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Camera Victorian Eyewitness A History of Photography: 1826-1913

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Many charities for the poor, like the Salvation Army and Barnardo’s, were established during the Victorian era. They fed the hungry in soup kitchens, and looked after the poorest children in orphanages.

The Leica set a new standard, and the influence of its design can be seen in the cameras of today. While Kodak’s cameras may have been the most popular of the day, Leica’s changed the industry permanently. Kodak themselves replied with the Retina I, while a fledgling camera company in Japan, Canon, produced its first 35mm in 1936. What was The First Movie Camera? Steichen is known in particular for his collaboration with Alfred Stieglitz at the 291 Gallery, his founder-membership of the Photo-Secessionist movement, and his directorship of the Photographic Department at the Museum of Modern Art in New York. In 1955, at MoMA, Steichen organised the exhibition The Family of Man, now regarded as one of the most important exhibitions in photography’s history. Both stereo-viewers and images were an instant success with visitors, who were enchanted by the new three-dimensional effect. Square cornered - This method of folding the bellows leaves very sharp corners which are prone to wear (fig. 23). The Library's buildings remain fully open but some services are limited, including access to collection items. We're

What other processes were invented?

The tailboard pattern developed from the Bellows wet-plate cameras of the 1860s. The folding tailboard arrangement was used on Judge's and Capt. Shaw's cameras, both of which were commercially produced, from then it was widely used except on cameras intended for use in the studio. By the late 1870s the focusing screen was generally hinged to the rear standard or reversing frame rather than being removable as in earlier times.

Nowadays we often refer to any old-looking, sepia-tinted photograph as a ‘daguerreotype’. But the word daguerreotype in fact refers to a specific photographic process, invented by the flamboyant Parisian inventor and entrepreneur Louis Jacques Mandé Daguerre (1787-1851). Ray-Jones’ work sits within a larger tradition of photographs of Britons at leisure, starting with Sir Benjamin Stone in the 19th century and later including Paul Martin and Homer Sykes among others. His unique compositions have in turn influenced a later generation of photographers that most notably includes Chris Killip and Martin Parr. The front standard could move along the baseboard or inner frame and be clamped when in position (figs. 65, 65a). Normally the baseboard was made up of planks of wood joined by loose tongues but on some, especially early or large models, the baseboard was made up as a frame with fielded panels (fig. 54). Several proposals were made for Monorail cameras but came to nothing. Wood was not the best material for this design and metal would have resulted in a heavy camera. Sizes

Calotype images were negatives, like Niecpe’s original photographs, and produced more blurred pictures than the daguerreotype. However, Talbot’s invention required less exposure time. Louis Daguerre, the scientific partner of Niepce, continued working after the latter genius’ passing. Daguerre was an apprentice of architecture and theater design and obsessed with finding a way to create a simple device to create permanent images. Continuing to experiment with silver, he eventually came across a relatively simple method that worked. What is a Daguerreotype? A drawing of an old Daguerrotype camera

This photograph, The Steerage, was a turning point for Stieglitz in his move towards a modern aesthetic. His work started to become more closely aligned with photography’s inherent qualities: sharp focus, good contrast and full range of tones became important to him, and replaced the fuzzy lines and dappled surfaces favoured by the Pictorialists. This change of emphasis became known as ‘straight photography’. A subsequent book, Our Forbidden Land, was published in 1990. In it, Godwin focused on the environmental damage caused by road builders, developers, the forestry industry and the Ministry of Defence. Atkins made her images by laying specimens directly onto sensitised paper and exposing them to sunlight. Once exposed, the prints needed only washing and drying, as no further chemicals were required in the production of the images.Hine’s countryman Alfred Stieglitz (1864–1946) played a major part in developing a new, modern aesthetic for photography in the early 1900s. Initially involved in Pictorialism, a late 19th century movement which promoted photography as an art form, Stieglitz later became a key player in the development of the modern art movement, which profoundly affected the practise of photography in both Europe and the US. One, however, did point out a potential flaw which had more to do with the design of the photographer than with that of the camera: Francis Frith (1822–1898) was a Victorian topographical photographer who ran a large photographic business. He specialised in producing photographic prints of British beauty spots and other tourist views including landmark buildings, as shown in this example. Frith set up his business in 1860. By the time of his death in 1898 he had opened branches all over the world. Because he records the effects of industrialisation on the landscape, Davies has often been described as a political photographer. Incongruous elements are often present in his work: industrial buildings in rural settings or ancient buildings flanked by flyovers. These contrasts emphasise the effects of development and how these structures are put to different uses over time. In this photograph, the landscape is dominated by the colliery and its close neighbour the power station, whose four huge cooling towers occupy the middle distance. Behind the towers, pylons stand as evidence of the transition from coal to electricity. New inventions, like the telephone, motorcar, typewriter, bicycle and moving film totally changed the way that people lived, worked and travelled. In 1856, an engineer named Henry Bessemer invented a new method for turning iron into steel making it possible to build ships, bridges and other structures on a scale like never before! A photograph of the locomotive named the ‘Iron Duke’, with two engineers on board.

Above: The Ladder, Plate XIV from Talbot’s Pencil of Nature, the first book to be illustrated with photographs. Salt print from a calotype negative. The garishly-coloured, badly-focused photographs were shot using a cheap 35mm camera. They were made initially as studies for paintings while Billingham was studying fine art at the University of Sunderland. Reminiscent of family snapshots, the remarkably frank images depict a life of poverty but are tempered by moments of intimacy between Liz and Ray. In this photograph, which is at once humorous, desperate and cruel, Ray is seen throwing the family’s pet cat across the room. Sensitive, subtly political and unsentimental, her work was published in several books, the most influential of which was Land (1985). Land featured photographs taken over a ten-year period, many of which were taken while Godwin was in receipt of a major Arts Council grant that she had been awarded in 1978. This image shows Carroll’s great friend and photography teacher Reginald Southey with human and monkey skeletons and skulls. It appears to be a reference to the debates regarding Darwinism and theories of evolution which were raging at Oxford at the time. It may perhaps suggest Southey’s intellectual position on the theory. When Ernst Leitz took over the directorship of the Optical Institute in 1869, the German engineer was only 27. The institute made its money selling lenses, primarily in the form of microscopes and telescopes.The baseboard was hinged so that when the two standards were pushed together it could be folded up behind the rear standard. As well as making the camera more portable it provided protection for the focusing screen. Exposures were made on a circular glass plate that was rotated after each exposure by turning a knob protruding from the front of the camera. Six photographs, 40mm in diameter, could be taken on each plate. Rotating the knob also set the rotary shutter, which was released by pulling on a length of string which dangled from the bottom the camera. Before 1978, a camera lens would need to be manipulated so that the clearest picture would reach the plate or film. The photographer would do this by making slight movements to change the distance between the lens and the film, usually by turning the lens mechanism.

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