Introduction to the History of Photography

Alexander Gardner (1821 – 1882) Execution of conspirators to Lincoln's assassination (July 7, 1865) source: http://en.wikipedia.org/wiki/Alexander_Gardner_(photographer)

Albert Fernique1841-1898 Album de la construction de la Statue de la Liberté. (published 1883, Paris) source: New York Public Library Digital Collection

Ambrotype photograph by Charles Dodgson (Lewis Carroll) from July 21, 1865 depicting Effie Gray Millais, John Everett Millais, and their daughters Effie and Mary at 7 Cromwell Place, signed by Effie Millais. "Alexandra 'Xie' Rhoda Kitchin (September 29, 1864-April 6, 1925) was the favourite photographic subject of Charles Lutwidge Dodgson (Lewis Carroll), who photographed her around fifty times, from age four until just before her sixteenth birthday. She was also a notable 'child-friend' of Dodgson. The works they made together, often in tableau form, are commonly known to collectors, curators, and the contemporary artists who are inspired by them as the 'Xie' (pronounced 'Ecksy' - a diminutive form of Alexandra) pictures. " source: http://en.wikipedia.org/wiki/Alexandra_Kitchin Alice Liddell and her sisters, c.1859 Photo of Alice Liddell by Lewis Carroll. (1858) source: http://en.wikipedia.org/wiki/Lewis_Carroll#The_Photographer

André-Adolphe-Eugène Disdéri (French, 1819–1889) Prince Lobkowitz , 1858 Albumen silver print from glass negative; 7 7/8 x 9 1/8 in. (20 x 23.2 cm) image source: http://www.metmuseum.org/toah/hd/infp/ho_1995.170.1.htm André Adolphe-Eugène Disdéri The Organ Grinder c. 1853 , salt print 5 7/8 x 4 3/4 in. image source: http://www.getty.edu/art/gettyguide/artObjectDetails?artobj=69940&handle=li Multiple-shot camera invented by Desderi image source: http://en.wikipedia.org/wiki/Image:Appareil_disderi.gif link: Carte-de-visite photography by Robert Leggat

Pierre-Louis Pierson, Countess of Castiglione, c.1860 link: "La Divine Comtesse": Photographs of the Countess de Castiglione, Metropolitan Museum, NY

Re-enactment of the October 16, 1846 ether operation; daguerrotype by Southworth & Hawes. image source: http://en.wikipedia.org/wiki/Image:Southworth_%26_Hawes_-_First_etherized_operation_%28re-enactment%29.jpg

Étienne Carjat (French, 1828–1906) Charles Baudelaire, ca. 1863 Woodburytype image source: http://www.metmuseum.org/toah/hd/infp/ho_64.677.4.htm

Newhaven fishwives by Hill & Adamson David Octavius Hill standing at the gate to his studio calotype by Hill & Adamson. source: http://www.edinphoto.org.uk/pp_d/pp_hill_calotypes_of_do_hill.htm David Octavius Hill (1802–1870) and Robert Adamson (1821–1848) Redding the Line (Portrait of James Linton), c. 1846 Scotish National Portrait Gallery, Edinburgh image source: http://www.kiberpipa.org/gallery/album82/David_Octavius_Hill_and_Robert_Adamson_Baiting_the_Line_1845.jpg David Octavius Hill (1802–1870) and Robert Adamson (1821–1848) "Photograph from the frontispiece of an album dated 1848, showing D O Hill sketching in Greyfriars Kirkyard, watched by the Misses Morris. Other tableaux in the same setting included The Artist and The Gravedigger" source: http://en.wikipedia.org/wiki/David_Octavius_Hill "Many of Hill's portraits were made in the Edinburgh Greyfriars cemetery - nothing is more characteristic of this early period than the way his subjects were at

Julia Margaret Cameron My Favorite Picture of All My Works. My Niece Julia April 1867 http://www.masters-of-photography.com/C/cameron/cameron_niece_julia_full.html Julia Margaret Cameron Julia Jackson 1867 source: http://www.masters-of-photography.com/C/cameron/cameron_julia_jackson_full.htm l Julia Margaret Cameron Mrs. Herbert Duckworth April 1867 http://www.masters-of-photography.com/C/cameron/cameron_mrs_herbert_duckworth_full.html Julia Margaret Cameron (1815 – 1879) J.F.W. Herschel 1867 source: http://www.masters-of-photography.com/C/cameron/cameron_herschel_full.html Pomona 1872 The Rosebud Garden 1868 Pre-Raphaelite study 1870 Queen Esther before King Ahasuerus 1865 source: http://www.victoriaspast.com/JuiliaMCameron/juliacameron.htm Rossetti, Beata Beatrice, 1863, Tate Gallery Rossetti, Boca Bacciata , 1859 links: Rossetti Archives

Nadar - “ Panthéon Nadar “, lithography, 1853 source: http://home.tele2.fr/thdelamotte/photo_references/nadar/img/pantheon_nadar.jpg Nadar (Gaspard-Félix Tournachon , 1820 – 1910) - Self Portrait, 1855 source: http://en.wikipedia.org/wiki/Image:Nadar_selfportrait.jpg "NADAR élevant la Photographie à la hauteur de l'Art" (NADAR elevating Photography to the high level of Art). Lithograph by Honore Daumier , Le Boulevard, 1862. source: http://en.wikipedia.org/wiki/Image:DR3248_13.jpg Baudelaire photographié par Nadar, 1854 source: Musée d'Orsay Nadar - Sarah Bernhardt 1859 source: http://faculty.evansville.edu/rl29/art105/sp04/art105-8.html Nadar - George Sand c.1864 Nadar - Rossini 1856 Nadar - one of his first aerial photos of Paris, 1858 source: http://www.geog.ucsb.edu/~jeff/115a/jack_slides/nadar1858firstaerialphotoofparis.jpg Nadar by Nadar 1858 source: Google-LIFE Nadar: The right to flight source: Gallica BNF A Nadar photo of Santos-Dumont in one of his (heavier-

According to M. W. Marien ( Photography, A Cultural History ), prior to 1800, in utopian and speculative fiction there is only one example of imaginative anticipation of photography and film: the novel Giphantie by CHARLES-FRANCOIS TIPHAIGNE DE LA ROCHE (1722 - 1774), published in 1760. “You know, that rays of light reflected from different bodies form pictures, paint the image reflected on all polished surfaces, for example, on the retina of the eye, on water, and on glass. The spirits have sought to fix these fleeting images; they have made a subtle matter by means of which a picture is formed in the twinkling of an eye. They coat a piece of canvas with this matter, and place it in front of the object to be taken. The first effect of this cloth is similar to that of a mirror, but by means of its viscous nature the prepared canvas, as is not the case with the mirror, retains a fac-simile of the image. The mirror represents images faithfully, but retains none; our canvas r