Background to Photography: the Diorama and Virtual Reality

Daguerre - The Effect of Fog and Snow Seen
through a Ruined Gothic Colonnade, 1826
Oil on canvas, L. J. M. Daguerre, in Gerard Levy Collection
Reproduced in Panoramania! by Ralph Hyde, London:
Trefoil Publications / Barbican Art Gallery 1988,
catalogue item No.99 on p.119 with colour illustration on p. 168
source: The Diorama: some images
compiled by R. Derek Wood
http://www.midley.co.uk/

Ticket signed by Daguerre in 1830 for complimentary
visit of two persons to his Diorama in Paris
Reproduced from H. & A. Gernsheim L. J. M. Daguerre,
fig. 26, Secker & Warburg: London 1956
source: The Diorama: some images
compiled by R. Derek Wood
http://www.midley.co.uk/

Photographed by R. D. Wood (July 2001)
The diorama painted by Daguerre in 1842 in the church
at Bry-sur-Marne, poorly surviving there after 159 years.
source: The Diorama: some images
compiled by R. Derek Wood
http://www.midley.co.uk/

Diorama by Daguerre in the church
at Bry-sur-Marne c. 1840 (in process of restoration)
source: http://www.daguerre-bry.com/index_french.htm

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Group f/64 Manifesto (1932)

Ansel Adams by Dorothea Lange Group f/64 Manifesto The name of this Group is derived from a diaphragm number of the photographic lens. It signifies to a large extent the qualities of clearness and definition of the photographic image which is an important element in the work of members of this Group. The chief object of the Group is to present in frequent shows what it considers the best contemporary photography of the West; in addition to the showing of the work of its members, it will include prints from other photographers who evidence tendencies in their work similar to that of the Group. Group f/64 is not pretending to cover the entire of photography or to indicate through its selection of members any deprecating opinion of the photographers who are not included in its shows. There are great number of serious workers in photography whose style and technique does not relate to the metier of the Group. Group f/64 limits its members and invitational names to those worke...

Post-photography

"The job of the photographer in the 21st century has become increasingly challenging as the practice is an overwhelmingly populist business. Anyone who has access to a camera has the power to become an artist, leaving a plethora of cached evidence on the internet for public consumption. This “found” internet content serves as a vast laboratory for major experimentation, underpinning the concept of post-photography, with endless possibilities for artists to recreate original works using avant-garde techniques drawn from both the digital and analogue eras." Fiona Martin (short presentation of the book Post-Photography: The Artist with a Camera by Robert Shore) http://www.aestheticamagazine.com/post-photography / Perhaps there is less novelty here, regarding the context of photography transformed by the new image technologies developed in the late 20th century, in the particular sense that the early impact of photography itself transformed the regimes of vision and impact...

The Daguerreotype: landscape and architecture

Engraving of the first photograph of the Pathenon. Taken by Gaspard-Pierre-Gustave Joly de Lotbinière in 1839. Published in Excursions daguériennes by Noël Paymal Lerebours in 1841 source: http://fr.wikipedia.org/wiki/Fichier:Parthenon_1839.jpg Niagara. Chute Du Fer a Cheval from Excursions daguerriennes: vues et monuments les plus remarquables du globe, published by Lerebours, Nöel-Marie-Paymal 1840 engraving from daguerreotype 26.0 x 73.5 cm. source: Daguerreotypomania GEH "The Excursions Daguerriennes, représentant les vues et les monuments les plus remarquables du globe, [Daguerreian Travels, representing the most remarkable views and monuments in the world] was published in Paris by Noël-Marie Paymal Lerebours between 1841 and 1864. The volumes were sold by subscription and in the end contained more than one hundred views of Europe, North Africa, and the Middle East shot between 1839 and 1844. Pattinson's view of t...

Introduction to the History of Photography

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