealism, pop art, abstract, minimalism, and urban decay photography.
Photography began with the camera obscura, a box with a pinhole that projected an upside-down image. Johannes Kepler first used the term "camera obscura" in 1604. In the 17th-18th centuries, scientists discovered images could be recorded using silver nitrate on paper. Louis Daguerre created the first permanent photograph, called a "daguerreotype", in 1827. Photography combines light and drawing, allowing memories and stories to be captured and shared. There are three main styles - artistic photography tells personal stories creatively, documentary photography shares real life situations objectively, and commercial photography is paid work like weddings and advertising that often breaks rules for dramatic effects.
Photography is the process of recording pictures using light or related radiation on a light-sensitive surface. The document defines key elements of photography like pattern, symmetry, texture, depth of field, lines, framing, perspective, space, balance, and color. It discusses the history of photography from its origins in the 1830s to modern digital cameras. Important photographers mentioned include Alfred Stieglitz, Felix Nadar, and Henri Cartier-Bresson. Principles of composition, simplicity, and dynamic symmetry are also covered.
People have been creating visual records since prehistoric times to communicate what they see to others. Photography allows for the precise recording of tiny details that memory cannot preserve. The ability to capture images was first casually observed by Egyptians over 10,000 years ago. Major developments included the camera obscura, light-sensitive chemicals, Daguerre's daguerreotype process, Talbot's calotype process producing the first negative, faster lenses, and Archer's wet collodion process. George Eastman's 1888 Kodak camera popularized photography by making the process simple and portable.
People have been creating visual records since prehistoric times to communicate what they see to others. Photography allows for the precise recording of tiny details that memory cannot preserve. The ability to capture images was first casually observed by Egyptians, and later experimented with by Aristotle and Da Vinci. Over centuries, improvements were made to lenses and chemicals to develop the first permanent photographs in the 1820s-1830s by inventors like Niepce, Daguerre, and Talbot. Further innovations like roll film and smaller, more portable cameras in the late 1800s brought photography to the masses.
Photography was independently invented in 1839 by Louis Daguerre and William Fox Talbot through the daguerreotype and calotype processes. Daguerreotype used polished metal plates to create positive images while calotype used paper negatives to allow reproduction. Daguerreotype became more popular until the 1851 invention of the wet collodion process using glass plates coated in chemicals. This led to the 1856 tintype which used iron plates for inexpensive portraits. George Eastman further advanced photography in the late 1880s through roll film and his Kodak camera, developing the first color film Kodachrome in 1935. Digital photography originated from video technology in the 1950s and advanced through space exploration, commercial cameras in 1984
This document provides an overview of camera basics, including the different types of cameras and their components. It discusses analog film cameras, which use chemical and mechanical processes to capture images on film, and digital cameras, which use an image sensor and electronic storage. Digital cameras can be point-and-shoot or single-lens reflex (SLR) models. The document also reviews camera parts, the basic process for taking a photo, and viewing and transferring images. It emphasizes removing lens caps, setting the mode dial, stabilizing the camera, and half-pressing the shutter button to focus before fully pressing it to capture an image.
1) The document describes the basic operation of a digital single lens reflex (DSLR) camera. It explains how light enters the camera body through the lens and is reflected by a mirror to the viewfinder for composing shots.
2) It discusses the key variables that determine photographic exposure - aperture, shutter speed, and ISO sensitivity. Different combinations of these variables can produce the same exposure but result in different visual effects.
3) Manual control of aperture, shutter speed, and ISO allows photographers to manipulate these variables to achieve desired pictorial outcomes in terms of depth of field, motion blur, noise, and tone.
This document discusses different types of portrait photography, including traditional, environmental, candid, glamour, lifestyle, surreal, conceptual, and abstract portraits. It provides descriptions of each type, such as environmental portraits photographing subjects in their natural environments, candid portraits capturing unexpected moments, and conceptual portraits leaving interpretations open-ended. Students are assigned to demonstrate 4 out of the 8 portrait types in a photo assignment due by Friday in a PowerPoint with titled slides for each image.
The document provides guidance for landscape photography workshops. It lists recommended equipment such as a DSLR camera, interchangeable lenses, memory cards, a tripod, filters, and photo editing software. It emphasizes using aperture priority mode, keeping ISO low, using a tripod for slow shutter speeds, and almost always using filters. It discusses composition techniques like applying the rule of thirds and using leading lines. It also recommends dedicating as much shooting time as possible to the magic hours around sunrise and sunset.
Macro photography involves taking photos of subjects that are life-size or up to 10 times larger than life-size. To take macro photos, photographers need cameras that can focus closely, macro lenses, extension tubes, or reversing rings. Important aspects of macro photography include choosing subjects, proper focusing using tripods or live view, controlling lighting to avoid shadows, and selecting exposure settings like aperture that balance depth of field with image quality. Photographers are also encouraged to experiment and consider techniques like focus stacking that combine multiple images in post-processing.
The document provides instructions for a 4-H photography judging practice set on silhouettes. Members are shown photos of four silhouette images and asked to rank them in order from best to worst. The last slide then reveals the official placings and reasons, ranking photo #2 as best with good composition and interesting color. Photo #1 is ranked worst for being too centered with an unsharp focus and too much foreground.
Wildlife photography captures images of animals in their natural habitats and environments. It is considered a challenging form of photography that requires both technical photography skills like proper exposure settings, as well as field skills like understanding animal behavior to predict their actions or using hides/blinds for concealment when photographing some species. Wildlife photography encompasses a vast variety of animal subjects including mammals, birds, reptiles, amphibians, fish, insects, and marine life.
This document provides tips and guidance for beginners on digital wildlife photography. It discusses choosing the right camera, learning how to use it, and practicing different photography techniques like composition, lighting, and distance from subjects. The document then gives specific tips for photographing different types of wildlife like birds, mammals, fish, and marine animals while prioritizing safety and not disturbing wildlife. It emphasizes learning about the behaviors and needs of different animals to get good photos without stressing them.
Portrait photography captures a person's expression, personality and mood. It typically focuses on the face but may include the entire body and background. There are various lighting techniques used in studio portraits, including three-point lighting, butterfly lighting and accent lighting. Natural window light can also be used to create soft, flattering portraits. Different lenses, styles, and approaches like candid, creative or environmental can achieve various artistic effects in portraits.
This document discusses panorama photography. It defines a panorama as a wide-angle representation of a physical space using various mediums like painting, photography, or video. It describes how to make panoramas by cropping a single image or stitching multiple images together. It also covers equipment options for single and multi-row panoramas, how to find the exit pupil, set up the camera, shoot overlapping images, and post-process stitched panoramas. The goal is to maintain consistency across images for optimal stitching.
This document summarizes a talk on multi-perspective panoramas. It discusses how panoramas are typically created using a single center of projection but this results in distortions. The talk presents an approach that uses multiple planes of projection inspired by Renaissance paintings to reduce distortions. Localized projections are applied to different regions of the panorama for a more natural appearance. An iterative algorithm is used to automatically register and order images for generating panoramas without manual labor. The approach aims to make panoramas look better while allowing flexible camera positions during photography.
Night photography requires manual exposure settings, focus techniques like manual focus or live view magnification, and RAW file format to capture details. Long exposures require a tripod, remote shutter, and care to avoid noise, light pollution, condensation, and airplanes. Stacking multiple short exposures improves image quality over one long exposure. Timelapses are made by taking photos at intervals and playing them rapidly to show movement of clouds or stars.
This document provides an introduction to macro photography. It discusses defining macro photography as photos where the subject is magnified to life size or 1:1 ratio on film. It recommends equipment for macro photography like DSLR cameras, macro lenses that achieve 1:1 magnification, extension tubes, flash, and a tripod. The document covers techniques for macro photography like controlling depth of field and using flash to compensate for low light levels up close. It emphasizes learning about subjects and preparing before shoots to get the best macro photos.
This document provides tips for landscape photography including composition, techniques, and processing. It recommends shooting in RAW format and processing RAW files to have more control over the image. Wide angle lenses are desirable for landscape shots and using a tripod, small apertures like f/11-f/13, and the lowest practical ISO can improve image quality. Foreground objects, leading lines, and rule of thirds composition are discussed. Local adjustments during processing are suggested to draw the viewer's eye and enhance certain areas by increasing contrast or saturation. HDR and tone mapping are also covered as techniques for high dynamic range scenes.
Lindsey Lynch provides tips for taking digital photos including not destroying the surroundings, being prepared to search for the best shot, using the viewfinder instead of the LCD screen on digital cameras, and paying attention to the aperture settings. Kellie Bassell offers tips for black and white photography such as focusing on contrast, taking photos from ground level, using black and white to make bland scenes more interesting, capturing strong emotions in portraits, and focusing on texture. The document includes examples of photos taken that demonstrate these tips.
This document discusses camera angles and shots used in photography and filmmaking. It describes 5 different camera angles - extreme long shot, long shot, medium shot, close-up, and extreme close-up - based on how much of the subject is contained in the frame. It also discusses 4 camera angles - bird's-eye view, high angle, eye level, and low angle - based on the camera's position relative to the subject. The different angles and shots have different purposes and effects on the viewer's perspective and emotional response.
Ryan Bush discusses abstract photography and how it connects the visible world to the imaginal or psychoid world. Bush defines abstract photography as focusing on qualities of objects rather than literal representation. Examples are provided of techniques like isolating objects, extreme closeups, and layered exposures. Bush argues abstract photos show things in a new way to help viewers see. While photos start from the visible world, abstract styles maintain a connection while also tapping into deeper symbolic meanings. Bush discusses three levels of seeing - ordinary sight, true seeing (mindful observation), and creative imagination (which photos can depict). The goal is to help lift "veils" blocking full perception and to share insightful ways of seeing with others.
This tutorial offers a step-by-step guide on how to effectively use Pinterest. It covers the basics such as account creation and navigation, as well as advanced techniques including creating eye-catching pins and optimizing your profile. The tutorial also explores collaboration and networking on the platform. With visual illustrations and clear instructions, this tutorial will equip you with the skills to navigate Pinterest confidently and achieve your goals.
Boudoir photography, a genre that captures intimate and sensual images of individuals, has experienced significant transformation over the years, particularly in New York City (NYC). Known for its diversity and vibrant arts scene, NYC has been a hub for the evolution of various art forms, including boudoir photography. This article delves into the historical background, cultural significance, technological advancements, and the contemporary landscape of boudoir photography in NYC.
The cherry: beauty, softness, its heart-shaped plastic has inspired artists since Antiquity. Cherries and strawberries were considered the fruits of paradise and thus represented the souls of men.
Fashionista Chic Couture Maze & Coloring Adventures is a coloring and activity book filled with many maze games and coloring activities designed to delight and engage young fashion enthusiasts. Each page offers a unique blend of fashion-themed mazes and stylish illustrations to color, inspiring creativity and problem-solving skills in children.
2. Teachers’ Resource Portrait Photography National Portrait Gallery
Information and Activities for Secondary Teachers of Art and Photography
Introduction 3
Discussion questions 4
Wide Angle
1. Technical beginnings and early photography
Technical beginnings 5
Early photography 8
Portraits on light sensitive paper 11
The Carte-de-visite and the Album 17
2. Art and photography; the wider context
Art and portrait photography 20
Photographic connections 27
Technical developments and publishing 32
Zoom
1. The photographic studio 36
2. Contemporary photographic techniques 53
3. Self image: Six pairs of photographic self-portraits 63
Augustus Edwin John; Constantin
Brancusi; Frank Owen Dobson
Unknown photographer,
bromide press print, 1940s
NPG x20684
Contents
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Information and Activities for Secondary Teachers of Art and Photography
Use the following questions to help your group appreciate and analyse
aspects of portrait photography:
• How big is the image?
• Is it in ‘hard copy’ or on ‘screen’? (analogue or digital?)
• Is it in colour or black and white?
• Work out how the subject was lit; is there any strong directional lighting?
• Where from?
• Is there more than one person in the portrait?
• Is it a portrait showing the sitter’s head, head and shoulders, are they
seated or standing?
• Are their hands in view? How do they hold them?
• Does the subject look directly at the viewer or are they turned away or in profile?
• What sort of background is there?
• Is it an interior or exterior view?
• Is it an urban or a country setting?
• When do you think that the photograph was taken?
• Why do you think that the photograph was taken?
• What future purpose might it have?
• Is it worth anything? Financially or sentimentally?
• Could there be any other sorts of values attached to this photograph?
• Do you think that it took much time, money and energy to make?
• Do you think that the photographer needed to be creative to take the portrait?
• Do you like or dislike this portrait photograph? Where was the photographer
positioned in relationship to the sitter?
• Focal point: what is the focus of this image? Is there more than one?
Questions about a portrait photograph
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Technical beginnings and early photography
In the early twenty-first century we are so familiar with the photograph and other
technically reproduced imagery, that to imagine a world without these visuals is
hard. The invention of photography was such an astonishing achievement in the
mid-nineteenth century that perhaps its only imaginable equivalent might be the
invention of the internet.
Photography now relates to everything within society and art. In portraiture, the
impact of photography is huge; the correlation between ‘reality’ and ‘likeness’ as
perceived within the format of the photograph is undeniable. This combination
of illusion and real life, guarantees its continuing success as a medium for this
purpose, whether digital, moving or other lens-based methods of making portraits.
Although the invention of photography is dated at approximately 1839, it is
more correct to date the fixing of an image at this time. The basic principles of
the medium were known to the Chinese in the fourth century BC, and were first
described outside China by the Arabian scholar Alhazen in around 1030. Alhazen
was also responsible for working out perspective and the two are linked. It was,
however, the chemistry that accompanied the camera obscura that was unknown.
The camera obscura, from the latin camera = room, obscura = dark, is literally a
darkened room. http://en.wikipedia.org/wiki/Camera_obscura
Camera obscura
From Encyclopédie, ou dictionnaire
raisonné des sciences, des arts et
des métiers,
Denis Diderot and
Jean le Rond d’Alembert , 1751
Wikimedia Commons
WIDE ANGLE 1.
Technical beginnings
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Wide Angle 1. Technical beginnings and early photography
A completely darkened room with a small hole in one wall will produce an image on
the wall opposite (try this and see). The image will be an inverted picture of what
is outside. The bigger the hole, the brighter but more blurred the image. A pin hole
camera works the same way.
The Italian, Daniele Barbaro (1513-70), suggested placing an elderly gentleman’s
spectacle lens (this is a biconvex lens prescribed for correcting long-sightedness),
in the pinhole, in order to sharpen the focus of the image. (La Practica della
Perspectiva, Barbaro, Venice, Italy. 1569.Ch.5.p.192)
A mirror correcting the inversion was demonstrated by Giovanni Battista Benedetti
(1530-90) in 1585. He showed how the addition of a mirror at 45º to the plane of
the lens would turn the previously inverted image the right way up. The clarity of
the image then depends on the quality of the lens and mirror.
Even though the telescope was introduced in 1609, astronomers continued to
use a camera obscura for solar observations because of the danger to their eyes
when looking directly at the sun. Portable camera obscuras were introduced in
the seventeenth century and became popular with artists as an aid to accurate
perspective drawing.
Robert Boyle
John Chapman after Johann
Kerseboom,
stipple engraving, published, 1800
NPG D10729
Technical beginnings
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Wide Angle 1. Technical beginnings and early photography
Imagine and discuss what it would be like to live in a world without photography.
Think up and list alternative ways of doing what this medium does for us.
Experiment with darkening a space and piercing a hole to replicate early camera obscuras.
Research the life and achievements of Robert Boyle (1627-91) and Alhazen (965-1039).
Discussion points
Projects
Activity
These portable camera obscuras were typically shaped like a pyramid with a mirror
and lens at the top. Inside, the image was focused on a sheet of paper, and the
artist could trace round the picture accurately. These tents, were consequently
refined to the type of ‘writing desk’ style of equipment used by Robert Boyle,
(1627-91), a chemist and natural philosopher, who in his tract, Of the Systematicall
and Cosmical Qualities of Things, (Oxford, 1669), wrote about a portable box
camera he had constructed. Having described how to make a piece of opaque
paper transparent by greasing it, he goes on to recount the delights of such a box.
‘If a pretty large box be so contrived that there may be towards one end of it
a fine sheet of paper stretched like the leather of a drum head at a convenient
distance from the remoter end, where there is to be left a hole covered with a
lenticular [shaped like a lentil or lens] glass fitted for the purpose, you may, at
a little hole left at the upper part of the box, see upon the paper such a lively
representation not only of the motions but shapes and colours of outward
objects as did not a little delight me when I furst caused this portable darkened
room, if I may so call it, to be made ... since when divers ingenious men have
tried to imitate mine (which you know was to be drawn out or shortened like
a telescope, as occasion required) or improved the practice.
Technical beginnings
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Wide Angle 1. Technical beginnings and early photography
In 1826, Joseph Nicéphore Niépce (1765-1833), made the first photograph, see
http://www.hrc.utexas.edu/exhibitions/permanent/wfp/. His research was
continued in 1839, by his then business partner, Louis-Jaques-Mandé Daguerre
(1787-1851), see http://www.metmuseum.org/toah/hd/dagu/hd_dagu.htm and
independently by an English scientist, William Henry Fox Talbot (1800-77).
Photography, one might argue, was invented by both Niépce and Fox Talbot when
placing light-sensitive material onto the screen of a camera obscura. From then
on, portable photographic camera obscuras evolved into the miniature precision
instruments we now use to take our own pictures.
Daguerreotypes (named after Daguerre) were unique, small images made by the
action of light on silver-based chemicals coating a silver copper plate. The marvel
was the pin-sharp quality of the image; the disadvantage was the difficulty in
reading the mirror-like polished surface, where the picture, using a direct positive,
was literally reversed.
The first commercial daguerreotype studio in the world was opened by Richard
Beard (1802/3-1885) in 1841, and 'daguerreotypomania' soon swept through
Europe and America. See
http://www.rleggat.com/photohistory/history/beard.htm
In 1849, 100,000 daguerreotype portraits were taken in Paris alone. At last, having
a portrait made was no longer the prerogative of the very rich. For twelve years the
daguerreotype remained supreme in the photographic studios of the world.
The daguerreotypes below measure 55x44mm (2 1/8x1 3/4) inches and 90x38mm
(3 1/2x1 1/2 inches):
Early Photography
Maria Edgeworth
Richard Beard, daguerritype, 1841
NPG P5
George Francis Robert Harris,
3rd Baron Harris
Richard Beard, daguerrotype, c.1840,
NPG P117
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Wide Angle 1. Technical beginnings and early photography
The following quotation from a letter written by poet
Elizabeth Barrett Browning (1806-63), gives us some idea
of the impact of these small portraits:
‘My dearest Miss Mitford, do you know anything about that
wonderful invention of the day, called the Daguerreotype?
– that is, have you seen any portraits produced by means
of it? Think of a man sitting down in the sun and leaving his
facsimile in all its full completion of outline and shadow,
steadfast on a plate, at the end of a minute and a half! The
Mesmeric disembodiment of spirits strikes me as a degree less
marvellous. And several of these wonderful portraits … take
back like engravings – only exquisite and delicate beyond the
work of the engraver – have I seen lately – longing to have
such a memorial of every Being dear to me in the world. It is
not merely the likeness which is previous in such cases - but
the association, and the sense of nearness involved in the
thing … the face of the very shadow of the person lying
there fixed for ever! It is the very sanctification of portraits
I think - and it is not at all monstrous in me to say what my
brothers cry out against so vehemently … that I would rather
have such a memorial of one I dearly loved, than the noblest
Artist's work ever produced.’
Stefan Richter, The Art of the Daguerrotype, p.5, 14, 15.
Viking , 1989.
Browning’s image is reproduced using a later photographic
development; the albumen carte-de-visite (literally translated
as ‘visiting card’). Taken on 19 June 1860, in Florence, she is
seated next to her eleven-year-old-son who stands to her left.
As was fashionable at the time, the boy wears his curly hair
long. These small images relate to Elizabethan miniatures
especially in the way that they were kept, often as love tokens.
Their scale meant that they could be secreted either about the
body (for example in a pocket or a locket) or kept in a drawer.
Elizabeth Barrett Browning
Alessandri,
albumen carte-de-visite, 19 June 1860
NPG P1094
Robert Browning
Alessandri,
albumen carte-de-visite, March 1860
NPG P1093
Early Photography
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Wide Angle 1. Technical beginnings and early photography
Talk about the importance of scale in photography, from the photobooth miniature portrait to the
billboard advertisement.
Discuss the purposes and merits of both. One is domestic and the other is commercial, how do these
differences benefit from the dynamics of scale?
Choose a portrait image and using Photoshop (or similar), print this out in two different sizes.
Now take the same image and enlarge it using Rasterbator™ www.snapfiles.com/get/Rasterbator/html.
Choose the image that you like best and work out how you could use it either privately or commercially.
Discussion points
Projects
Activity
Early Photography
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Wide Angle 1. Technical beginnings and early photography
Unlike Daguerre's process that made unique pictures, W. H. Fox Talbot discovered
a way for duplicates to be reproduced, he had invented the paper negative and his
work was ultimately preferred to the unique daguerrotype. His invention provided
the seeds of the modern photographic process, as the negative allowed for the
production of multiple prints.
It was the astronomer Sir John Herschel, 1st Bt (1792-1871) who in the 1840s used
the word photography in English, it was taken from the Greek ‘photos’ meaning
light and ‘graphein’ meaning to draw. He was also the first to use the words
‘negative’ and ‘positive’ to describe Fox Talbot's two-stage process. He discovered
that sodium thiosulphate (commonly known as hypo) was a more effective fixing
agent than the sodium chloride (common salt) used by Talbot and Daguerre, thus
further advancing photo-chemical technology.
Fox Talbot made his experiments at his home Lacock Abbey, Wiltshire see http://
www.metmuseum.org/toah/hd/tlbt/hd_tlbt.htm. He used sensitive paper in a dry
state which needed an exposure time of up to half an hour. He wrote the following
with reference to the copying of engravings, in a paper presented to the Royal
Institution entitled:
The Art of Photogenic Drawing
‘If the picture so obtained is first preserved (i.e. fixed) so as to bear sunshine, it
may be afterwards itself employed as an object to be copied, and by means of
this second process the lights and shadows are brought back to their original
disposition. In this way we have indeed to contend with the imperfections
arising from two processes instead of one, but I believe this will be found merely
a difficulty of manipulation. I purpose to employ this for the purpose more
particularly of multiplying at small expense copies of rare or unique engravings.’
Portraits on light sensitive paper
Sir John Herschel, 1st Bt
Julia Margaret Cameron,
albumen print, 1867
NPG P201
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Wide Angle 1. Technical beginnings and early photography
In other words, he had what we now know as a negative. Talbot's breakthrough
came accidentally on 20/21 September 1840, re-using a batch of exposed paper
(that had failed to produce a visible image), on re-sensitizing the paper (with
gallo-nitrate of silver) the latent image appeared. This chemical had accelerated
the process . . .
'I now had to watch it (the camera) for barely a minute or so. Portraits were now
easily taken in moderate daylight, a condition essential to success.’
It took three minutes for the first portraits to be made in this way. Talbot patented
this process on 8th February 1841, and called the result a calotype from the Greek
kalos meaning beautiful. See http://www.nls.uk/pencilsoflight/history.htm.
The Scottish partnership of Hill and Adamson employed this method in 1843
to help document the 447 faces of all those to appear in the monumental
(152cm x 345cm) painting, ‘The first General Assembly of the Free Church
of Scotland, signing the Act of Separation and the Deed of Demission’, which
took David Octavius Hill (1802-17) twenty-three years to paint. See
http://www.gla.ac.uk/services/specialcollections/collectionsa-z/hilladamson/
hilladamsonbiographies/ and
http://www.metmuseum.org/toah/hd/hlad/hd_hlad.htm
Portraits on light sensitive paper
Robert Adamson
David Octavius Hill and Robert
Adamson,
calotype, c.1843-1848
NPG P6(181)
David Octavius Hill
David Octavius Hill and Robert
Adamson,
calotype, c.1843
NPG P6(1)
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Wide Angle 1. Technical beginnings and early photography
Sir David Brewster
David Octavius Hill and
Robert Adamson,
calotype, 1843
NPG P6(10)
Study for... the first General
Assembly of the Free Church
David Octavius Hill and
Robert Adamson,
calotype, 1843
NPG P6(105)
Hill’s painting includes the physicist Sir David Brewster (1781-1868), together with
Robert Adamson (1821-48) with his camera and David Hill (1802-70) with sketchbook
and pencil.
Portraits on light sensitive paper
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Wide Angle 1. Technical beginnings and early photography
Hill was the painter and Adamson the technician, together
they produced photographic albums depicting fishing folk
from Newhaven, near Leith Docks, Edinburgh.These provide the
first photographic documentation of the working classes, and
are a fascinating social record, for example see Jeanie Wilson.
Portraits on light sensitive paper
Jeanie Wilson
David Octavius Hill, and Robert
Adamson,
calotype, 1843-1848
NPG P6(207)
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Wide Angle 1. Technical beginnings and early photography
The next improvement came from Frederick Scott Archer whose
wet collodion process (March 1851) was faster and of better quality than any
of its predecessors. It revolutionised commercial photography and became
the dominant photographic process between 1851-80. It was used by amateur
photographers such as Lewis Carroll (1832-98), Julia Margaret Cameron (1815-79)
and David Wilkie Wynfield (1837-87). Even though the photographer may not
have made the ‘exposures’ themselves, these portraits are definitely 'self-styled'
and so can perhaps be seen as self-reflections, in other words, self-portraits. The
boost given to photography by the wet collodium process was enormous; in 1851,
fifty-one photographers were registered in England; ten years later the number
approached 3,000.
Portraits on light sensitive paper
Julia Margaret Cameron with her
two children, Henry Herschel Hay
and Charles Hay
Unknown photographer,
albumen print, c. 1860
NPG P148
Lewis Carroll
Lewis Carroll,
albumen print, 2 June 1857
NPG P7(26)
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Wide Angle 1. Technical beginnings and early photography
Portraits on light sensitive paper
David Wilkie Wynfield
David Wilkie Wynfield,
albumen print, 1860s
NPG P87
Marie Stillman (née Spartali)
Julia Margaret Cameron
albumen cabinet card, 1868
NPG x18051
Cameron was aged forty-eight when she was given her first camera. Talk about how you think life must
have been for a woman in 1863 with six children, and a husband twenty years her senior. Try to imagine
how unusual she was as a pioneering photographer.
Discuss the importance of early photography in terms of social records.
Compare the photographs of Carroll and Wynfield. List their similarities. List the positive and negative aspects
of working in a collaborative relationship. Work with a friend to produce a drawing and a photograph of the
same person. Make notes about each portrait sitting and discuss the relative success of each work.
Find out more about the practical complexities of early photography, the hardware and the chemicals.
Research recipes for mixing the basic chemicals to make black and white prints.
Discussion points
Projects
Activity
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Wide Angle 1. Technical beginnings and early photography
The Carte-de-visite and the Album
In 1854, André Disdéri patented the 'carte-de-visite' photograph: this was an image
measuring approximately 90mm high by 65mm wide, mounted on sturdy card.
With his method, multiple poses could be taken on the same negative. The invention
sparked off a whole new craze, in 1859 Napoleon III had his own likeness published
and issued to his troops. His cousin Julie Bonaparte wrote in her diary in 1856:
‘It is the fashion to have your portrait made small in a hundred copies: it only costs
fifty francs and it is very handy to give to your friends and to have their images
constantly at hand.’
People collected the images and put them into special albums. Queen Victoria had
a large collection of these photographic likenesses of famous individuals, and their
popularity overshadowed the art of the miniature painters who until this time were
still working successfully.
Prince Albert sat 'to a man who makes photographic likenesses' in March 1842,
and both he and Queen Victoria were fascinated by photography. He was a keen
photographer; having a darkroom constructed at Windsor Castle, and she was
the first British monarch to be photographed. Perhaps the earliest example of this,
combined with a public national event, was the opening ceremony of the Crystal
Palace on 10 June 1854.
In 1861, John Jabez Edwin Mayall's carte-de-visite photographs of Queen Victoria
(1819-1901) were sold to the general public for the first time.
Queen Victoria and Prince Albert
of Saxe-Coburg-Gotha
John Jabez Edwin Mayall,
hand-coloured albumen carte-de-visite,
February 1861
NPG Ax46717
Queen Victoria and Princess
Beatrice of Battenberg
Arthur James (‘A.J.’) Melhuish,
albumen cabinet card, 1879
NPG x76537
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Wide Angle 1. Technical beginnings and early photography
Why was there a craze for the carte-de-visite? What contemporary equivalents could you suggest?
What is the point of collecting images of famous people?
Using www.npg.org.uk/collections, see how many different photographic images of Queen Victoria
(1819-1901) you can find. Compare her poses and the clothing she wears. Analyse how her attire
changes after Prince Albert’s death in 1861.
Investigate the backgrounds of the photographs. How often do they seem like constructed
(fake) interiors? Are there any external backgrounds to be found? Make three small black and white
photographs of your friends using a specially constructed interior background and then take another
three outside. Which do you prefer?
Discussion points
Projects
Activity
The Carte-de-visite and the Album
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Commercial photographers Maull and Polyblank produced a series of celebrity
portraits, for example Isabella Mary Beeton (1836-65) the author of Mrs Beeton's
Book of Household Management, (London, 1861). Her book was an essential guide
to running a Victorian household. It included advice on many things including
fashion, child-care, science and a large number of recipes. This image was the third
photograph to join the National Portrait Gallery Collection and it conforms to a
repetitively
rigid formula reminiscent of eighteenth-century 'standard' portrait work,
significantly different from the type of photographs produced by artists such
as Cameron (1815-79) and Wynfield (1837-87).The latter, a member of the 'St
John's Wood clique', a nineteenth-century painting group, produced photographic
portraits inspired by Old Master and Italian Renaissance painting; sitters assumed
appropriate poses and wore period costume.
Isabella Mary Beeton
(née Mayson)
Maull Polyblank,
hand-tinted albumen print, 1857
NPG P3
WIDE ANGLE 2.
Art and photography; the wider context
Art and portrait photography
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Wide Angle 2. Art and photography; the wider context
Art and portrait photography
Sir John Everett Millais 1st Bt,
as Dante
David Wilkie Wynfield,
albumen print, 1860s
NPG P79
See the web resource
Portraits in Disguise
http://www.npg.org.uk/live/
eddisguise00.asp
The artist Sir John Everett Millais, 1st Bt (1829-96) poses in
costume as the Italian poet Dante, he wears a laurel wreath, a
traditional symbol for the Renaissance poet. Wilkie Wynfield’s
portraits inspired Julia Margaret Cameron, who was given her
first camera in her forties and practised the art for only twelve
years, producing remarkable portraits. Her full-face unfocused
portrait heads acknowledge Wynfield’s artistic influence. In
a letter to William Michael Rossetti dated 23 January 1866
she wrote about his inspirational work, ‘to my feeling about
his beautiful photography I owed all my attempts and indeed
consequently all my success’.
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Wide Angle 2. Art and photography; the wider context
Art and portrait photography
The poet Alfred Tennyson, 1st Baron Tennyson (1809-92) was her neighbour in
Freshwater, Isle of Wight, and consequently Cameron had access to his famous
visitors for her photographic subjects. She made portraits of Alfred Tennyson,
Thomas Carlyle (1795-1881), George Frederic Watts (1817-1904), Charles Darwin
(1809-82), Anthony Trollope (1815-82) and Alice Liddell (1852-1934) who was the
inspiration for Lewis Carroll’s Alice in Wonderland.
G.F. Watts wrote: ‘I wish I could paint such a picture as this’, on the mount of her
1872 portrait of Florence Fisher and he signed his name in approval. See http://
www.npg.org.uk/collections/about/primary-collection/documents-relating-to-
primary-collection-works/victorian-portraits/gf-watts-selected-letters.php.
Thomas Carlyle (right)
G.F. Watts,
oil on canvas,1868
NPG 1002
Charles Robert Darwin (right)
Julia Margaret Cameron,
albumen print, 1868
NPG P8
Thomas Carlyle (left)
Julia Margaret Cameron,
albumen print, 1867
NPG P122
Charles Robert Darwin (left)
John Collier,
oil on canvas, 1883
NPG 1024
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Wide Angle 2. Art and photography; the wider context
Art and portrait photography
Alice Liddell
Julia Margaret Cameron,
albumen print
NPG P988
Alice Liddell
Lewis Carroll,
albumen print, July 1860
NPG P991(8)
When Lewis Carroll met Mrs Cameron, he noted wryly,
‘In the evening Mrs Cameron and I had a mutual exhibition
of photographs. Hers are all taken purposefully out of focus -
some are very picturesque - some merely hideous - however,
she talks of them as if they were triumphs of art.’ Morton N.
Cohen, ed., with the assistance of Roger L. Green, The Letters
of Lewis Carroll, 2 vols. (New York: Oxford University Press,
1979) No.66
Cameron stated her ambitions in the following way;
‘My aspirations are to ennoble photography and to
secure for it the character and uses of High Art’. She was
writing to Sir William Herschel on 31 December 1864, her
letter is now in the National Museum of Photography, Film
and Television, Bradford.
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Wide Angle 2. Art and photography; the wider context
Art and portrait photography
Miniature painting might have died with the birth of the camera, but portrait
painting was enhanced, with G.F. Watts making good use of the invention.
Writing to Sir Charles Wentworth Dilke, 2nd Bt (1843-1911) in 1873, he said,
of photographs: ‘They help to make me acquainted with the peculiarities
and shorten the sittings necessary’.
Cecil John Rhodes, (1853-1902), an imperialist who shaped the economic and
political development of South Africa also sat for Watts's 'Hall of Fame' (all fifty-
nine paintings from this series were bequeathed to the National Portrait Gallery)
wrote to him on 12th May 1898, saying: ‘I have sent photographs to your house,
so that you can begin on Tuesday without me.’ It would be wrong, however, to
assume that Watts was utterly reliant on photography for his portrait painting.
Photographs were used as a convenient tool and aide-memoir.
George Frederic Watts
George Frederic Watts,
oil on canvas, c.1879
NPG 1406
George Frederic Watts
Edward Steichen,
photogravure, 1903
NPG P168
Permission Joanna T. Steichen
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Wide Angle 2. Art and photography; the wider context
Talk about whether it is useful to have strong criticism of one’s own artwork, can this be beneficial?
Or is it destructive?
How much influence did painting have on photography and vice-versa, in Victorian times
and does it have any today?
Find out about different photographic methods for reproducing images. See how many you can discover.
Find examples of hand-coloured prints.
Find examples of paintings and photographs of the same person. Decide which method you think is
best for making portraits. Find a three-quarter length original photograph you like of someone you
admire and make a painting of them inspired by the photograph.
Discussion points
Projects
Activity
Virginia Woolf’s great aunt was Julia Margaret Cameron. Woolf was an
enthusiastic photographer and developed her own photographs as a teenager,
and in later life used photographs to help with her writing.
Virginia Woolf (née Stephen)
George Charles Beresford
platinum print, July 1902
NPG P221
Art and portrait photography
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Wide Angle 2. Art and photography; the wider context
Photographic connections
William Powell Frith (1819-1909) certainly used photographs to help him with
his 1858, elaborate documentary painting entitled, Derby Day, a complex and
exciting view of the grandstand and other activities at the races. See
http://www.tate.org.uk/servlet/ViewWork?workid=4672
John Ruskin (1819-1900) described the work as ‘a kind of cross between John
Leech and Wilkie, with a dash of daguerreotype here and there, and some pretty
seasoning with Dickens’ sentiment.’ John Ruskin, Academy Notes, 1858, No.128,
pp.137-8
William Bell Scott, John Ruskin
Dante Gabriel Rossetti
William Downey, for W. D.Downey,
albumen cabinet card, 29 June 1863
NPG x128797
William Powell Frith with model
William Powell Frith,
oil on canvas, 1867
NPG 1738
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Wide Angle 2. Art and photography; the wider context
Photographic connections
William Powell Frith (1819-1909) should not be confused with the photographer
Francis Frith (1822-98) who made three expeditions to the Middle East and whose
company published nine volumes documenting his journeys. Frith’s portable
darkroom and equipment weighed 120 pounds and could be carried on his back.
see http://www.francisfrith.com/.
Agnews, the publishers, were patrons of another dynamic photographer,
Roger Fenton (1819-69). They encouraged him to make a photographic history
documenting the Crimean War in 1855, making him a first war photographer.
Fenton also spent time documenting the collection at the British Museum.
Francis Frith
Francis Frith,
albumen print on paper, 1857
NPG x13682
Roger Fenton
Hugh Welch Diamond,
photogalvanograph, 1868
NPG P226
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Wide Angle 2. Art and photography; the wider context
Photographic connections
Early photographic portraits relied heavily on the conventions of the painted
portrait. Victorian artists commonly used pillars and swathes of drapery to
enhance the backgrounds of their photographs. In addition to these traditional
backdrops, appropriate symbols of wealth or signs of the person’s occupation
would be included. It was this type of conventional, and sometimes rather
turgid photographic portrait practice, that was the hallmark of studios such
as that of Maull and Polyblank.
Sir Samuel White Baker
Maull Co.,
albumen carte-de-visite, 1860s
NPG x369
Unknown woman
Maull Polyblank,
albumen print, c.1855
NPG P106(20)
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Wide Angle 2. Art and photography; the wider context
Isambard Kingdom Brunel
Robert Howlett,
albumen print, 1857
NPG P112
Isambard Kingdom Brunel
John Callcott Horsley,
oil on canvas, 1857
NPG 979
These portraits of the great engineer Isambard Kingdom
Brunel illustrate the widening gap that begins to occur
between conventional and more documentary portraits
taken by photographers who moved their equipment out
of the studios and on location.
The painting by John Callcott Horsley, 1857, reflects a serious,
pensive, posed Brunel, working at his desk.
The photograph by Howlett, taken in the same year, is an
astonishing record of a man caught briefly resting during
the launching of the ship, Great Eastern, one of the most
momentous occasions of his life. This ship was constructed
on the Thames from 1854 and finally launched in 1858; it
was five times the size of any other contemporary ship under
construction, was revolutionary in design and construction,
and was used to lay the first successful transatlantic telegraph
cable in 1866. Brunel stands nonchalant, in a relaxed pose with
his weight on one leg. He wears muddy boots and trousers, has
his hands in his pockets and a cigar in his mouth (he was an
avid smoker), his gaze is determined and his stance solid.
What differentiates this photograph from many taken at
that time, and puts it into a new context for photographic
portraiture, is the juxtaposition of the man and the huge
chains that fill up the background. In this surreal way, the
man is literally dwarfed by the trappings of his own creation.
Implicit in this portrait is the idea of the lone man controlling
huge steam ships, and simultaneously being overwhelmed
by their inanimate mass.
The photograph was later cropped and used (both head
and shoulders and in full length) as a carte-de-visite. Within
two years of the photograph being taking Brunel was dead,
and thus the background chains became a symbol of his
life’s achievement and simultaneously perhaps the things
that dragged him down. In turn this image became an icon
celebrating Victorian engineering.
Photographic connections
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Wide Angle 2. Art and photography; the wider context
Find other works by William Powell Frith and discuss how you think he might have put these
works together. Why do you think he wanted to make paintings when he could have simply taken
a photograph of the scenes?
Look at different kinds of war photography and discuss how this genre (type) of photography
has changed over the years.
Make a collage using magazine photographs. Make three distinct sections of clusters of more than
three people. Connect the clusters so that you construct a workable composition. Scan the collage
and heighten colours in some areas.
Take a portrait of someone with a particular hobby or job. Select something that symbolises their
profession. Using Photoshop, or another similar programme, enlarge this (in the manner of the Brunel
portrait), and use the enlargement as the background to your sitter.
Discussion points
Projects
Activity
Photographic connections
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Wide Angle 2. Art and photography; the wider context
Technical developments and publishing
In the early twentieth century various aspects of photographic usage became
common. Photographic documentation of different subjects for different reasons,
whether political or commercial, became more widely spread.
The process of photography influenced the worlds of medicine, education, science
and individual family histories. In 1888, the Kodak No.1, a small box-type camera
was introduced onto the market. This camera took circular pictures, 2 and 3/4
inches in diameter and was a popular accoutrement for wealthy men and women.
Soon other box cameras became widely available. See http://www.metmuseum.
org/toah/hd/kodk/hd_kodk.htm
These small cameras enabled photographers to leave the studio more easily,
producing more informal images outdoors. The cameras, film and developing
were relatively cheap, and taking pictures was more simple with such equipment.
This all resulted in the democratisation of photography.
Lady Ottoline Morrell
‘Mummy blown away’
possibly by Lady Ottoline Morrell
vintage snapshot print, c.1923
NPG Ax141605
Lady Ottoline Morrell (1873-1938), a leading patron of the arts, was a keen
photographer and the National Portrait Gallery possesses twelve of her
snapshot albums. The image on the right shows her with her camera. By contrast
the picture by the early fashion photographer Baron de Meyer, taken indoors,
is consciously posed, in colour and has an impressionistic style. The autochrome
process used glass negatives whereas the snapshots taken by Lady Ottoline Morrell
would have been on a type of acetate negative. Stieglitz published De Meyer’s
work in Camera Work in 1908.
Lady Ottoline Morrell
Baron de Meyer
half-plate autochrome, c.1907
NPG P1099
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Wide Angle 2. Art and photography; the wider context
Technical developments and publishing
In 1913, Dr Oskar Barnack produced the 'Leica', the first simple-to-use small
format 35mm camera. By 1925, these were being mass-produced from a factory
owned by Leitz in Germany. This was followed in 1929 by the 'Rolleiflex'. A
similar camera called a ‘Mamiyaflex’, appears in a 1960s self-portrait by Ida
Kar (see Zoom 1). These technical developments affected visual culture as they
had done in the nineteenth century, and the reproduced photographic image
flourished. Photographic imagery began to be reproduced in printed publications,
this also affected the visual culture and social communications of the time. In
1929, reportage photographs were published in the Illustrated London News,
where previously the illustrations had been line engravings. The first issue of Life
magazine, New York, appeared in 1937, Look, arrived in 1937, followed by London’s
Picture Post in 1938 - all were photographic image-based publications.
These six portraits, taken in the early twentieth century, are good examples of the
breadth and diversity of this developing medium. Indoors or outdoors, thoughtfully
posed or playfully and artfully directed, the photographic portrait was here to stay.
Since then, the plethora of photographs has overwhelmed our visual vocabulary,
mesmerising us with this ‘second-hand’ way of seeing. From the still camera, film
was developed, then television, video, DVDs, the internet and other digital means
of interpreting and reinterpreting our world in pictures.
King George V, published by
Illustrated London News (right)
after Emil Otto (‘E.O.’) Hoppé
gravure printed in colours,
published 26 November 1928 (1921)
NPG D34017
Florence Mills in ‘Dover Street
to Dixie’ at the London Pavilion
(bottom right)
Bassano,
vintage print, 1923
NPG x85305
Sir Jacob Epstein (left)
Emil Otto (‘E.O.’) Hoppé,
modern print on sepia-toned Veribrom
paper, 1911
NPG x132916
Anna Pavlova (bottom left)
Lafayette (Lafayette Ltd),
whole-plate glass negative, August 1927
NPG x49320